Name: The Devil Wears Prada 2
Genre: Drama, Comedy
Duration: 1 h 59 min
Rating: 7.0
Cast: Anne Hathaway, Meryl Streep, Emily Blunt, Stanley Tucci, Kenneth Branagh

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A sequel? For spring? Groundbreaking. Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci return in The Devil Wears Prada 2.  Almost twenty years after making their iconic turns as Miranda, Andy, Emily and Nigel—Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci return to the fashionable streets of New York City and the sleek offices of Runway Magazine in the eagerly awaited sequel to the 2006 phenomenon that defined a generation.

The Devil Wears Prada 2

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The Devil Wears Prada 2 Movie Story Review:
Aline Brosh McKenna's story organically moves the narrative forward and is peppered with relatable plot points. Aline Brosh McKenna's screenplay is breezy and in sync with the tone of the first part. The dialogues are sharp and add to the fun and drama.

David Frankel’s direction is splendid and does justice to the plot at hand. The first part is loved for its ode to fashion and this aspect is present in abundance in the sequel. Expect collective sighs in cinemas as the characters are seen wearing the classiest outfits and carrying dazzling accessories. At the same time, viewers will immediately notice how it’s a film of today. It touches upon talented individuals losing jobs overnight, that too over a text; magazines being compelled to move online; management graduates teaching veterans how to run companies, etc. Also amusing is the way Miranda is compelled to tone down her devilish behaviour because of HR policies, while Amari (Simone Ashley), Miranda’s first assistant, constantly reminds her of the dos and don’ts. But what works best is the equation between Andy and Miranda and how things have changed and yet, also remain the same. The narrative has references and callbacks to the first part, which add a nice touch. There’s a major twist at the mid-point and that adds a lot to the story. The pre-climax is touching and unexpected, while the finale will leave a smile on viewers’ faces.

On the flipside, after a great start, the interest dips a bit in the middle of the first half. One wonders where the film is heading and whether it’ll be a worthy sequel. Things happen rather conveniently in the third act, especially the whole takeover angle. Lastly, the ‘A’ rating is completely unjustified and might keep a section of the viewers away.
The Devil Wears Prada 2 Movie Review Performances:
Meryl Streep delivers as per expectations. The balance between Miranda’s devilish side and her vulnerability, albeit shown very subtly, is beautifully brought out by the seasoned actor. Anne Hathaway gets completely into the skin of her character and proves yet again why she continues to be one of the finest actors today. Emily Blunt doesn’t have much to do initially, but later on, she makes her presence felt. The scene where Andy tells her character how happy she was to see her do well in life is lovely. Emily brings the required bossy attitude with panache. Stanley Tucci is truly adorable and this time, he’s sure to leave moviegoers moist-eyed in a crucial scene. Tibor Feldman and Simone Ashley lend able support. Lucy Liu (Sasha Barnes) is too good in a special appearance, while Justin Theroux (Benji Barnes) is entertaining. Patrick Brammall (Peter, Andy’s love interest) makes his presence felt. Tracie Thoms (Lily, Andy’s friend) and Kenneth Branagh (Stuart, Miranda’s husband) are okay in small roles. Caleb Hearon (Charlie, Miranda’s second assistant) and Helen J Shen (Jin Chao, Andy’s assistant) are memorable. B. J. Novak (Jay Ravitz) gets to play a strong character; however, the impact is diluted a bit due to the writing. Lady Gaga is hilarious in a cameo.

The Devil Wears Prada 2 movie music and other technical aspects:
Theodore Shapiro's music is well-woven into the narrative. Florian Ballhaus's cinematography is top-notch. The locales of New York and Milan are shot breathtakingly. Jess Gonchors's production design is classy. Molly Rogers's costumes are awe-inspiring and one of the highlights of the film, as expected. Andrew Marcus's editing is satisfactory.

The Devil Wears Prada 2 Movie Review Conclusion:
On the whole, THE DEVIL WEARS PRADA 2 is a well-made entertainer that works due to its ode to fashion, splendid performances, sharp take on the present-day realities of journalism and moments that make viewers smile and also leave them moist-eyed. The first part enjoys cult status and this has resulted in healthy advance sales. Hence, the film is expected to work big time in India despite releasing only in English.

