The Dictatorship
What ‘The Devil Wears Prada 2’ gets right, and wrong, about media
This article contains some plot spoilers for “The Devil Wears Prada 2.”
An early, pivotal scene in “The Devil Wears Prada 2” is so recognizable to anyone who works in media right now that it should come with a warning.
Anne Hathaway’s Andy Sachs, now an esteemed investigative reporter at a New York newspaper, is about to receive a prize during a journalism awards ceremony. But as the category is being announced, she and her colleagues receive text messages declaring that they’ve been fired because the newspaper is shutting down. Gobsmacked, Andy delivers an off-the-cuff acceptance speech in which she makes an impassioned plea to save journalism because it matters more than money or, you know, should.
This sequel frames itself as a journalism movie in a way that its predecessor did not. But it mostly pays lip service to the sense of desperation that pervades the media business.
Her comments go viral, which leads Irv Ravitz (Tibor Feldman), the CEO of media conglomerate Elias-Clark Publications, to ask her to return to Runway magazine, where she will lead the features department and bring some much-needed gravitas to the fashion publication. He wants to boost the mag’s credibility thanks to an error in judgment committed by none other than editor-in-chief Miranda Priestly (Meryl Streep, still sporting that swoopy silver ’do). And that’s how the key figures from 2006’s “The Devil Wears Prada” find themselves back in the same orbit.
As a longtime journalist who has gotten significant career news at extremely inopportune times, the mass firing at an awards ceremony rang, sadly, true. I once learned I had a new boss while covering a panel at San Diego Comic-Con. Another time, I got the news that the popular blog I wrote for a major newspaper’s website was being discontinued while I was being checked for head lice. (Fun fact: I had it!)
This industry is brutal and always has been. But it is at its most broken point in modern history, and the film, to its credit, understands this. Not only are crusaders for good, old-fashioned, do-gooder journalism like Andy vulnerable to job cuts, even someone as established as Miranda, the “Prada”-verse’s equivalent of Anna Wintour, fears being pushed out of the profession altogether. This sequel, also written by Aline Brosh McKenna and directed by David Frankel, frames itself as a journalism movie in a way that its predecessor did not. But it mostly pays lip service to the sense of desperation that pervades the media business, rather than depicting it.
This moment aches for a great movie about the importance of the press. “The Devil Wears Prada 2” not only isn’t that movie, it winds up reinforcing many misguided perceptions of journalism as some elite profession that caters to the well-heeled.
To be clear, I did not walk into “The Devil Wears Prada 2” expecting to see “The Post.” (Although, in a way, isn’t that what I got?) As a work of popular entertainment, “The Devil Wears Prada 2” has three main responsibilities: to look great, to show off beautiful clothes and to give Stanley Tucci the chance to put exactly the right amount of sauce on every spicy comment he utters. The whole point of a sequel is to serve the audience the same decadent meal they enjoyed the first time.
But in 2026 you can’t make a movie about a media outlet without acknowledging that the media landscape is an active minefield. You also can’t make a second “Devil Wears Prada” that isn’t frothy and aggressively fabulous. Those two contrasting objectives ultimately knock each other out.
This film tries to give Andy the same level of integrity that she possessed in the 2006 movie, which ends with her interviewing for a gig at a traditional newspaper. To be fair, when she gets Ravitz’s job offer in the followup, she is torn about accepting it. But she likes the idea of getting to write some hard-hitting pieces and of hiring some recently unemployed friends. She also knows how hard it is to find a journalism job, let alone one that pays her more than she was already making.
We know that Andy is not wealthy based on her apartment, where brown water routinely spurts out of the faucet; as before, Tucci’s Nigel helps her out by loaning her outfits from Runway’s ample in-house closet. But not long after rejoining Runway, Andy moves into a much nicer building that’s been renovated by a man who soon becomes her boyfriend (and somehow manages to be even more boring than her boyfriend from the first film). Andy looks phenomenal — no surprise for a movie primarily about fashion. But it is hard to square the notion that Andy’s industry is in dire straits since her straits look pretty darn prosperous.
