There’s exciting news for fans of the iconic film “The Devil Wears Prada,” as a sequel is reportedly in the works with original screenwriter Aline Brosh McKenna in talks to create the script. The 2006 comedy, featuring Anne Hathaway as Andy, an overworked assistant to Meryl Streep’s icy fashion magazine editor, Miranda Priestly, became a massive hit worldwide, grossing $327 million at the box office. Alongside the anticipated sequel, a stage musical adaptation is set to debut at London’s West End Dominion Theatre this month, with Vanessa Williams cast as Priestly and music by Elton John. Nearly two decades after the original film’s release, it seems the franchise is being revitalized, but so are the concerning themes it presents.

“The Devil Wears Prada” can be described as nothing short of fabulous! Based on Lauren Weisberger’s 2003 novel, which offers a thinly veiled account of her experience working as Anna Wintour’s assistant at *Vogue*, the film delivers a genuinely witty portrayal of the fashion industry—a rarity, aside from Ben Stiller’s *Zoolander*. While the influential fashion world is filled with colorful personalities, cinematic interpretations have often missed the mark, resulting in uninspired takes like Robert Altman’s *Prêt-à-Porter* and the disappointing *Confessions of a Shopaholic*.

With its bright, vibrant, and glamorous presentation, “The Devil Wears Prada” manages to avoid the typical pitfalls of fashion cinema, showcasing memorable characters: Hathaway’s earnest Andy, Emily Blunt’s condescending Emily, and Stanley Tucci’s stylish fashion guru—all of whom saw their careers catapulted to new heights thanks to the film’s success. Streep’s portrayal of the ruthless Priestly earned her both a Golden Globe and an Oscar nomination.

Moreover, the film is a powerful testament to female storytelling: it’s written by a woman, based on a book by a female author, and it revolves around strong female characters—an important point considering Hollywood’s historical skepticism toward “women’s films.” While the comedy is filled with admiration, it’s essential to examine some of its underlying messages.

Unfortunately, the film’s attitudes toward body standards seem painfully outdated. For instance, Andy skips a grilled cheese sandwich to fit in with the fashion elite, while Emily shares her restrictive diet, stating, “Well, I don’t eat anything, and when I feel like I’m about to faint, I eat a cube of cheese.” This kind of humor feels reminiscent of the 1970s obsession with unrealistic body ideals, sparking nostalgia for a time when women were pressured into extreme diets involving only cottage cheese and lettuce leaves. Even as a satire, “The Devil Wears Prada” inadvertently reinforces size anxiety, with the slim Andy fretting over her perfectly normal appetite. She embodies a low-grade eating disorder where the concern is not about overeating but simply about the act of eating itself, highlighting the fashion and publishing industry’s role in perpetuating these pressures.

While it’s tempting to view “The Devil Wears Prada” as a product of its era, it’s disheartening that it doesn’t challenge the size-zero ideal of the early 2000s, during which celebrities like Nicole Richie famously carried oversized handbags to appear thinner. It’s argued that the movie not only glamorizes but also normalizes disordered eating, even while it attempts to poke fun at it.

You might expect that in today’s age of body positivity and size inclusivity, these issues would have lessened in prominence. Yet, reports indicate that the fashion industry is showing a troubling resurgence of super-thinness on runways, with models appearing alarmingly skeletal. According to Vogue Business’s latest report on size inclusivity, the body positivity movement has seemingly lost momentum, suggesting that the cultural pendulum is swinging back toward the glorification of thinness.

While “The Devil Wears Prada” cannot bear the full responsibility for these cultural trends, it raises important questions about how the new sequel will be received, especially by a Gen Z audience that may not appreciate “not eating” jokes. Additionally, the original film’s depiction of workplace culture—specifically, Andy’s relentless groveling for the demanding Priestly—might clash with younger generations who have navigated internships with little to no compensation, often feeling exploited for their ambition.

Enter Gen Z: often perceived as entitled in the workplace, it’s hard to blame them when earlier generations faced significant exploitation. Will there be room for a fashion newbie who is desperate just to step into the glamorous world of style, or will this character feel dated? Aspirations in the fashion realm remain high, but if a younger character is introduced in the sequel, they certainly won’t resemble Andy in her naïve enthusiasm.

There are other points of contention regarding “The Devil Wears Prada.” For one, it presents yet another strong female character in Priestly who is ultimately monstrous. One must wonder why so many powerful women in film are reduced to the role of the “witch.” The sequel, which is rumored to feature Priestly experiencing a fall from grace and contending with the now-dominant Emily, may provide the opportunity to explore the societal pressures of sexism and ageism.

Similarly, the portrayal of Tucci’s character follows the well-trodden path of the humorous gay friend, echoing the stereotypes established by characters like Rupert Everett’s in *My Best Friend’s Wedding*. While such performances can be enjoyable, one has to ask if this is still the sole representation of gay men on screen in 2024. Additionally, Andy’s boyfriend Nate, who frequently diminishes her career aspirations, is seen by audiences as the film’s true antagonist rather than a source of wisdom.

And finally, what about us, the audience? Are we prepared to watch the sequel with the same nonchalance as before, mindlessly accepting sexism, sizeism, ageism, and stereotypes, as long as the fashion is chic and the humor is sharp? “The Devil Wears Prada” thrived before the world began to address these larger issues, and it appears to be making a comeback while some of those very problems resurface.

It was an impressive feat to craft such a compelling comedy from the fashion industry, where humor is often in short supply. It remains to be seen if they can recapture that magic and find a fresh perspective for the sequel.