David Frankel

Miranda Priestly may be the world’s worst boss, but there’s a reason for her viciousness. She’s a genius, a visionary, and she mistreats her employees not out of sadism or malice but because they are impeding her divine greatness. She is unconquerable—or so we thought. The Devil Wears Prada 2, the intriguing and maddening sequel to the 2006 adaptation of Lauren Weisberger’s novel, finds Miranda locked in battle—not just for the future of her company, Runway, but for the soul of an entire industry—and she seems to be losing the war. Her chief adversary isn’t a rival editor or a meddlesome underling but a more pitiless, insidious force: private equity.

Eddies of irony swirl around Prada 2, not least that a mercenary brand extension to a 20-year-old property purports to extol the virtues of old-fashioned creativity. But the screenplay, by Aline Brosh McKenna, deserves partial credit for grappling with genuine ideas, rather than simply drafting off of its predecessor’s legacy. Consider the movie’s opening scene, which finds Andy Sachs (Anne Hathaway), Miranda’s former assistant who fled Runway for more fulfilling pastures, accepting an award for her hard-hitting reporting at the fictional New York Vanguard. At first, such feting of journalism feels horribly self-congratulatory and dated—what is this, Sweet Smell of Success?—but just as Andy’s name is called, she and the rest of her noble colleagues receive a text informing them of their mass firing. She might as well sell that trophy for rent money, if only anyone would buy it. Read More