The publishing industry has undergone a major overhaul, and so has journalism. Magazines, once the epitome of the advertising industry, have been shaped by digital innovation, and The Devil Wears Prada 2 is no exception.
With the eventual transition from paper to social media posts, brands have changed their approach. Influencers, aware of how to attract the attention of millions, have become supermodels. Meanwhile, the heavily gatekept industry that was wrecked by the democratisation of networking apps is no longer an impediment to the everyman who wants to voice his or her opinion.
In accounting for the over‑reliance on the attention economy of social networks that generate much larger revenue than print media, even 20th Century Studios consistently utilises collaborations with content creators as a gateway for wider reach.
These developments have accorded power to the creation of a cinematic motion picture whose trailer amassed more views in 24 hours after its release on the 20th Century Studios official YouTube channel than any other trailer released by the studio. With this turbulence in mind, let’s circle back to what cast and crew members have to say about the upcoming movie.
For the director of the sequel, David Frankel, this industry’s deterioration means that navigating this change is best done through the intersection of timelines that show the evolution of characters shaped by the compromises everyone has to make to maintain the lifestyles they wish to pursue.
According to Frankel, whereas the inaugural film centred on a quest for self‑discovery, the subsequent chapter will delve into the insights derived from the failures that accompany increased maturity. For Andrea Sachs, these lessons of adulthood will come at the cost of facing reality for what it is: constantly changing, despite the aspirations one may have.
As for the ferocious editor‑in‑chief, Miranda Priestly, played by Meryl Streep, the arduous task lies in continuing an epochal legacy that, allegedly, “boys with six brothers” continue to live for. If you didn’t catch the reference, in the first part of the movie the loyal art director Nigel enunciated the importance of his position at Runway magazine to the then‑clueless and whiny Andrea Sachs, who was bemused by the standing this publication holds within a community of people rejected and misunderstood by society.
When revisiting the role, Streep stated that her character’s psychological makeup is unchanged, though Priestly has developed emotional intelligence while retaining her sarcastic disposition. However, for the actress, stepping back into the shoes of a formidable editorial lead was easy.
When questioned about her character, Anne Hathaway explained that Andy’s life does differ from others, but implied that viewers are expected to get a confident female lead who is happy with her life. The actress said: “She has professional confidence, which she earned. She knows her way around an office and has a little bit of power now, but is still a lovely person to have in a work environment, and seems like somebody who’d be really fun to be friends with, too.”
But what actually happens to Emily, who was meant to be going to Paris after shrinking herself into the Valentino dress and being denied the extravagance and luxury of Paris Fashion Week?
Emily Blunt stated that her character’s tenacity has earned her a senior position at the legacy fashion brand Dior. According to the BBC, she now works in a role connected to its advertising operations.
Once an assistant to an editor, her unfiltered eccentricities will continue to earn their own place in pop‑culture memes even after the movie’s release. The actress remarked that fans should expect the return of a rudely insecure lunatic who is outraged about her life but intends to live an iconic one no matter what obstacle may come her way.
Even though the movie includes characters from Lauren Weisberger’s book, its plot doesn’t adhere to the second instalment written by the original author.
The scriptwriter for the initial part, Aline Brosh McKenna, noted that while the central characters are included, the narrative diverges into a new world with new circumstances, dilemmas, predicaments, and an evolution of the relationships.
Although the relationship between Emily and Andy continues to emanate rivalry, McKenna views them as more familial than adversarial. She said: “There’s definitely that sense of rivalry and maybe not being as polite to each other as they are to other people, but also, they can be open with each other. So in a funny way, I think it’s a family movie, because it’s about Andy rediscovering these folks and understanding their place in her life in a different way.”
In spite of the crippling effects of the technology, the PR team devised a unique experience for those attending press tours.
During launch celebrations, a limited print copy is being offered, and a digitised format of the magazine can already be accessed online via the official Runway website for those not present.
As of this writing, the eBay listings for these copies have been assessed by owners at £200, with some achieving higher valuations.
Odeon in Brighton is set to debut a film on May 1st, and an unofficial after-party to follow at Revenge nightclub on May 2nd.
With all the hype, social media, and press, people might just start loving printed media again. No, no. This isn’t a rhetorical statement.
