The Devil Wears Prada 2 has everyone in a chokehold, especially journalists of the digital age caught between content and quality. In this constant tug of war between editorial instinct and algorithmic demand, legacy media is still trying to find its footing.
As Meryl Streep steps back into the formidable role of Miranda Priestly, inspired by Anna Wintour, the film moves beyond fashion spectacle into a commentary on survival, relevance and the slow erosion of editorial authority.
Filmfare’s Editor in Chief Jitesh Pillaai reflects on a story that mirrors the realities of modern media more closely than we might like to admit.
In his words:
For anyone who has tried to stay relevant and straddle the world of AI and digital challenges while working with a legacy brand, The Devil Wears Prada 2 will strike a chord. The formidable Meryl Streep returns in fabulous form in the eponymous role as Anna Wintour. Her magazine, Runway, is in hot soup as they goof on a story and are faced with social media trolling; her publisher rings the alarm bell. Anne Hathaway, who’s been downsized at her previous job, rejoins Runaway to give it an image and perception lift.
For those of us who have grappled with marketeers and salespeople showing us how it’s done, we plod on like soldiers. In a landscape of dwindling magazine sales, digital algorithms and crazy barters, it’s time to shred your souls and march to the rhythms of your beat.
The art of reinvention does not mean shredded magazine copies you can use as toothpicks and advertisers telling you- if there’s no us, there’s no you. Through it all, there’s Madonna’s Vogue playing in the background, a wonderful cameo by Lady Gaga, lots of blink-and-miss appearances by celebs, including Donatella Versace.
The fervid landscape of fashion from the original Devil Wears Prada has changed to a more grave meditation on corporate chicanery, advertisers calling the shots and old warhorses desperately trying to tell the world not to lose their art because journalism still matters.
Yes, there are beautiful clothes on display, there’s the best of couture that the characters wear, and above it all, there’s a bleeding heart and womb trembler of a story.
The return of The Devil Wears Prada marks a return to frills, fustians and a load of smart repartees and one-liners. Like good old Nigel, who toils and labours away at a thankless job, he too finds redemption in one of the most moving scenes of the film. And according to me, despite not having an author-backed role, Emily Blunt, with her savage one-liners, steals the show.
As for the wonder Meryl Streep, she shows us yet again, beneath all that jazz and couture, why she’s the best actor of her generation. The Devil Wears Prada 2 does full justice to the world of fashion while shining a light on whether journalism as we know it has reached its cul-de-sac. Miss this jewel at your own risk.
Read Filmfare’s Review Here: The Devil Wears Prada 2 Review: Twice the fun
