A journalism student’s take on The Devil Wears Prada 2: “Journalism still fucking matters!”

Twenty years on from the original, how does The Devil Wears Prada 2 compare? 

In terms of representation, the sequel far outshines the fatphobic and white-oriented stereotypes of the original. From the introduction of multiple people of colour to a more body-positive outlook (Andy and Emily eating carbs - who would’ve thought!) The Devil Wears Prada 2 presents a much healthier image of the fashion industry and the type of people involved in it. 

Simone Ashley in The Devil Wears Prada 2 (2026).

However, the role of Andy’s new assistant Jin (played by Helen J. Shen) has drawn some criticism from viewers. In creating an Asian character almost exclusively represented by her intellectual overachievement, the film perpetuates this harmful stereotype while ticking a diversity box. This character, while not having huge amounts of screentime, could have been presented in a more nuanced way. Several members of Gen Z, whom I spoke to, agreed with this statement, with others finding fault in the amount of screentime Andy and Emily’s love interests had. 

The sequel chose to showcase a wider range of bodies than the original: 2000s heroin chic is not in. In fact, Anne Hathaway deliberately approached producers to ask for a wider range of body sizes, both for realistic representation and to avoid promoting harmful eating rhetoric, which is in sharp contrast to the original film. 

Nearly everyone I approached about the film preferred the fashion choices in the original, with many describing the nostalgia and aspirational nature associated with the 2006 film. It could be argued that the fashion in the sequel falls flat purely because we are so overexposed to designer fashion now: it is no longer a mythic realm that only those in the know are aware of. With the rise of social media and micro trends, many internet users are simply unaware of the nature of high fashion. Furthermore, the accessibility of cheap and low-quality dupes has never been greater. This, in turn, reduces the value of designer items, with viewers of the film stating that some of the outfits looked like they could have come from Shein and other ultra-fast-fashion brands.  

Anne Hathaway in The Devil Wears Prada (2006).

From a journalistic perspective, the film raised vital questions about the devaluation of the industry. Stanley Tucci’s character, Nigel, addresses this succinctly, stating that he now has mere days to 'shoot content people will scroll past on the toilet'. To those outside the industry, this core message of the film may have been missed entirely, but to those inside, it hits a little too close to home. More people openly admit to using AI, preferring to communicate with a computer program than real humans, or scroll endlessly on social media rather than engaging with the long-form written word, and The Devil Wears Prada 2 effortlessly addresses concerns associated with this. 

Ultimately, the film touches upon many inherent issues in the creative industries: from the lack of care for traditional journalism to the shifting priorities of consumers. In 'The Devil Wears Prada' universe, an echo of our own, creativity and art are no longer valued in the same way they once were. Capitalism, convenience, and social standing take precedence over authenticity and originality.