“It’s nice to be important, but it’s more important to be nice.” In an industry as cutthroat as media, this sentiment often runs cold. Success is frequently associated with being sly and ruthless, but journalist Andy Sachs (Anne Hathaway), now in her 40s, continues to see it differently.
It’s been two decades since she left the job she was once told “a million girls would kill for.” Despite her turbulent stint as an assistant at Runway, a prestigious New York fashion magazine, Andy chooses to return. She still sees the good in people, even her former boss, the formidable Miranda Priestly (Meryl Streep). She lets Miranda’s undeniable professional brilliance temper her notoriously acid-tongued demeanor, believing that beneath the severity lies someone shaped by her own struggles.
Andy’s return to Runway reunites her with Nigel (Stanley Tucci), the ever-loyal art director. Despite having been sidelined by Miranda once, Nigel remains devoted, accepting his place in her shadow while quietly hoping she is capable of change. Emily (Emily Blunt), however, stands in stark contrast. Having moved on from Runway into retail, she has little patience for nostalgia or generous reinterpretations. To her, Miranda is not a misunderstood icon, but someone whose downfall feels inevitable.
When a crisis brings the four back together, old loyalties and unresolved tensions resurface. Together, they are compelled to confront not only their pasts but also the shifting realities of modern media and to question what it truly takes to survive, and remain human, in an ever-evolving industry.
The Devil Wears Prada 2 practices exactly what it preaches. After returning to Runway from a more serious-minded publication, Andy learns that journalism is no longer just about telling meaningful stories, t’s about ensuring those stories are actually read. No matter how sincere or relevant, content must be compelling and click-worthy, even for a legacy media house. The film mirrors this reality, balancing audience expectations with the story it wants to tell. The result is a fun, somewhat predictable yet worthy successor, one that pays homage to its predecessor while highlighting a pressing concern: the dire state of print media.
From AI and advertisers influencing editorial decisions, to sudden newsroom downsizing, the rise of sensationalism, and the relentless pressure of digital platforms eroding legacy media’s authority, the film skims through urgent issues much like flipping through a glossy magazine spread. It raises valid concerns but rarely pauses to unpack them, choosing to maintain a light, accessible tone. Where the first The Devil Wears Prada explored Andy’s inner conflict between personal values and professional ambition with nuance, the sequel unfolds more like a checklist of ideas. The treatment can feel slightly hurried, but the performances keep it grounded.
Anne Hathaway is delightful as Andy, the wide-eyed idealist who refuses to turn cynical, even as she rises through the ranks. Meryl Streep owns the screen with effortless authority and undeniable star power. Her new scathing one-liners like “You are not a visionary. You are a vendor”, land with impact and define the franchise’s legacy. Emily Blunt slips back into her role with ease, serving signature eye-rolls and razor-sharp scepticism, while Stanley Tucci remains the mentor figure everyone wishes they had. The film is packed with cameos, but Lady Gaga steals the spotlight. Simone Ashley, as Miranda’s new Emily, adds a fresh edge, tasked with keeping her boss in check, nudging her towards political correctness, and helping her navigate the new-age cancel culture and body positivity.
In a world full of Emily in Paris and its ilk, The Devil Wears Prada remains the OG. It isn’t turquoise or lapis—it’s cerulean, and it leaves women with a lingering thought: you don’t need anyone; you are enough.

Nearly twenty years after The Devil Wears Prada made a generation fear the phrase "that's all," the sequel returns to a world that has changed far more dramatically than its characters have. Directed by David Frankel, the film reunites Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci, and places them at the fault line between legacy media and a digital ecosystem that doesn’t wait for anyone, not even Miranda Priestly. Pun not intended.
Set in New York's ever-evolving fashion-media circuit, the sequel follows Priestly (Streep) as she attempts to steer Runway magazine through an unforgiving digital downturn. Print revenues are collapsing, online engagement is volatile, and the publication’s once-unchallenged authority is slipping. Andy Sachs (Anne), now an award-winning journalist, re-enters Priestly's orbit as Runway looks to recalibrate its editorial voice for a digital-first audience. Complicating matters is Emily (Emily Blunt), who is no longer an assistant, but a powerful fashion curator at a luxury brand and financial leverage could offer Runway a lifeline at a cost.

