The Devil Wears Prada 2 (2026)

The sequel arrives two decades late and dressed for the occasion. Andy Sachs, now a global journalist, is laid off by text message during an awards ceremony, which is the film's opening bid for our sympathies and its first small sermon about the modern newsroom. She returns to Runway as features editor, installed by ownership without Miranda's consent, and the machinery of the plot begins to turn: sweatshop puff pieces, clickbait economics, a billionaire's ex-wife with a grudge, and consultants who arrive with spreadsheets and artificial intelligence on their lips.

The film's real subject is corporate appetite. It has much to say about the fashion industry pricing out the middle class, about short-form content cheapening everything it touches, and about money men who mistake liquidation for strategy. These arguments are made in dialogue, sometimes twice, and the film rarely resists the urge to underline a point about labor or media decay. It stops short of a lecture, but the underlining is visible.

Where the film surprises is in its women. Miranda, Andy, and Emily circle one another with mentorship, resentment, and professional hunger, and the screenplay grants each of them authority and failings in equal measure. The supporting cast is broad and modern, though the film asks nothing of that breadth beyond its own presence. Body image, sexual identity, and the demographics of the newsroom go unexamined. A viewer hoping for a reckoning with the original's thin waists will leave unsatisfied. The picture that remains is competent and well-tailored, a study of money, ambition, and the impossibility of retiring gracefully, which is more than the season usually offers.