Meryl Streep's minimalist delivery remains a pleasure, and the script's jabs at the current dire state of media make a play for relevance — but it's hard to see this gaining the enduring comfort-watch status of its predecessor.
By Guy Lodge
Plus IconGuy Lodge
Film Critic
@guylodge See All
©Walt Disney Co./Courtesy Everett Collection Midway through “The Devil Wears Prada 2,” as Runway magazine faces the latest of many challenges to its future integrity and potentially even existence as a publication, now-jaded journo Andy Sachs bemoans the corporate repackaging of so much media into a smaller, cheaper, more efficient and less valuable facsimile of itself. She’s too polite to say “enshittification” — the buzzword that the internet has lately applied to this trend, with particular regard to online platforms — but it hangs almost audibly in the air. That’s a gutsy idea to invoke in a sequel aiming to recapture the glories of a much-loved media property from 20 years ago.
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