Nigel (Stanley Tucci), ever the observer, navigates this changing world with a mix of wit and resignation, offering some of the film's most grounded moments. Around them, a wider ensemble, including Lucy Liu, Kenneth Branagh, Justin Theroux and Simone Ashley, populate a world where media, money and influence are increasingly indistinguishable.
What makes The Devil Wears Prada 2 compelling isn't just its return to familiar characters, but its willingness to confront an uncomfortable truth: journalism, much like fashion, is struggling to retain its identity in the digital age. Editorial decisions are quietly overridden by metrics, stories are shaped by sponsorships, and credibility becomes negotiable. The irony of a legacy publication chasing relevance in a space it once dismissed is not lost on anyone.

That said, the film’s humour is sharp, understated, and often industry-specific. But it may not land uniformly. Those attuned to the mechanics of media will catch the biting satire in throwaway lines and loaded silences. For others, the wit might feel too muted, too insider, to provoke the kind of laughter the original film delivered with ease.

At the centre of it all is Streep, who once again proves that Miranda Priestly doesn’t need volume to assert dominance. Her performance is calibrated to perfection: controlled, observant, and devastatingly precise. This is a Miranda who understands the stakes have changed, even if her standards haven’t.
Hathaway's Andy is more assured, carrying the weight of experience without losing the character's moral centre. But where the character evolves, the styling occasionally does not. For a film so invested in the language of fashion, some of Andy's looks feel surprisingly underwhelming. In Miranda Priestly's world, one can almost hear the unspoken verdict in the background: "I hope you are not wearing that tonight."
However, kudos to the team for not underplaying the age and experience of the lead stars. There is no attempt to make them look younger on-screen. The film remembers and honours that 20 years have passed since the first film.

Blunt's Emily Charlton emerges as the film’s most dynamic presence. No longer comic relief, she’s commanding, complex, and entirely at home in this new ecosystem. Her exchanges with Streep are among the film’s best, layered with tension, history, and a mutual recognition of ambition. Tucci’s Nigel continues to be the film’s quiet backbone. Among the newer additions - Simone, in particular - the performances are solid if not always fully utilised.

Visually, the film retains its polish, though it feels less indulgent than its predecessor, perhaps intentionally. Fashion is still aspirational, but there’s a noticeable shift toward practicality, mirroring an industry that now prioritises wearability and branding over spectacle.
The Devil Wears Prada 2 is less about reinvention and more about survival. Its real conflict isn't between people, but between eras: print versus digital, instinct versus data, authority versus influence. That tension grounds the film in a reality that feels uncomfortably familiar. The modern newsroom is shaped more by algorithms than reach. What gets commissioned increasingly hinges on what will be clicked, and ultimately, read. The film captures this shift with quiet precision, letting the irony sit: a legacy publication built on authority now negotiating with metrics it cannot control.

The sequel doesn't always strike the perfect balance. It struggles to balance its commentary on a rapidly shifting digital media landscape with the familiar spark of Miranda–Andy banter. The pacing can feel uneven at times, particularly as it juggles newsroom crisis with insight, and its sharpest observations about the business of magazines are often delivered too subtly to fully resonate with those who don’t understand the nuances. Yet, there’s a quiet, lingering intelligence to the film that lingers even when it doesn’t dazzle.
And Miranda? She hasn't lost her edge. She has simply learned to wield it in a world that no longer guarantees she'll be the sharpest blade in the room.

All those wearing the 2006 film on their sleeves, you can keep your shirt on. The devil wears thin, but not Miranda Priestly. And so, how can Prada?

Meryl Streep doesn’t miss a beat as she reprises her role from 20 years ago as the imperious, icy, terrifying Editor-in-Chief of fashion magazine Runway. However, times have changed, and so her Miranda must weigh her words more carefully. “Body positive” is one description she gags on, as her vigilant assistant Amari (Simone Ashley) dutifully reminds her what can now no longer be said – or even gestured.
Throwing her coats and bags on assistants’ desks is also a no-go, and in one scene, Miranda has to catch her breath after the task of hanging her coat on a hook.

Anne Hathaway is again the “good, striving journalist” Andy, this time an award-winning one, who is again out of work and, hence, again at Miranda’s doors for a turnaround in her fortunes. Andy has been hired back to “restore the credibility” of Runaway after a poorly judged editorial choice by Miranda, which puts the two of them on a more equal footing – or so she thinks.
Emily Blunt’s Emily has moved on from Runaway and become the head of luxury retail at Dior, a job she clearly cherishes. Plus, she has tech bro Barnes (Justine Theroux), a barely disguised Jeff Bezos, for a boyfriend. Barnes’s ex-wife Sasha (a wasted Lucy Liu), meanwhile, is this reclusive philanthropist who is ready to donate all the money she got as alimony to a good cause.

