The Devil Wears Prada 2 Review: Gird Your Loins, Meryl Streep-Anne Hathaway Film Has Both Glam And Gravitas | Hollywood News

Last Updated:April 30, 2026, 21:30 IST

The Devil Wears Prada 2 isn’t just unapologetically dazzling but also a wiser, more self-aware version of itself. Meryl Streep returns as Miranda Priestly with effortless command.

The Devil Wears Prada 2, that comes 20 years after its prequel, is set for a theatrical release on May 1.

A chaotic newsroom. The bustling city of New York. Picture perfect models. Frazzled assistants. Designer clothes. Ego battles. Hustle. And the cerulean blue sweater. The Devil Wears Prada 2 is all of this and so much more. Twenty years later, director David Frankel, writer Aline Brosh McKenna and producer Wendy Finerman return with a much-anticipated sequel that is not only unapologetically dazzling but also a wiser, more self-aware version of itself.

For a film that became a pop culture sensation back in 2006, its sequel, needless to say, ran the risk of feeling like a product, especially given its blitzkrieg marketing. But The Devil Wears Prada 2 defies that expectation, ultimately standing as a complete piece of art in its own right.

Gird Your Loins.

It begins with Andy Sachs, now a serious journalist working with a newspaper called The Vanguard. As she is called on stage to accept an award for an outstanding series she has reported on and written about, she learns that her company has fired her entire team. Her fiery speech about journalistic organisations laying off employees, downsizing and consolidating, delivered right there on stage, catches the attention of Irv Ravitz, the chairman of Runway magazine.

He offers her a job. Her new role isn’t just that of a features editor, but also that of someone tasked with restoring the magazine’s credibility after an article by Miranda Priestly receives intense backlash for being politically incorrect. When Andy meets Miranda, the latter fails (or perhaps pretends) to recognise her – the same woman who once worked as her second assistant.

Miranda is far from pleased with Irv’s decision to hire Andy – referring to her at one point as ‘the CEO’s latest whim’ – and quietly waits for her to falter. The duo, along with Nigel Kipling, then meets Emily Charlton, now part of Dior’s advertising team. Their mission? To persuade Dior not to pull out and to continue funding Runway as it struggles to stay afloat in the wake of the scandal.

While Andy is swept over by a wave of nostalgia, Emily can’t help but feel a sense of near ‘hallucination’. Miranda, on the other hand, remains indifferent and seemingly unaware of having ever worked with either of ‘the Emilys’. As fate brings them together after two decades, they once again navigate the troughs and crests of soft news media. Adding to the chaos is the sudden demise of Irv.

The makers dive deep into everything the industry has been battling and enduring – digitisation, the death of print, economic pressures, declining revenues, technological disruptions, artistry versus AI, creativity versus commerce, and, of course, the bittersweet adrenaline rush of chasing that one mega exclusive interview with an elusive celebrity before competitors can get there first.

At 2 hours, The Devil Wears Prada 2 rarely ‘moves at a glacial pace’. It stands as a fitting tribute and a successful continuation of its predecessor. Women’s agency and ambition remain non-negotiable here. In fact, one might even sense Miranda softening, ever so slightly. What’s also refreshing is the film’s subtle emphasis on sisterhood – there’s no room here for women tearing other women down.

In a key scene, when Miranda worries that her time as a journalist, media mogul and editorial head of Runway may be drawing to an end, we see a rare moment of vulnerability. Her partner reassures her that not everything is over, that she still has a loving family, and that she should let the serenity of Italian mornings and a cup of espresso guide her toward the next chapter of her life.

And yet, in that very moment, Miranda already knows what she wants. She wants to keep working for as long as she possibly can. In another poignant scene inside a taxi, Miranda and Andy speak about work – how deeply they cling to it, how essential it is to their sense of purpose. It’s a simple yet powerful reflection on the modern woman, who refuses to be weighed down by guilt or judgment.

There’s also a measure of course correction in The Devil Wears Prada 2. This time, Miranda is seen hanging up her own coat instead of literally throwing it onto her assistant’s desk after an employee complaint to HR. She now has an assistant, Amari, who sits beside her in meetings, subtly censoring her whenever she veers toward something politically incorrect, particularly as she struggles to not say the word ‘fat’ out loud.

In the prequel, this adjective and ‘six’ (her size) became descriptors for Andy. But what became the weakest link of And Just Like That becomes a strength here. The film avoids performative virtue-signaling (despite some bit of tokenism) and resists the urge to be morally righteous through contrived, woke sermons.

An Asian or an effeminate assistant doesn’t come across as a calculated attempt to appease the so-called woke brigade but as a natural extension of the world it inhabits. In the 2006 film, Andy finds purpose through her stint at Runway. The sequel is more news industry driven. Here, a woman doesn’t get threatened by another woman’s rise even though ambition can make one take a less pleasant path.

But here, they come together to fight the monster that tries to turn Runway into a money-making factory and take their independence and sense of purpose away. By the end of it, Andy, interestingly, still remains a ‘fetcher’. In another world, her ex-boyfriend Nate would be happy. And yes, there’s a whole lot of glow-up here but rather than that becoming the reason of their confidence, it’s simply an accessory they wear to work every day alongside their drive and passion.

The formidable Meryl Streep returns as Miranda, a cultural icon, with effortless command. Her poise and gumption is truly one for the books. Her performance is all about precision and restrain. There’s the clipped dialogue, the measured pauses, but what stands out this time is the softening at the edges without diluting the character’s authoritativeness.

Anne Hathaway brings a grounded, mature energy to Andy, effectively charting her journey from an overwhelmed assistant to a self-assured journalist. She plays Andy with quiet conviction and has – no points for guessing – a luminous screen presence. Emily Blunt as Emily brings her signature bite and cold dismissiveness to the fore, elevating the screenplay with an interesting twist.

Stanley Tucci as Nigel is equal parts warm and witty, perfectly complementing the sharp-tongued Miranda. And while it’s good to see Simone Ashley, Justin Theroux and BJ Novac, don’t expect them to leave a lasting impact. And then, there’s Lady Gaga, who shares a deliciously witty scene with Miranda. Finally, there are some blink-and-miss almost-cameos by Winnie Harlow, Michele Morrone, Donatella Versace, Amelia Dimoldenberg and others.

The Devil Wears Prada 2 takes you to a good-looking, immersive world – one that’s occasionally messy and chaotic – that sometimes makes you feel like a voyeur. But underneath the blinding lime lights, walk-in closets and chic, avant garde fashion moments, the film tells a relevant story that will hit home if you’re a passionate journalist.

It hits that rare, sweet spot of nostalgic charm and original storytelling. It’s fun and deep in equal parts. Seems like the makers have truly cracked the sequel formula! So, wear florals for spring or that cerulean blue sweater from a cheap retail store but don’t miss this one.

That’s all.