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6 Things ‘The Devil Wears Prada 2’ Needs to Have

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It’s been two decades since The Devil Wears Prada gifted us the sharp stilettos, sharper one-liners, and the unforgettable peek behind the glossy pages of Runway Magazine. In that time, we’ve gawked at Miranda Priestly’s (Meryl Streep) icy quips, cheered over Andy Sachs’ (Anne Hathaway) transformation, quoted Emily Charlton (Emily Blunt) and Nigel Kipling’s (Stanley Tucci) sassy remarks, and argued endlessly over which outfit should be the fan-favorite. Now, with its long-awaited sequel premiering this weekend, expectations are sky-high as to where the story is set to go.

The first film worked because it had a perfect mix of biting satire, heartfelt growth, emotional dips, and jaw-dropping fashion. The sequel has the rare chance to expand on that magic (and then some). It does want to follow in its predecessor’s footsteps and become another comfort movie, right? So, here’s our non-negotiable checklist: the six things The Devil Wears Prada 2 must include, or we’ll be tossing it out faster than last season’s cerulean sweater.

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1

More Fashion Montages, Please

Devil Wears Prada Meryl Streep
Image via 20th Century Studios

Who could forget Andy’s iconic fashion montage set against the backing track of Madonna‘s “Vogue”? It’s basically the cinematic equivalent of a triple-shot espresso in a bedazzled cup. Between the quick cuts, the outfit reveals, and the sense that the New York streets themselves are strutting along with Andy, the sequence is pure joy and in dire need of an update. We are, after all, living in an age where everyone’s obsessed with fashion reveals and sharp transitions.

Plus, think of the music landscape we have today. We could have everything from Beyoncé to Chappell Roan to Sabrina Carpenter to Dua Lipa. The scoring possibilities are endless. And if the glimpses of the costumes are anything to go by, Andy’s fashion evolution definitely needs to be celebrated, pinstriped pants and all. After all, fashion is the heart of the story.

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2

More Cameos From People in the Fashion Industry

Serena (Gisele Bundchen) and Emily (Emily Blunt) staring as Andy (Anne Hathaway) in the Runway office.
Image via 20th Century Studios.

One of the most delightful surprises in the original film was spotting the cameos of real-life fashion faces. It blurred the lines between movie magic and the real industry, making the story world feel even richer. For the sequel? Let’s crank that up. A little bit of meta never hurt nobody, so even a couple of blink-and-you’ll-miss-it cameos could make the movie sparkle. Although it would be more fun if the cameos weren’t about the figures playing themselves. Remember Gisele Bündchen casually playing a Runway employee? We need more of that.

Imagine Miranda giving the side-eye to a new co-worker played by Tom Ford or Emily bonding with Law Roach over martinis. If the director is bold enough, he’ll give the people what they really want and put Anna Wintour in the mix (please, even if it’s for a five-second gag — the jokes write themselves). Either way, these cameos are like Easter eggs for fashion lovers. It may be indulgent, but in a movie like this, indulgence is the point.













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Which Oscar Best Picture
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Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
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🌀Everything Everywhere

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🪙No Country for Old Men

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What kind of film experience do you actually want?
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Parasite

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

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Everything Everywhere All at Once

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

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Oppenheimer

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

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Birdman

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

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No Country for Old Men

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

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3

Better Friends for Andy

Image via 20th Century Studios
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It’s been an ongoing joke now that, despite Miranda’s harrowing and antagonistic ways, the true villains of The Devil Wears Prada were her so-called “support system.” Because, let’s be real — her friends weren’t great. They seemed far more interested in keeping Andy in her dowdy writer’s box than in celebrating her growth. And don’t get us started with Nate (Adrian Grenier). The man is the dictionary definition of an unsupportive partner, whining and chastising Andy for the sacrifices she made for her career while doing the exact same thing for himself.

In the sequel, Andy needs people who understand her ambition without mistaking it for selfishness. Sure, with Tracie Thoms returning, Lily can be the exception and show a change of heart, but let’s get Andy a new crew. Whether they’re other fellow journalists or creative industry types, she needs people who get what it’s like to chase a dream. Yes, they can call her out when needed, but they must cheer her on when she lands a win, too. Hopefully, Patrick Brammel‘s character becomes the love interest she deserves (though we need not worry if the recent set pictures are anything to go by).

4

A (Slightly) Dethroned Miranda

Image via 20th Century Studios
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There’s no doubt about it — Miranda Priestly is an icon known for her icy authority. But sequels are all about evolution, and while there were humanizing moments, for the majority of the original film, Miranda was pretty much untouchable. So wouldn’t it be fun to see the fashion titan meet her match? Perhaps a younger, hungrier rival threatens her reign, or maybe the rise of the digital age may just chip away at her power. The latter may likely be the case if the rumors are true. But whatever it is, knocking down the Queen of Runway would be ripe for drama.

And with several mega-stars now joining the cast, any one of them could easily slot into that rival role. Our personal preference? Let’s hope the other rumors are true and have Emily Charlton call the shots. The poeticism is too good an opportunity to miss. Still, this doesn’t mean we want Miranda groveling or irrelevant. Her strength is her weapon, and watching her outmaneuver new threats in the post-print era could be a thrilling narrative twist.

5

A Juicy Reunion Between the Main Trio

Image via 20th Century Studios
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Despite its chaos, the chemistry between Miranda, Emily, and Andy was magnetic — part high-fashion workplace drama, part Mean Girls in couture. Every scene between them had layers, whether it was respect, envy, disgust, or begrudging admiration. Sure, we may have gotten a semblance of closure at the end, but imagine the tension of a reunion years later. Has Emily finally stepped out of Miranda’s shadow? Has Miranda done a 180 and held a petty grudge against Andy for leaving? Does Andy have any guilt about leaving the fashion industry? We need answers.

A Devil Wears Prada sequel without the trio back together would be a crime, but their first scene together needs to be more than just cordial small-talk. We want power plays, veiled insults, and maybe a surprise alliance (or rivalry) no one saw coming. Put them in an elevator to trade barbs, have them side-eye each other across a boardroom table, or let them scheme together at a gala to take down a common enemy. It’s been 20 years — the people deserve a punchy reunion.

6

More Nigel!

Stanley Tucci as Nigel Kipling in ‘The Devil Wears Prada.’
Image via 20th Century Fox
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Nigel Kipling was the creative heartbeat of Runway — Miranda’s closest confidante, who could turn her vague, godlike commands into actual, high-fashion brilliance. From his quick wit to his warm but brutally honest pep talks with Andy, Nigel brought style, heart, and soul to the office…only to be thrown aside. Remember the Paris betrayal? He was moments away from a career-making promotion at James Holt’s (Daniel Sunjata) company when Miranda pulled her coldest move yet, pushing Jacqueline Follet (Stéphanie Szostak) instead, all to save her own position as Runway’s editor.

The sting of that blindsiding still lingers, especially since Nigel, ever gracious, insisted that Miranda “would pay him back.” If the sequel wants to right the wrongs of the past, it’s time for Nigel’s redemption. Give him another promotion, the accolades, or even a delicious subplot where he gets to turn the tables on Miranda. Either way, Tucci’s charisma could carry half the movie, and it’s about time we let him.


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The Devil Wears Prada

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Release Date

June 29, 2006

Runtime
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109 minutes

Director

David Frankel

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Writers

Aline Brosh McKenna, Lauren Weisberger

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Next: 10 Movies From 2006, That Are Now Considered Classics, Ranked

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