---
title: Who are you becoming in order to succeed?The Devil Wears Prada 2 Returns with Possible Answers
description: "Two decades after defining workplace ambition for a generation, The Devil Wears Prada returns with its original cast intact and a new question: what happens when the rules change?"
author: Dr Marina Nani (Editor-in-Chief)
date: 2026-02-07T10:42:40.000Z
updated: 2026-02-25T16:15:53.951Z
canonical: https://richwoman.co/article/who-are-you-becoming-in-order-to-succeed-the-devil-wears-prada-2-returns-with-possible-answer
image: https://cdn.nanimediahouse.com/TDWP2_BW_MERYL_VERT_SINGLE_687_FIN_04_FINAL_Mech2-809x1200-7c8ab13.jpg
categories: Culture &amp; Society
content_type: Feature
region: United States
publication: Rich Woman Magazine
---

[https://www.youtube.com/embed/e9HXmMnUEdE?feature=oembed](https://www.youtube.com/embed/e9HXmMnUEdE?feature=oembed)

Almost twenty years ago, a blue sweater rewrote the cultural vocabulary of work, ambition and style. The Devil Wears Prada was never just a [film ](https://richwoman.co/article/out-of-my-mind-premiere-at-sundance-film-festival)about [fashion](https://richwoman.co/article/the-future-of-fashion-re-imagined-responsibility-to-our-planet-through-sustainability-resilie), it was about power, belonging and the personal cost of wanting more. Now, the doors of Runway Magazine swing open once again.

Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci return in The Devil Wears Prada 2, arriving exclusively in theatres May 1 and for audiences who grew up quoting Miranda Priestly in office corridors and group chats, it feels less like a sequel and more like a cultural reunion.

The first film arrived in 2006 as a sharp examination of power, dressed in Prada. Miranda Priestly’s arctic command of a publication became the template for a certain kind of female authority: ruthless, unapologetic, demanding. Anne Hathaway’s Andy Sachs served as our proxy, learning that excellence requires sacrifice and that the fashion industry’s apparent frivolity masks genuine artistry and brutal commercial reality.

Nearly twenty years later, Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci return to those same Manhattan streets. Director David Frankel and writer Aline Brosh McKenna reunite the creative team that turned [Lauren Weisberger](https://amzn.to/4kpgsaP)‘s novel into a cultural touchstone. The sequel, releasing in theatres on 1 May, adds Kenneth Branagh, Simone Ashley, Justin Theroux, Lucy Liu and Patrick Brammall, Caleb Hearon, Helen J. Shen, Pauline Chalamet, B.J. Novak and Conrad Ricamora to a narrative that must now reckon with how both fashion and power have transformed in the last decades. Tracie Thoms and Tibor Feldman also reprise their roles as “Lily” and “Irv” from the first film.

The original film captured a publishing industry at its zenith, when print magazines wielded cultural authority that could elevate designers and end careers with a single editorial spread. Runway Magazine, modelled loosely on Vogue, represented the apex of this hierarchy. Miranda’s famous monologue about Andy’s ‘lumpy blue sweater’ explained how runway trends filtered down through department stores to reach even those who claimed indifference to fashion. The speech was devastating because it was true.

That world has fractured. Digital media dissolved the gatekeepers. Social media democratised influence, or appeared to. The question the sequel must answer is how Miranda Priestly survives in an era when a teenager with a smartphone can command more attention than a magazine editor with decades of authority.

The returning cast suggests the film will explore continuity rather than simply acknowledge change. Emily Blunt’s Emily Charlton, the deputy who starved herself to attend Paris Fashion Week, represented ambition stripped to its essence. Stanley Tucci’s Nigel Kipling, the art director passed over for promotion despite decades of loyalty, embodied the industry’s capacity for betrayal even as he created beauty. Their return, alongside Tracie Thoms as Andy’s friend Lily and Tibor Feldman as Runway’s publisher Irv, indicates the sequel will examine how these characters have weathered the intervening years.

The new additions signal expansion beyond Runway’s offices. Lucy Liu brings authority to any role she inhabits. Kenneth Branagh’s presence suggests gravitas, possibly financial power in an industry increasingly controlled by conglomerates rather than visionaries. Simone Ashley, known for Bridgerton, represents a younger generation navigating systems the original characters established or endured.

What made the first film endure was its refusal to simplify. Miranda was not simply monstrous. Her standards, however cruel in application, produced genuinely excellent work. Andy’s choice to walk away was valid, but the film never pretended she could have succeeded at Runway without becoming someone her boyfriend and friends no longer recognised. The closing scene, where Miranda’s slight smile suggests respect for Andy’s departure, acknowledged that power and integrity might prove incompatible.

The sequel arrives at a moment when these tensions have intensified. The fashion industry has faced reckonings about diversity, sustainability and labour practices. Print publishing contracts whilst digital platforms proliferate. Women in positions of authority navigate expectations that remain contradictory: be commanding but not aggressive, ambitious but not ruthless, successful but somehow also universally liked.

Whether the film addresses these shifts directly or explores them through character remains to be seen. What seems certain is that Meryl Streep’s Miranda Priestly, a performance so precise it became shorthand for a particular species of female power, will face challenges beyond managing incompetent assistants and placating advertisers.

The original film’s legacy persists in how women discuss workplace dynamics. ‘Is she a Miranda?’ has become verbal shorthand for a specific management style. The cerulean sweater speech circulates whenever someone needs to explain how cultural influence operates. Young women entering competitive industries still watch it as a field guide, however ambivalently.

A sequel carries risk. The first film achieved near-perfect pitch in its performances, pacing and production design. It captured a moment in fashion and publishing that has passed, lending it the amber glow of a preserved era. Returning to that world goes beyond nostalgia or commercial opportunity.

The trailer, now available, will offer the first evidence of whether the creative team has found that reason. Until then, the announcement alone confirms what the original film’s endurance already suggested: Miranda Priestly’s world, however transformed, still compels attention. Nearly twenty years later, the question Miranda once asked still stands: Who are you becoming in order to succeed?