Stanley Tucci also returns, to his role of Miranda’s faithful stylist Nigel, toiling away patiently in the background while still keeping his godfatherly eye out for Andy.

So how do you have all of the same and still make it different?
The Devil Wears Prada was based on a book by a former assistant of Vogue Editor Anna Wintour – the inspiration for Miranda, which can be openly said now as the sequel has Wintour’s blessing – and it softened the novel’s harsh edges to make a film that was more high street than haute couture. It was also morally shaky, teetering often as the good Andy skittered – literally – in her stilettos between sneering at fashion and gawking at it. It wanted to convince you that brain and Birkins could co-exist, but yeah, its heroine was Andy, who goes with brains, after having a good run with Birkins.
For a film with a whole scene about how one blue differs from another blue (cerulean), The Devil Wears Prada also was pretty broad-stroked about its familiar cliches – be it ugly duckling turned swan, or bad, amorous men vs good, loyal boyfriends, or girls with a heart of gold.

The Devil Wears Prada 2, with an original screenplay by Aline Brosh McKenna (who was the scriptwriter of the first film), is on firmer ground here as far as the plotline goes. Runway, like all print media of our times, is struggling against dwindling reader interest, wandering eyeballs, digital onslaught, etc etc, and is being measured by metrics devised by “management consultants”, against which almost all journalism falls short.

It’s the closure of her former esteemed publication that brings Andy to Runway, and once she realises that the same may happen at the fashion mag, she decides to take matters in her own hands. If Barnes makes one end of the moneybags running the world, while talking Artificial Intelligence, the other is “performance synthetics (heavens!)”-clad Jay, the son of Runway magazine owner Irv (played by B J Novak), with no interest in or patience with the family business.
For those in journalism, all this will sound familiar – though Andy’s runaway success is one of those fairy-tale stories no journalist will buy.

For those looking for more, there is still a lot to go around, including fabulous Milan. If Streep’s jerk of blazer-bedecked shoulders at a new indignity and her whispery insults still draw blood, Blunt remains as funnily acerbic in her portrayal of the ever-striving Emily. More of Blunt, and less of the inconsequential men – whether Andy’s ridiculously uncharming suitor or Miranda’s saintly supportive husband (Kenneth Branagh) – would have done marvels for The Devil Wears Prada 2.

Like Miranda would say, and still does — if you hear closely — “That’s all.”

Of all the remarkable things about The Devil Wears Prada 2, the most amazing thing is how it brings everyone back.

It has got the original cast, the same director, the screenwriter, the cinematographer, the composer, and even Miranda Priestly's signature 'That's All' making a sly comeback. Thankfully, the sequel doesn't feel like it is just cashing in on nostalgia, instead, the story actually builds a strong sense of continuity with a film that came out 20 years ago.

Honestly, getting Meryl Streep on board alone is impressive, who is famously averse to sequels and has only done one before in her 50-year-long career. Seeing her return already feels like a win.

But here's the thing, despite all the glamour at its disposal, there's an unexpected tinge of sadness to The Devil Wears Prada 2. It's the kind when you revisit a loving chapter from your life, only to realise how much things have changed.

Don't get me wrong, this sequel is still just as iconic and fashion-forward film with full of bling, crackling guest appearances (including a standout Lady Gaga cameo), and those unbeatable style moments that remind you just how effortlessly stunning the cast still looks.

But beneath all that glamour, there's a more reflective tone here that is very different from the first film. This sequel feels aware of time, of change, and within that, it actually has something to say.

The first film centres around Runway, a fashion magazine that was described as an institution in itself.
The sequel shifts to the present day, where print media is in decline and the very magazine that defined the industry is now struggling to stay relevant.

'The world is changing so fast, even I can't comprehend it,' a character says, while Miranda Priestly, the magazine's editor-in-chief played by Meryl Streep, quietly listens in.

The Devil Wears Prada 2 uses this shift as its main backdrop, spotlighting the struggling state of modern media and the people fighting to keep it alive. It shows how traditional journalism is now pitted against tabloid news, influencers, and the race for speed and clicks, all under the pressure, as well as control, of media company owners.

