What happens to grudges and good opinions over time? The original *The Devil Wears Prada* wrapped up with Miranda Priestly (Meryl Streep) sidelining her loyal employee, but still giving Andy Sachs (Anne Hathaway) a favor after she quit. Fast forward twenty years, and we’re left wondering if those past grievances have faded.
Unfortunately, the sequel doesn’t quite capture the magic of the first film. David Frankel and Aline Brosh McKenna return, but their take feels more like a commentary on the changing media landscape than a true continuation of the characters’ stories. Journalism becomes a major theme, as we hear familiar complaints: fewer readers, layoffs, and the struggles of maintaining quality in a digital age.
In the sequel, Andy returns to her old job as a features editor after the latest round of newspaper closures. Meanwhile, Miranda is vying for a global promotion, only to face setbacks due to a scandal. Andy’s journey becomes a blend of trying to save the magazine and confronting her past.
Though we get great one-liners from familiar faces like Nigel (Stanley Tucci) and Emily (Emily Blunt), the sequel lacks the freshness that made the original special. The humor often relies on stereotypes—tech billionaires and shallow media moguls—who seem to have changed less than the world around them.
As a cultural critic, I couldn’t ignore the portrayal of a crumbling media world. The sequel, while entertaining, seems to glorify the old systems more than the art of journalism itself. It presents the fall of Runway as a dire event, ignoring how many traditional media giants have struggled with their own relevance.
A startling fact comes to mind: only 20% of Americans trust the media, according to a recent Gallup poll. This highlights a larger issue: many still seek passionate and reliable journalism, but the platforms we once revered are now under fire.
While Andy’s new life involves mundane challenges—like securing an interview with a billionaire divorcee—this more realistic angle feels somewhat disheartening. It shatters the earlier fantasy where hard work could lead to glamorous opportunities. The goalposts have definitely moved, suggesting that after years of effort, all one might achieve is a decent apartment in a gentrifying area.
Interestingly, the film hints at the truth that connections are vital in journalism. Personal networks often dictate success, turning social access into significant opportunities.
The sequel rightly acknowledges that journalism is struggling, but it clings too tightly to the old guard. The bottom line is that quality writing requires an audience. Journalism will survive not because of iconic magazines, but because people choose to engage with meaningful work in a digital world that often promotes quick gratification over thoughtful content.
Ultimately, *The Devil Wears Prada 2* serves as a reminder of how expectations can shift over time. While nostalgia can be comforting, it’s essential to stay aware of the changing landscape around us.
