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| Social Media / X |
Walt Disney Pictures
Cast: Anne Hathaway, Meryl Streep, Stanley Tucci, Emily Blunt, Patrick Brammall, B.J. Novak, Simone Ashley, Justin Theroux, Kenneth Branagh, Lucy Liu, Tracie Thoms, Tibor Feldman, Lady Gaga
Music: Theodore Shapiro
Cinematography: Florian Ballhaus
Producer: Wendy Finerman
Runtime: 119 minutes
Screenplay: Aline Brosh McKenna
Director: David Frankel
20 years later… Andrea Sachs (Oscar winner Anne Hathaway) is brushing her teeth before heading to work. The iconic “Suddenly I See” by KT Tunstall no longer plays; Andy has established herself as an award-winning journalist at a successful New York newspaper. Just before receiving an award at an industry event, Andy and everyone at her table are fired via text message. She takes a stand in her acceptance speech, catching the attention of Elias-Clarke CEO Irv Ravitz (Tibor Feldman).
The media conglomerate is under fire after Runway Magazine published a positive article about a fast-fashion company later exposed for producing its clothes in a sweatshop. Ravitz hires Andy to handle damage control and restore the magazine’s credibility as its new features editor. Though reluctant, she accepts the job, and it doesn’t take long before she’s banging her head against the wall trying to figure out how to please the ever-unpredictable Miranda.
In today’s editorial world, Runway has been forced to go digital, relying on clickbait and reduced budgets, and neither Miranda nor her ever-loyal right-hand man Nigel (Oscar nominee Stanley Tucci) have managed to do so while preserving the magazine’s elegance. If Andy can’t help them regain the favor of advertisers like her former colleague Emily Charlton (Oscar nominee Emily Blunt), then Ravitz’s tech-obsessed son (B.J. Novak) might shut them all down.
Pop culture history was made when the now-defunct 20th Century Fox took a chance on adapting Lauren Weisberger’s novel about her experience as an assistant under the “Ice Queen” Anna Wintour at Vogue. The music, the fashion, the characters, and of course Miranda Priestly’s introduction made the first film an instant cult classic—for fashion lovers, rom-com fans, and, of course, a kind of emotional refuge for the LGBTQ+ community.
Disney didn’t hesitate to greenlight this sequel, bringing us back to New York. Screenwriter Aline Brosh McKenna makes a notable choice: rather than relying on cheap nostalgia, she focuses on modern journalism and the struggle of media outlets to survive in an era where anyone can record themselves, post on X, Facebook, or Instagram, and become the next viral sensation. Yet Andy is still trying to stay true to herself—time has passed, but maturity remains uncertain.
Here lies the contrast: Brosh McKenna’s script has something to say, but at times it doesn’t strike with the necessary sharpness. For those in the noble profession of informing others, the story becomes a rather bleak mirror. Fans may feel a certain disconnect, as the sequel lacks the kind of iconic moments or lines that can be clipped into Reels or TikTok trends. The screenplay plays it safe—so much so that it often feels like it repeats the structure of its predecessor.
A sequel, by definition, should push characters forward. We no longer need to see Miranda in full devil mode as in 2006—we already know who she is. This is where the script finds its most interesting angle: where is Miranda now, and how will we find her after all this time? More ruthless, or perhaps more compassionate? What happened to Andy and Emily?
The cast is in excellent form. Hathaway, with her expressive face and eyes, shows that Andy remains a woman of integrity—decisive, yet still capable of feeling intimidated by Miranda. Streep, though she lacks moments that allow deeper emotional layers (like the hotel scene in the original), still captivates when her character is put in a vulnerable position. Tucci has more to do, especially in the final act, and Blunt once again steals every scene she appears in.
The wardrobe speaks volumes about each character: Miranda’s structured, rigid tailoring; Andy’s urban New York style; Emily’s polished elegance; and Nigel’s ever-present class and sophistication. The visual presentation shines here.
Aline Brosh McKenna urgently needed one or two co-writers to better develop her strong ideas in The Devil Wears Prada 2 (2026), or to strike a better balance between nostalgia and modernity. This is a worthy and entertaining sequel, filled with cameos that many will love—but it’s like a snakebite without venom.
That’s all!
RATING FOR DISNEY’S THE DEVIL WEARS PRADA 2 (2026): GOOD-ISH
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