Thankfully, The Devil Wears Prada 2 doesn't forget that it's a legacy sequel to an iconic film, and knows how to have fun while balancing its heavyweight themes.

What's The Devil Wears Prada 2 About?
Very early in the film, we see Andy (Anne Hathaway), now a respected journalist, being laid off amid widespread company layoffs. While many of her colleagues turn to writing inconsequential memoirs, Andy is determined to do better.

On the other hand, Miranda is struggling to uphold journalistic values while navigating the whims of a media baron (BJ Novak) who is constantly testing her relevance.

Miranda is not the same as she was in the first film. She is no longer fully in control, but rather at the mercy of her superiors. Even her dynamic assistant (played by a gorgeous Simone Ashley) feels different. It is less authority, more professionalism now.

You begin to see that her carefully built, untouchable image is losing its edge.

A social media scandal hits, and suddenly Miranda is under fire, with questions about her integrity spreading online, and people dismissing her with labels like 'relic' and 'dinosaur'.

Enter Andy, who is brought back to Runway to lead the Features department and improve its declining readership. But she soon realises she was not personally chosen by Miranda.From there, Andy is stuck trying to keep Runway's integrity intact, while also dealing with a boss she didn't exactly reconnect with on good terms. She also crosses paths with former colleague Emily (Emily Blunt), who has left the magazine to work for a luxury brand and now holds power over Runway.

This creates a tricky situation for everyone involved.

A Very Likable Cast Steers The Drama
What The Devil Wears Prada 2 does really well is the chemistry between its characters, steered by a very likable cast. At times, you almost forget the plot because it's just fun watching them slip back into these roles so seamlessly, even after two decades.

Take Andy and Emily, for example. When they meet again as former colleagues, there is an easy rhythm between them. They go from tension to sharp banter, like bickering friends who know exactly how to push each other's buttons.

At times, Emily's storyline feels slightly forced, especially a subplot involving her vacuous, wealthy boyfriend, played by Justin Theroux, who is otherwise a total hoot! Both actors share a playful, frisky chemistry, which is very different from their toxic pairing in The Girl On The Train. They are so effortlessly watchable together that you go along with it anyway.

There's also Nigel (a poised Stanley Tucci), who is still working with Miranda and still deeply loyal to the magazine. With Andy, he remains warm and supportive, gently pushing her to 'figure it out' like a trusted old friend.

And then there's Miranda herself.

You can see she is now content in her personal life, with a loving partner (a charming Kenneth Branagh) by her side. What she really wants is to keep doing what has always cared about: Her job.

There's a lovely moment where Miranda interviews an elusive high profile socialist (Lucy Liu). At the end of the interview, the guest is surprised that Miranda didn't ask a more sensational, headline-grabbing question about her ex-husband. Miranda calmly replies that if he isn't defined by his marriage, why should she be?

It's a brief exchange that pays off later in the film, but in that moment, it reveals Miranda's awareness of her earlier failed marriage and her refusal to let it define her. If the first film portrayed her as a ruthless authority figure, this one softens and humanises her, revealing a more vulnerable side.

In another one, Andy, who in the earlier film described Miranda as 'vicious', now sees her differently and admits 'it is more complicated than that'.

The Writing Takes The Cake
Unlike the first film, the sequel is not based on source material but is written independently by screenwriter Aline Brosh McKenna, who expands the story beautifully. She brings back these characters that feel older, more self-aware versions of themselves, written with arcs that now feel perfectly complete.

Returning director David Frankel captures the high-fashion moments just as well as the slice-of-life scenes, which feel real and emotional. And yes, a few of them can even get you a little teary-eyed.

By the end of the film, the tone softens as things settle into a sense of a 'happy ending'. Andy, wearing the 'cerulean blue sweater' (IYKYK), quietly watches Miranda, who is completely absorbed in her work. She sees her not just as a boss, but as someone who shaped her who she is.

It even briefly feels like a mother-daughter dynamic, where Andy finally understands a side of Miranda she never fully saw before. There is a sense of admiration there.

In the end, it's all about understanding each other better. And sometimes you need a Part Two for that. :)



A chaotic newsroom. The bustling city of New York. Picture perfect models. Frazzled assistants. Designer clothes. Ego battles. Hustle. And the cerulean blue sweater. The Devil Wears Prada 2 is all of this and so much more. Twenty years later, director David Frankel, writer Aline Brosh McKenna and producer Wendy Finerman return with a much-anticipated sequel that is not only unapologetically dazzling but also a wiser, more self-aware version of itself.

