Of all the movies I've watched recently, the one I'm moved to write about here, today, is The Devil Wears Prada 2. I don't think I ever expected to be interested in it, since I've passed through the past two decades without having to think about its prequel hardly at all, but as is often the way with these things, a lot of things came together for this to happen.
Obviously, the first factor was the chatter around it when it came out. I listen to the Scriptnotes podcast, and they're great friends with Aline Brosh McKenna, who wrote both movies, so I got to hear her talk about it. A friend in my writing group also talked about it, which put it in my head, as well.
I then didn't think about either of the Devil Wears Prada movies for months, until the Odyssey came out, and suddenly Anne Hathaway was buzzy again. The final straw was seeing that Devil Wears Prada 2 was on Disney Plus, so I started by watching the first film last week and then watching the sequel last night.
And yeah, I can see what the buzz was about. It helps that both movies track my career in a number of ways - the first one came out in 2006, when I'd just finished journalism school and was trying to make my way in the world of London publishing. The second comes as I'm still reeling from cutbacks in media and research, though I've long since left capital-J JOURNALISM and have been doing industry research. But I won't deny that the first five minutes of Prada 2, where Anne Hathaway's character Andy Sachs loses her job to media cuts just moments before winning an award for her journalism, were triggering AF.
Beyond the glitzy settings and catwalks and star turns from the likes of Stanley Tucci, the second film - even more than the first - is a paean to taking pride in your work. In a way it's softer and more gentle than the first one, where the climax features Miranda Priestley essentially stabbing her faithful assistant Nigel in the back to outmaneuver her rival - while that movie ends on an uplifting note, with Andy leaving Runway Magazine but still getting a recommendation from Miranda, it doesn't really portray Miranda as sympathetic or an ally to Andy.
The second one absolutely puts them in the same boat, as they try to stave off job cuts that would destroy the magazine. It ends with Andy and Miranda on the same team, and Andy befriending Emily, who's basically the main antagonist in this movie - which may come from Aline Brosh McKenna not wanting to have all the female characters at odds with one another.
That's not a criticism, by the way, it makes for a good dynamic that humanizes both Miranda and Emily, especially given that these central relationships play out against the backdrop of rich tech and finance bros gutting things that are enjoyable in the name of maximizing profits.
And that's part of what makes Prada 2 so timely - so many news outlets have been ruined by money people and the obsessive quest to "drive engagement". Succession tackles the topic too, but the Prada movies do it with a lot more humor and fun - and the settings are so lush that it really made me miss living in London and working in the self-evidently less glamorous business of trade journalism.
The other thing that surprised me about these movies was that they aren't romcoms, despite what I'd naively assumed. Not that I'm against romcoms, I've seen a lot of good ones, but romance isn't a central part of the first Prada film (apart from Andy's relationship disintegrating as she gives more of herself to the job). It's more central to the second movie, but once again relegated to a subplot rather than being the central relationship - that's Andy and Miranda, and Andy's boyfriend is amiable enough, without drawing too much oxygen himself.
As a final thought, it also struck me how I could do worse than modeling my look off Stanley Tucci. He's a great character across both movies, and a style icon for follicularly challenged gentlemen like myself - at the very least I should get some glasses like his. That's possibly the only consumerist message I take from these movies, which despite the fashion world they take place in, work more as workplace dramas. They seem frothy and fun, like Emily in Paris, but they've got a lot more to say about work and what you give to the job - and they're both easy watches, not too long or dense. Check them out.