For some women, The Devil Wears Prada was simply an iconic fashion movie.
For me, it felt like career déjà vu.
I am a magazine girl through and through. I started my career in magazines. I quickly climbed the ranks to editor within just a few years. I moved through the fashion, beauty, and lifestyle world with determination and adrenaline. Additionally, there was more than a little mascara-fuelled exhaustion.
It was glorious, chaotic, fast-paced, and often unbelievably stressful. Salaries were low, expectations were sky-high, and burnout was practically stitched into the job description, but we survived.
We adapted.
We thrived.
Much like Andy Sachs.
So, revisiting this world in The Devil Wears Prada 2 was never going to be casual viewing for me. It was personal.
Based on Lauren Weisberger’s bestselling novel of the same title, the original film introduced audiences to aspiring journalist Andy Sachs, played by Anne Hathaway.
She reluctantly enters the polished yet punishing world of fashion, publishing under the ruthless command of Miranda Priestly, portrayed by the incomparable Meryl Streep. As a result, Miranda became the ultimate symbol of impossible standards, terrifying brilliance, and editorial power.
This sequel takes that legacy and updates it in a media world that feels all too familiar to those of us who lived it.
The story opens against the harsh realities of modern publishing: newsroom cuts, retrenchments, and the slow erosion of traditional print as more titles move into digital-first spaces. For anyone in publishing, this is not fiction. It’s reality.
Andy, now more experienced and professionally hardened, returns to Runway Magazine as Features Editor. She steps back into the world she once escaped.
Her return feels authentic because many of us have had similar pivots. We have moved industries, changed titles, and escaped toxic bosses. Yet, we still find ourselves navigating equally challenging terrain elsewhere.
Hathaway’s performance beautifully captures this mature Andy, no longer naïve but still carrying that instinct to interfere, fix, and challenge systems. Often, she does this whether she should or not.
Miranda, meanwhile, remains formidable but fascinatingly evolved. In a world where every harsh opinion can become a viral controversy and HR departments loom larger than ever, Miranda’s sharp edges are slightly softened by necessity rather than desire.
Streep delivers this balance masterfully, reminding audiences that true power often lies in adapting.
The return of Stanley Tucci as Nigel is nothing short of delightful. His elegance, humoor, and loyalty remain essential. Meanwhile, Emily Blunt’s Emily Charlton returns with polished vengeance as Miranda’s stylish advertising nemesis.
Their chemistry, alongside standout additions like Lucy Liu, creates a dynamic ensemble that feels both nostalgic and modern.
And then there’s the fashion.
The wardrobe montages, the heels, the statement coats, the soundtrack, and yes, those transformational Runway moments are everything a fashion editor’s soul could want. This film understands that fashion is not superficial here. Instead, it is armour, language, and survival.
Perhaps most satisfyingly, Andy’s ambition-draining ex-boyfriend Nate is nowhere to be found. Thank fashion heavens.
The Devil Wears Prada 2 is more than a sequel. It is an intelligent, stylish reflection on how publishing, ambition, and womanhood evolve. For those of us who have survived impossible deadlines, impossible bosses, and impossible beauty standards, it feels less like fiction and more like memory.
There’s also an interesting shift away from Apple phones.
This is the first American movie I’ve watched with a distinct move towards Android phones. The Samsung S26 Ultra Plus is practically a member of the cast in this movie.
This is not just a return to Runway.
It is a love letter to every woman who made it through the madness of media, one fabulous heel at a time.