For a film that became a pop culture sensation back in 2006, its sequel, needless to say, ran the risk of feeling like a product, especially given its blitzkrieg marketing. But The Devil Wears Prada 2 defies that expectation, ultimately standing as a complete piece of art in its own right.
It begins with Andy Sachs, now a serious journalist working with a newspaper called The Vanguard. As she is called on stage to accept an award for an outstanding series she has reported on and written about, she learns that her company has fired her entire team. Her fiery speech about journalistic organisations laying off employees, downsizing and consolidating, delivered right there on stage, catches the attention of Irv Ravitz, the chairman of Runway magazine.
He offers her a job. Her new role isn’t just that of a features editor, but also that of someone tasked with restoring the magazine’s credibility after an article by Miranda Priestly receives intense backlash for being politically incorrect. When Andy meets Miranda, the latter fails (or perhaps pretends) to recognise her – the same woman who once worked as her second assistant.

Miranda is far from pleased with Irv’s decision to hire Andy – referring to her at one point as ‘the CEO’s latest whim’ – and quietly waits for her to falter. The duo, along with Nigel Kipling, then meets Emily Charlton, now part of Dior’s advertising team. Their mission? To persuade Dior not to pull out and to continue funding Runway as it struggles to stay afloat in the wake of the scandal.

While Andy is swept over by a wave of nostalgia, Emily can’t help but feel a sense of near ‘hallucination’. Miranda, on the other hand, remains indifferent and seemingly unaware of having ever worked with either of ‘the Emilys’. As fate brings them together after two decades, they once again navigate the troughs and crests of soft news media. Adding to the chaos is the sudden demise of Irv.
The makers dive deep into everything the industry has been battling and enduring – digitisation, the death of print, economic pressures, declining revenues, technological disruptions, artistry versus AI, creativity versus commerce, and, of course, the bittersweet adrenaline rush of chasing that one mega exclusive interview with an elusive celebrity before competitors can get there first.

At 2 hours, The Devil Wears Prada 2 rarely ‘moves at a glacial pace’. It stands as a fitting tribute and a successful continuation of its predecessor. Women’s agency and ambition remain non-negotiable here. In fact, one might even sense Miranda softening, ever so slightly. What’s also refreshing is the film’s subtle emphasis on sisterhood – there’s no room here for women tearing other women down.

In a key scene, when Miranda worries that her time as a journalist, media mogul and editorial head of Runway may be drawing to an end, we see a rare moment of vulnerability. Her partner reassures her that not everything is over, that she still has a loving family, and that she should let the serenity of Italian mornings and a cup of espresso guide her toward the next chapter of her life.
And yet, in that very moment, Miranda already knows what she wants. She wants to keep working for as long as she possibly can. In another poignant scene inside a taxi, Miranda and Andy speak about work – how deeply they cling to it, how essential it is to their sense of purpose. It’s a simple yet powerful reflection on the modern woman, who refuses to be weighed down by guilt or judgment.

There’s also a measure of course correction in The Devil Wears Prada 2. This time, Miranda is seen hanging up her own coat instead of literally throwing it onto her assistant’s desk after an employee complaint to HR. She now has an assistant, Amari, who sits beside her in meetings, subtly censoring her whenever she veers toward something politically incorrect, particularly as she struggles to not say the word ‘fat’ out loud.

In the prequel, this adjective and ‘six’ (her size) became descriptors for Andy. But what became the weakest link of And Just Like That becomes a strength here. The film avoids performative virtue-signaling (despite some bit of tokenism) and resists the urge to be morally righteous through contrived, woke sermons.
An Asian or an effeminate assistant doesn’t come across as a calculated attempt to appease the so-called woke brigade but as a natural extension of the world it inhabits. In the 2006 film, Andy finds purpose through her stint at Runway. The sequel is more news industry driven. Here, a woman doesn’t get threatened by another woman’s rise even though ambition can make one take a less pleasant path.

But here, they come together to fight the monster that tries to turn Runway into a money-making factory and take their independence and sense of purpose away. By the end of it, Andy, interestingly, still remains a ‘fetcher’. In another world, her ex-boyfriend Nate would be happy. And yes, there’s a whole lot of glow-up here but rather than that becoming the reason of their confidence, it’s simply an accessory they wear to work every day alongside their drive and passion.

