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Cinematic Comeback
After nearly two decades, the beloved 2006 comedy-drama The Devil Wears Prada is set to return with a sequel in 2026. Disney is currently developing the follow-up movie, with original screenwriter Aline Brosh McKenna and director David Frankel on board. The first film followed aspiring journalist Andrea “Andy” Sachs — played by Anne Hathaway — who unexpectedly lands a job at the fictional luxury fashion magazine Runway. Despite her lack of industry knowledge, Andy chooses to endure the relentless demands of editor-in-chief Miranda Priestly (Meryl Streep) and her sharp-tongued assistant Emily Charlton (Emily Blunt). As Andy transforms — in both style and commitment — the job begins to take a toll on her personal life.
The original Devil Wears Prada film was adapted from Lauren Weisberger’s bestselling novel, which was widely believed to draw from her real-life experiences working under Anna Wintour at Vogue. However, the book faced sharp criticism from within the fashion industry — Vogue editor Kate Betts notably wrote in The New York Times in April 2003, “Andrea is just as much a snob as the snobs she is thrown in with.” The novel was seen by many as a thinly veiled portrayal of Weisberger herself as Andrea “Andy” Sachs, and Anna Wintour as the formidable Miranda Priestly. Despite its critics, the film was a box office triumph, grossing USD 326 million worldwide and securing its legacy as a cultural classic — one that resonated far beyond fashion circles.
Beyond the sartorial standouts, the film resonated for its portrayal of self-image, professional sacrifice and the tension between ambition and authenticity — striking a cultural chord with audiences across a range of professional backgrounds.
The Sequel
The sequel will not follow the follow-up novel, which was said to pick up ten years after Andy Sachs’ original foray into the fashion world, with the launch of a luxury bridal magazine alongside Emily Charlton. Instead, the film’s sequel is set to take a fresh direction around editor-in-chief Miranda Priestly as she grapples with her role in a rapidly changing media industry and the decline of traditional print publishing.
Fuelled by its enduring popularity, the long-awaited sequel will see the return of several beloved characters to the silver screen. Meryl Streep reprises her Oscar-nominated role as Miranda Priestly, the formidable editor-in-chief of Runway magazine, complete with the sharp wit and steely expressions that became hallmarks of the character.
Anne Hathaway is also set to return as Andy Sachs, despite previously expressing doubts about a sequel in a 2024 interview. She reflected on how the digital age has reshaped fashion and media, remarking, “It would just be very different.” The original 2006 film captured a pre-digital era when print magazines still reigned supreme, before the industry’s full pivot to digital platforms. “Maybe me, Stanley, Emily, Meryl, Dave Frankel, Patricia Field… we should just all do something else together. That’d be fun,” she mused.
Emily Blunt — who played Andy’s sharp-tongued colleague Emily Charlton — coyly teased her involvement when asked about production timing, offering only the word “July.” Meanwhile, Stanley Tucci — beloved for his portrayal of Nigel Kipling, Andy’s onscreen mentor and stylistic guide — has not yet confirmed his return, though fan excitement around his potential appearance remains high.
The Rumoured Plot
While official plot details remain under wraps, early reports suggest the sequel will explore Miranda Priestly’s struggle amid the decline of traditional magazine publishing. Meryl Streep’s character is said to face off against Emily Charlton — played by Emily Blunt — who has ascended to a powerful role at a luxury advertising firm, reversing the hierarchical dynamic that once defined their relationship.
Whether the sequel can replicate the original film’s cultural impact remains uncertain. The 2006 release, though exaggerated for effect, cleverly reinforced — and at times skewered — prevailing stereotypes of the fashion industry, offering a sharply satirical yet recognisable glimpse into its cutthroat work culture.
In contrast, the sequel appears poised to lean more heavily into fictional narrative, potentially moving away from the grounded realism that gave the original its resonance. Much speculation surrounds how audiences will respond to the rumoured shift in power between Miranda and Emily. While such a development could reflect a natural evolution in character arcs, it may not deliver the same compelling tension that defined the original. After all, much of the first film’s enduring appeal hinged on Streep’s commanding performance as Miranda — the titular “devil” — whose icy authority anchored the story. Elevating Emily to the top could risk diluting that dynamic, leaving audiences to wonder whether the magic can strike twice.
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Fashion insiders — particularly those in media and publishing — will certainly be intrigued to see how the sequel navigates the evolving relationship between editorial and brand advertising. One of the most prominent scenes from the original film — in which Miranda Priestly effortlessly deconstructs the significance of two seemingly identical belts while Andy laughs in naïveté — remains a masterclass in asserting authority and industry insight. It also underscores Miranda’s ability to command the room at will, a reflection of the editorial powerhouses that once defined the pre-digital media era.
Miranda’s portrayal of an editor-in-chief in 2006 reflected an era when editors exercised full creative control — curating fashion pages and editorial shoots based largely on personal vision and directional taste. In contrast, today’s landscape is increasingly dictated by brand influence, with commercial partners often holding the final say over what makes it to print — and what ends up shelved.
This shift mirrors broader changes in the industry. Notably, Anna Wintour recently announced her departure as editor-in-chief of Vogue US after 37 years, choosing instead to focus on her role as chief content officer across Condé Nast. Her transition underscores how the editor-in-chief position — once the highest creative authority — has evolved into a more complex, corporate-facing role shaped by brand strategy and cross-platform priorities.
The Real-Life Links
Though the sequel is not officially tied to real-world events, its storyline arrives at a fitting moment — particularly as Vogue’s longtime editor-in-chief Anna Wintour steps aside after 37 years. Wintour’s shift to focus solely on her role as chief content officer across Condé Nast underscores how dramatically the fashion media landscape has evolved — and how the once all-powerful editor-in-chief has become more of a “corporate steward” than “creative gatekeeper”.
Wintour has long personified the editorial authority that Miranda Priestly — The Devil Wears Prada’s fictional editor-in-chief — so thoroughly represented. Her legacy marks the end of an era when magazine editors held unrivalled influence — curating fashion, shaping trends and controlling cultural access from behind closed doors.
By contrast, the modern industry is driven by digital ecosystems and influencer culture — where social media, not magazine mastheads, defines the front row. In 2006, brands looked to editors like Wintour to validate collections and steer public taste. Today, that power has diffused, with content creators and online platforms reshaping the rules of influence.
As anticipation builds for the upcoming sequel, it is hard to ignore how these real-world shifts mirror the film’s potential themes. If The Devil Wears Prada once captured the old guard’s control, its sequel may well reflect the new world where prestige and visibility are increasingly negotiated in the digital domain.
Check out the teaser below:
The Devil Wears Prada 2 is set to be screened by May 2026.
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