“The Devil Wears Prada 2” weighs the cost of fighting for our passions |
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Reviews Lifestyle The New Sober Boom Getting Hooked on Quitting Education Liberal Arts Cuts Are Dangerous Is College Necessary? Finance Dying Parents Costing Millennials Dear Gen Z Investing In Le Creuset Crypto Investing SEC vs Celebrity Crypto Promoters ‘Dark’ Personalities Drawn to BTC
Lifestyle The New Sober Boom Getting Hooked on Quitting
Getting Hooked on Quitting
Education Liberal Arts Cuts Are Dangerous Is College Necessary?
Liberal Arts Cuts Are Dangerous
Is College Necessary?
Finance Dying Parents Costing Millennials Dear Gen Z Investing In Le Creuset
Dying Parents Costing Millennials Dear
Gen Z Investing In Le Creuset
Crypto Investing SEC vs Celebrity Crypto Promoters ‘Dark’ Personalities Drawn to BTC
Investing SEC vs Celebrity Crypto Promoters ‘Dark’ Personalities Drawn to BTC
SEC vs Celebrity Crypto Promoters
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“The Devil Wears Prada 2” weighs the cost of fighting for our passions
In a legacy sequel done right, Meryl Streep and Anne Hathaway warn that the demise of media affects us all
Published May 1, 2026 12:00PM (EDT)
“The Devil Wears Prada” was never meant to be a franchise. Despite its pivotal role in the 2006 summer blockbuster season, where it raked in enough cash and glowing word-of-mouth praise to become the 10th most successful film of the season — the only title in the top 10 with a woman at top billing — the movie’s ending didn’t exactly scream sequel. “The Devil Wears Prada” was and is the perfect example of a self-contained story, built by the studio machine but never intended to keep the apparatus running. It’s economical and clever, with deceptively intricate character writing, striking costume design, a uniquely memorable score and soundtrack, loads of witty banter, a distinctly sleek aesthetic, and it’s one of the only films that has ever made multiple montage sequences feel earned.
But look past all that technical prowess, and you’ll find a remarkably introspective story about the complexities of integrity, examining the choices we make and the sacrifices we endure to become truer versions of ourselves. The film is lightning in a bottle, magic that only stands to have its smoke dispersed and mirrors cracked by the unnecessary impositions of the dreaded Hollywood sequel.
(Macall Polay/20th Century Studios) Meryl Streep as Miranda Priestly in “The Devil Wears Prada 2”
“The Devil Wears Prada 2” isn’t here just to make easy money by force-feeding audiences IP slop in the form of Miranda Priestly one-liners; it uses its existence to issue a mass-scale warning about the future, stressing the worth in fighting tooth and nail to preserve what we hold dear — in cinema, in publishing, in every element of life being disemboweled by rapacious tech bros in fleece vests. It is an original blockbuster drama with something important to say.
How refreshingly meta, then, that “The Devil Wears Prada 2” — a film that seemingly had no discernible reason to exist other than to make money — directly addresses its own superfluity. Plenty has changed in book and magazine publishing in the years since Lauren Weisberger released her scathing roman à clef source novel in 2003, based on her time as Anna Wintour’s assistant; likewise for the film industry. Print and cinema’s strings are being pulled by the grubby, greedy hands of executives who care far more about money and expediency than........