Twenty years later, Meryl Streep’s Miranda Priestly returns in The Devil Wears Prada 2 (2026) which portrays a world shaped by digital chaos and fading print media, and while the sequel leans on nostalgia, it still feels surprisingly relevant, stylish, and genuinely enjoyable to revisit.
It has been 20 years since The Devil Wears Prada (2006)—adapted from Lauren Weisberger’s 2003 novel of the same name—was first released. Our world is now vastly different from what it was two decades ago. In fact, it has changed so much that if you were to travel back to 2006 in a time machine, you might feel as alienated as if you had landed in medieval Europe. And yet, if there is one thing that has remained unchanged over these twenty years, it is Meryl Streep. My God—how is it possible for time to leave a person so untouched?
I remember first watching her in Kramer vs. Kramer (1979), but my true admiration began with The Bridges of Madison County (1995). Over the years, she has never lost her beauty, her radiance, or her extraordinary talent—and my admiration for her has only continued to grow.
Enough about what hasn’t changed. Let’s talk about what has changed: print media. It wasn’t difficult to anticipate that the film would tackle this subject, but seeing just how dramatically the media landscape has shifted through the lens of these sharp, perceptive filmmakers makes the situation feel even more striking.
No one buys a magazine and reads it cover to cover anymore. To be fair, the decline of print media is something I partly support, given its environmental implications. But even the phase where people simply transitioned to consuming media online, as they did a decade ago, now feels outdated.
As far as I can tell, what people engage with today are clickbait headlines and endlessly scrollable short videos. What we call “dopamine culture” has reached such an extreme that even a once-feared magazine editor like Miranda Priestly has not escaped its effects. Runway magazine’s budgets have been cut, its issues are thinner than ever—“as thin as dental floss,” as the film jokes.
More importantly, the film answers a question I found myself asking when I revisited the original years ago: what would happen to a tyrannical boss like Miranda under today’s conditions? The answer is clear —she has been forced to change. The very qualities that once earned her the title of “devil” are no longer permissible.
Due to HR regulations, she must now present herself as more humane. She has to remember her employees’ names. She can no longer insult anyone with words like “fat” or “ugly.” Even the iconic coat-tossing moment is gone—because now, she has to hang up her own coat. Watching a character like Miranda adapt to contemporary standards alone justifies revisiting this story twenty years later.
There is, in fact, a sequel to the original novel. However, this film bears no relation to it. Instead, both the original film and this sequel are written by Aline Brosh McKenna, who crafted a completely new continuation. Thankfully so—because I have yet to meet anyone who has actually read the sequel novel, and I myself only recently learned of its existence.
The film opens twenty years later, with Andy Sachs, played by Anne Hathaway, facing a crisis in her journalism career. She is now a successful, award-winning investigative journalist working for a serious publication called The Vanguard. But with the collapse of print media, she suddenly finds herself unemployed when the newspaper shuts down. Ironically, she ends up returning to her former boss, Miranda Priestly, and takes on the task of saving Runway.
After the brilliant ending of the first film—where Andy walks away from Miranda—seeing the two of them reunited in this context is far more enjoyable than one might expect.
Emily, played by Emily Blunt, on the other hand, returns with a more layered character arc, now driven by a sense of revenge, and delivers a strong performance. Stanley Tucci once again brings back the warmth and charm that made his character so lovable in the original, managing to put a smile on your face.
Much like the first film’s trip to Paris Fashion Week, this sequel transports its characters to Milan Fashion Week. The Italian setting and the fashion week sequences together create a true visual spectacle.
When The Devil Wears Prada 2 was first announced, I was excited. Then I watched the trailer—and the noticeably faded color palette compared to the original dampened my enthusiasm. But what I experienced in the theater ultimately satisfied me. Somehow, it manages to recreate the very feelings you had when watching the original twenty years ago. You might want to reward yourself this weekend by watching it.
That concludes our review of The Devil Wears Prada 2
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