The formidable Meryl Streep returns as Miranda, a cultural icon, with effortless command. Her poise and gumption is truly one for the books. Her performance is all about precision and restrain. There’s the clipped dialogue, the measured pauses, but what stands out this time is the softening at the edges without diluting the character’s authoritativeness.

Anne Hathaway brings a grounded, mature energy to Andy, effectively charting her journey from an overwhelmed assistant to a self-assured journalist. She plays Andy with quiet conviction and has – no points for guessing – a luminous screen presence. Emily Blunt as Emily brings her signature bite and cold dismissiveness to the fore, elevating the screenplay with an interesting twist.

Stanley Tucci as Nigel is equal parts warm and witty, perfectly complementing the sharp-tongued Miranda. And while it’s good to see Simone Ashley, Justin Theroux and BJ Novac, don’t expect them to leave a lasting impact. And then, there’s Lady Gaga, who shares a deliciously witty scene with Miranda. Finally, there are some blink-and-miss almost-cameos by Winnie Harlow, Michele Morrone, Donatella Versace, Amelia Dimoldenberg and others.

The Devil Wears Prada 2 takes you to a good-looking, immersive world – one that’s occasionally messy and chaotic – that sometimes makes you feel like a voyeur. But underneath the blinding lime lights, walk-in closets and chic, avant garde fashion moments, the film tells a relevant story that will hit home if you’re a passionate journalist.

It hits that rare, sweet spot of nostalgic charm and original storytelling. It’s fun and deep in equal parts. Seems like the makers have truly cracked the sequel formula! So, wear florals for spring or that cerulean blue sweater from a cheap retail store but don’t miss this one.

That’s all.

The film that was practically demanded by fans for it to come to fruition after 2 decades of the original, relies heavily on its nostalgia factor, blending in the charm of almost all of the original cast members. That is not to say that any of it falters; instead, it helps the project to carry itself with more grace and a recall factor that will surely showcase itself at the box office. 
With every tiny brand trying its hand at getting a foot in the doorway of the film, there’s a clear push for some of the biggest names to find their way in with probable ease. Thankfully, that means some good jokes at the expense of the luxury names and a pizzazz that has forever been the identity of the franchise. The outfits are impeccable, as expected, with some of the most coveted numbers from iconic collections making their way to the stars’ closets. 

While not entirely relying on its history, The Devil Wears Prada 2 carries itself with pride and authenticity, holding a big, fat mirror to the face of the journalism industry and what has become of it, or rather what is left of it. It raises questions and showcases the tangibility of it all, especially with the ‘enzyme’ articles that Andy harps about. A hard relate. There’s emotion and camaraderie and some solace with the return of fashion to the industry, a fact surely many would appreciate in the film.
Acting Performances in The Devil Wears Prada 2

There’s clear grandeur in the film, and a visible growth in the years, especially for Meryl Streep, who is the clear winner of it all. Anne Hathaway also carries herself fairly well, as does Stanley Tucci, who finally, finally, gets his flowers. The same, unfortunately, cannot be said for Emily Blunt, who, despite being given a (SPOILER ALERT) crucial positioning in the drama of the sequel, does not pull it off with as much malice to make it convincing. Simone Ashley has much of the look but is underused due to the overwhelming force of the leads of the film. 
Final Verdict: The Devil Wears Prada 2

Should you watch it? A resounding 100% yes! The Devil Wears Prada 2 brings back the familiarity of the original and the amazement of the changed magazine realm with the way it knows best. It offers a realistic look at the industry at present, albeit a fairly mild version of it, allowing for questions and opinions to be formed. The sequel also carries the warmth of the cast and their friendships in a gleeful execution, which is practically a celebration of cinema and fashion in the best way possible. In the end, it provides the much-needed fashion rule book for probably the next year or two in the real world. That’s all. 

Meryl Streep (Miranda) and Anne Hathaway (Andy) are back with a bang. The Devil Wears Prada 2 is one movie that any print journalist can relate to totally, especially those who have worked in magazine journalism and are used to in-depth writing and not clickbait.
Two decades have passed, and Miranda (Meryl Streep) and Andy (Anne Hathaway) have not changed much in appearance, but journalism has significantly evolved, with every media house now going ‘digital first. I, being a person who actually started her career with magazine journalism, can totally relate to this phase, when it was considered niche and elitist media. Not too long ago, every celebrity wanted to be on the cover of the magazine. I am sure they still do, but a lot of that enthusiasm has fizzled out.

