Movies

The Devil Wears Prada 2, starring Meryl Streep and Anne Hathaway, directed by David Frankel
Trailer: 20th Century Studios

The Devil Wears Prada 2
Directed by David Frankel
Rated PG-13
Dressed 1 May 2026
#TheDevilWearsPrada2

This Devil wears Hello Kitty.

Changing Fashions

It’s been 20 years since Meryl Streep first put on the titular Prada and the movie adaptation of Lauren Weisberger’s novel started to build a passionate following. That’s despite the movie being watered down from its source inspiration to something resembling JCPenney more than genuine (rather than knock-off night market) Prada.

Since then, for those of us who prefer Levi over Prada, it’s surprising to realize Weisberger created a whole trilogy around these characters. There’s the terrifically titled Revenge Wears Prada: The Devil Returns and the more obscure Emily spin-off titled When Life Gives You Lululemons. None of that has anything to do with this unimaginatively titled movie sequel, The Devil Wears Prada 2.

The original screenwriter, Aline Brosh McKenna, is back behind the keyboard, but she skips over those published sequels and jumps right to today, picking up with that familiar trio of fashionistas and one die-hard journalista 20 years on.

It’s a mixed (Gucci) bag of hits and misses, but there are enough Swarovski crystals lining the surface to make the blemishes a little less glaring. As with the first movie, this one wants to be relentlessly upbeat, never mind the stakes.

The legendary devil that is Miranda Priestley (the nearly 77-year-old Streep, looking quite fantastic) and her trusty style editor, Nigel (Stanley Tucci), are still at Runway, the fashion magazine that’s now struggling – as so many publications are – to adjust to the digital age of interactivity, mobile apps and online publishing. Andrea “Andy” Sachs (Anne Hathaway) has moved on to become an award-winning journalist and Emily (Emily Blunt) is now working retail.

Wait. Not that retail. She’s leading the style and design in the runup to the opening of Dior’s new flagship store in New York City.

Journalism Still Matters

The best element in all of this is the recognition of changing times. Everybody looks great and the lead cast seems to have barely aged. But the onward march of technology rears its ugly head as Andy receives a text message notifying her she’s been fired. Given she’s in a ballroom at an awards ceremony, the text packs even more sting. The whole team’s been fired and she uses her platform as a newly minted New York Press Club award winner to announce the unexpected turn of events during her acceptance speech.

“Journalism still matters,” she proclaims, even as her employer, the New York Vanguard, takes a $500 million write down and guts its staff via text.

As fate would have it, with that door suddenly shut and locked, a new door – back at Runway – opens. The magazine – already struggling in the digital age to track analytics and keep eyeballs – has a new scandal tarnishing its reputation. It’s being associated with a sweatshop brand and that’s simply a horrible look in the world of high fashion.

The owner of Elias Clarke – publisher of Runway – hand-picks Andy to lead the features department in a push for a major reputation refresh. (Alas, Andy’s job gain is the current features editor’s own job loss.)

Fashionably Late

It’s a decent setup that introduces elements of modern business headwinds in the digital age, but a little more bite in this Devil would’ve made it more exciting. With the challenges of simply trying to lockdown solid readership numbers, there’s a whole lot more that could be mined, skewered and pilloried. There’s also a brief – in passing – quip about how AI will replace everybody soon enough anyway. If only more had been made of that angle, but surely timing between film production and AI’s meteoric rise plays some small role. The nagging role of “influencers” and the growing impact of independent social media channels (particularly on the podcasting front), however, was overlooked entirely.

Nonetheless, this sequel has the cache to draw in an impressive catwalk of cameos (an incident with Donatella Versace is particularly funny) as well as small roles for Lucy Liu and Kenneth Branagh. Liu’s role as Sasha Barnes, a reclusive fashion world billionaire, is impactful, but Branagh deserves more than being saddled with the dicey proposition of being Miranda’s latest life partner. And, yeah, it’s cool to see a favor called in to none other than Lady Gaga to rescue a flailing Milan fashion show suffering through severe budget cuts. (Among the unthinkable, shocking, lifestyle-cramping cuts: No more company cars; use Uber instead.)

On the flip side, Sasha’s ex-husband and Emily’s current boyfriend, Benji (Justin Theroux), is a whiff. He’s part clueless, part witty and totally annoying. It’s baffling as to why any power woman would be drawn to him. (Of course, besides his money and “patronage.”) And Andy has a new love interest, Peter (Patrick Brammall), who’s a real estate developer and equally contrived. Nothing about the relationships involving Benji or Peter feel the least bit authentic. They’re each shallowly drawn in different ways.

Sour Patches and (Lulu)lemonade

Regardless, it’s a ride that’s fun enough and peppy enough for its two-hour runtime, with Streep once again dominating the screen. Miranda’s dark side is to be relished, while the realities of sacrifice and hard work draw her into a more sympathetic light.

Once again, there’s sympathy for this devil as Runway seeks to find a different fate from that of Vanguard. That’s the crux of the dramatic elements: finding the right ownership for their beloved publication as Elias Clarke Publications goes up for sale. It plays out a little better than that sentence sounds. There’s a stink of ill-intent among some parties, the kind of stink only worsened by applying a dollop of Drakkar Noir.

Unfortunately, the ending is so tame, so sterile, it sews up loose ends where no thread was needed. It’s one happy ending after another after another. Maybe it’s a healthy antidote for these challenging, uncertain times with journalism on the ropes and jobs being eliminated in the name of AI if not the reality of AI. Still, a little more punch would’ve helped whet the anticipation as it all certainly tees up the possibility of a third installment sooner than later.

• Originally published at MovieHabit.com.

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