“Ah, fate. An ever winding road that leads you to me.”

Story: It’s been twenty years since fresh faced journalism grad Andy Sachs did time in the mines of Runway magazine, serving as director Miranda Priestly’s assistant. Since then, Andy has made a name for herself in investigative journalism, garnering respect, and a slew of awards. But when print media starts to crumble, where can Andy go? Well…strike a pose, darling!

Genre I’d put it in: Gorgeous Sequels That Give You What You Want
Release Date: 2026
Remake, Sequel, Based-On, or Original: Sequel to the 2006 film The Devil Wears Prada. Based on characters from the novel by Lauren Weisberger.

Gotta say: Hot take: the OG Prada is okay. It’s fine. We just believe it’s better than it was because the performers are so incredible, and the world they live in so fascinating. It’s not bad, don’t get it twisted. It’s just not incredible. The same thing can be said of many of the touchstone films of the aughts. 2, like it’s predecessor, relies heavily on it’s stellar cast and jaw-dropping locations (ciao, Milano) to do the heavy lifting. And while the themes are father reaching than the original?  It’s a look at Our Gang twenty years later that doesn’t reach too far, aiming for comfort and nostalgia rather than reinvention. And I enjoyed the hell out of it.

The majority of the cast returns for this sequel, with Anne Hathaway, Meryl Streep, Stanley Tucci, Emily Blunt, and Tracie Thoms all slipping into their roles with a grace that belies both their talents and the fun they’re having. The newbies keep up nicely, though their roles are as limited as any other assistant would be in a huge magazine office. Bridgerton‘s Simone Ashley shines as Miranda’s new assistant Amari (though can she do anything but?) Caleb Hearon’s charisma grabs at you as Miranda’s “second chair” assistant Charlie, and Helen J. Shen is absolutely adorable as Jin, Andy’s whipsmart assistant. Special shout-out to Lucy Liu, who pops in as Sasha Barnes, the ex-wife of billionaire Benji, and philanthropist white whale interview get. The interview (oh, like Miranda wasn’t gonna get her) is layered with feminist subtlety, and shot so beautifully I probably had hearts in my eyes. But that’s just the start of Florian Ballhaus’ incredible cinematography.

As the plot takes us from the offices to Italy, there are also a slew of blink-and-you’ll-miss-’em cameos – many of which I’ll have to pause play for once this film hits streaming. But there are enough famous folks you’ll catch that will make the fabulousness of an Italian fashion show feel real. As for the dish on how Sydney Sweeney’s cameo was cut? Honestly, regardless of how you feel about the overexposed starlet, her cameo doesn’t feel necessary within the absolute deluge of designers, stars, and other big names. It feels like a good idea, cutting away someone who’s popular in the moment, to instead focus on more timeless appearances. Helps the film age as years go by. Sorry Syd, it was a good idea, and it sounds like the scene would have been a time-suck that would have done you no favors.

As with the original, 2 has a costume closet that would make anyone who wears clothes break down in envy. From the minimalist pieces tailored to perfection, to cocktail hour designs and of course the Haute Couture, it’s all absolutely gorgeous. There’s an effortlessness to the fashion here, and while the pieces are stunning, nobody is saddled with the dreaded “that outfit is wearing them” problem. Kudos to costume designer Molly Rogers, for picking what looks best on each performer, while still telling the characters story and showcasing fashion at it’s most fabulous. I want every piece. Every. Piece. A special crew shout-out to set decorators Stephanie Q. Bowen and Sandro Piccarozzi for the artwork everywhere, especially the gloriously fun pieces in Amari’s apartment.

Now, to the so-so portion of this thing. I can’t really dig into the negatives too much, simply because the shine of the film coupled with the talents onscreen mitigate a whole lot. But the story itself isn’t very substantial, even though the themes might be (stick a pin in that.) It’s your basic enemies-to-lovers boss/underling drama, with Andy trying to find her footing in a world she’d never taken seriously. The third act problem is one we’ve all seen with print media, and it’s swept aside rather handily, thank goodness. We don’t want to take away from the lovely time we’re having, do we? We do not. Though I don’t particularly care for the way poor Emily gets done here. A third act shift feels too desperate for a sudden twist, and it’s all swept away by Andy in a later scene.

Andy gets a new love interest in architect/developer Patrick, played with beautiful, bland perfection by Patrick Brammall. It’s not his fault; he’s just not given much to work with. Token hot guy is hot, and feels like an add-on even with the cute onscreen chemistry between the pair. Ditto for Miranda’s new hubby, an understanding musician who supports her while being a shoulder to lean on. Kenneth Branagh delivers a great performance, but what do you expect? It’s Kenneth Branagh.

Honestly? That’s all I’ve got for the less than stellar feels I have for 2. Because when it comes down to it, this isn’t a bad sequel at all. In fact, I’m happy to see that writer Aline Brosh McKenna slipped in some updated messages into the screenplay. We get the heartbreaking death throes of investigative journalism (and print media as a whole), the fluttering insincerity of corporate ownership, and how many in power see the arts as something they can either do without, or replace with AI. *shudders* Heavy messages for such a light sequel, no? Yes.


Fans of the original will find this follow-up satisfying. Fashion fiends will lap this up with a spoon. Music lovers will enjoy the badass soundtrack. Travel buffs could watch this puppy on mute and walk away satisfied. And, of course, Little Monsters will appreciate the final act benediction from Mother. So what if the story idea isn’t anything to write home about? The telling of it, and the beautiful way it leads us through it’s paces, is the thing here. Welcome back, Andy and Miranda. I for one have missed you.

#Protip: If, like me, you can’t stop thinking about the fabulous costuming in this film? Look! You want to see? Feast your eyes, glut your soul, on this incredible gorgeousness! (All apologies to 2, and 1925’s The Phantom of the Opera.)