Though print journalism still is hugely respected, but the question always remains: Who wants to be a journalist today? Forget about being a fashion journalist for a magazine. Now, everybody is happy with influencers who are able to post Instagram-friendly pictures. I want to tell the new generation that we are indeed a strange species who work a lot and that too for less, and then we try to justify it to our friends and family that our requirements in life are minimal.
_The Devil Wears Prada 2_ is a kind of a love letter to those who once belonged to this medium of journalism and are still a part of it and refuse to change. This movie can be just entertaining for others, but for me it is pure nostalgia, especially for those who love the smell of paper and hard copies. I remember, just like Miranda, there were many editors who preferred doing editing on a hard copy first. The lustrous chaos of magazine journalism before it goes for its final printing is totally relatable.
I feel Miranda (Meryl Streep) is an ideal boss. She is an absolutely no-nonsense person. Doesn’t like to engage in small talk, is firm with her junior colleagues, and is a workaholic who loves her job. She is powerful even when she is struggling in the fashion-media landscape with teenyboppers giving clickbait as stories. There is a lot to learn from her and especially the way she maintains that ice-cold attitude. So, just don’t mess with her because she knows exactly how to kill you with her words. Oscar-winning actor Meryl Streep knows her craft too well, and there is nobody, absolutely nobody, like her.
As for Andy (Anne Hathaway), nothing much has changed for her, including the fact that she is still on the lookout for the right life partner. The film opens with her media outlet shutting down right as she accepts a big award for excellence in journalism.

It is great to see Andy back, clutching on to her coffee cup and still struggling with her stilettos. After twenty years she is back to the fashionable streets of New York City and the sleek Runway magazine office. But this time she is impeccably dressed, and mind you, no oversized floppy sweaters for her. She is seen mostly in pantsuits or straight skirts with fitted blazers and trench coats. No lousy dressing, but sleek and sharp outfits make her standout.

There is a huge fan following for The Devil Wears Prada, and I won’t deny that I am one of them. We were all Andys at some point in our lives. Now, that reminds me of an incident of showing up for my traineeship as a journalist at a leading international fashion magazine office in my sneakers and jeans and sometimes Kolhapuri chappals too. Well, now wearing Kolhapuri chappals and sports shoes is considered to be fashionable, but it wasn’t back then, and I was often corrected for that. But deep within ourselves, all the lifestyle and culture journalists just wanted to fit in and aspired to be ‘Miranda’ one day.
The film reunites the original main cast with director David Frankel and writer Aline Brosh McKenna and introduces an all-new runway of characters, including Kenneth Branagh, Simone Ashley, Justin Theroux, Lucy Liu, Patrick Brammall, Caleb Hearon, Helen J. Shen, and B.J. Novak. Tracie Thoms and Tibor Feldman also reprise their roles as “Lily” and “Irv” from the first film.

The Devil Wears Prada 2 is brutally real. The film shows that the  Runway magazine is no longer at its helm. The movie shows how digital media has become more like a disruptor and how young CEOs are trying to control editors. And how page views and the numbers game control productivity over a good story. Miranda’s one-liners have deep meaning. She is forced to confront and is answerable at every stage to the digital evolution of the industry.

Andy (Anne Hathaway), through one of her breakthrough interviews for Runway magazine, makes us believe that sharp storytelling still matters. A good story with clarity and precision can do well both in print and in the digital media. Miranda (Meryl Streep) now truly needs Andy (Anne Hathaway) to handle this crisis, and the best quality about Andy is the way she looks up to her boss and respects her despite all her idiosyncrasies. The visuals of The Devil Wears Prada 2 are cutting-edge. This movie, even in its part one, made us believe that fashion can be hugely political. It’s definitely worth the hype and every bit of your time. And let me tell you, The Devil Wears Prada 2 is not all that fluff but deeply political and truly meaningful and much more than ‘Who wore what?’.
The movie shows how it is important for old-school journalists to upskill themselves and be adaptable with time. The storytelling of The Devil Wears Prada 2 just doesn’t get boring, and the fashion never slows down. For me it is much more than just a fashionable comeback. A love letter to magazine journalism and an earnest request — please don’t let it die!