There is one montage of Andy doing the work of journalism, which mostly consists of her looking gorgeous in meetings or while typing on her laptop. In another scene, she frantically makes work-related phone calls. But the major set pieces take place at cushy events where tons of bold-faced names — Jenna Bush Hager! Law Roach! Karl-Anthony Towns, for some reason! — gather to clink champagne glasses. As fun as it is to watch those pans through the glossy party scene, they reinforce the idea that everyone who works in media spends their time rubbing shoulders with other elites. “The Devil Wears Prada 2” is not the first piece of pop culture to do this. But at this particular moment, when so many reporters and editors are getting laid off and struggling to make ends meet, it looks particularly unsavory and inaccurate.
It’s also hard to square all of the above with the fact that Runway is losing money, so much so that it may be sold to a vapid Jeff Bezos-like figure, played by Justin Theroux. During one “sobering” meeting in which Nigel says fewer staffers are being sent to Milan for Fashion Week, he adds that those who are going can no longer take private cars and, instead, will have to Uber. In this economy, no audience will empathize with how hard it is to be a writer, or to do any job for that matter, if Ubering is your version of slumming it. (The team, including Miranda, also has to fly coach. Folks, there is no way Miranda Priestly would ever fly coach. Someone would be left behind, or their job outright eliminated, before that woman sat in anything approaching economy class.)
I did not walk into this movie expecting a nuanced portrait of the journalism industry. But if you’re going to spotlight a topic, you have to reckon with it, preferably in a way that does the subject justice.
In the first film, Andy’s friends give her a hard time when she gets caught up in her new job, accusing her of abandoning her principles. In the sequel, selling out is basically a requirement for anyone who plans to keep working in media. That discrepancy would have been really interesting to explore, but this continuation is too committed to hitting the same beats as its forerunner and landing on some version of a happy ending to go there. As in the first film, the sequel ultimately asserts that money and connections are more crucial to career survival than anything else. Which is a fascinating place to land after an opening in which a bunch of underpaid journalists get laid off and the guy who sold the paper walks away with millions.
What “The Devil Wears Prada 2” doesn’t dare to say is that the media’s reliance on the wealthiest one-percenters to keep outlets afloat is part of the reason so many people like Andy and her friends are losing their jobs: Too many of those cash-flush guys don’t care about the art or craft of journalism. (The movie does underscore that too many of those guys are actual guys.) Perhaps even more notably, it doesn’t point out that the seeds for the current media hellscape were being planted back in 2006, the year that the first movie premiered and that Twitter debuted. Rewatch the original and count the number of times anyone talks about the digital edition of Runway or even says the word internet. You’ll come up blank.
Again, I did not walk into this movie expecting a nuanced portrait of the journalism industry. But if you’re going to spotlight a topic, you have to reckon with it, preferably in a way that does the subject justice. “The Devil Wears Prada 2” takes the problems it raises and then does what Miranda did with her jackets and purses early in the first film: tosses them aside as someone else’s problem.
Jen Chaney is a freelance TV and film critic whose work has been published in The New York Times, TV Guide and other outlets.
A federal judge in Washington has denied a bid Wednesday brought by a watchdog group to immediately block the Justice Department’s “anti-weaponization” fund, for now choosing to trust the department’s assertions that it is not moving forward with the fund.
U.S. District Judge Richard Leon ruled immediately, denying Citizens for Responsibility and Ethics in Washington’s request for a temporary restraining order that would have blocked the Department of Justice from taking steps to create the fund.
Throughout the 30-minute hearing, the DOJ reiterated that the administration was not moving forward with the nearly $1.8 billion fund, which seeks to compensate individuals who allege they have been politically targeted or victimized by the DOJ.
Andrew Block, the only lawyer present for the government, repeatedly cited Acting Attorney General Todd Blanche’s June 2 congressional testimonyin which he said the administration was “not moving forward” with plans to create the fund.
Leon indicated he agreed with the DOJ’s position that the case appeared to be moot, saying he was not persuaded there was an issue for the court to decide regarding the creation of the fund. He issued a stern warning to the DOJ, saying, “Don’t play possum with this court!” — meaning he does not want to be deceived.
The plaintiffs argued Blanche’s testimony did not amount to an official cancellation. Nikhel Sus, CREW’s attorney, said Blanche “refused to memorialize that rescission,” or in other words, put it in writing. Sus said that was “highly unusual.” Leon responded, “This whole case is highly unusual to say the least.”
Leon asked the government twice why they would not just rescind the order that established the fund. Block responded, “I don’t know,” and pointed again to Blanche’s public statements about the fund’s future.
Both Leon and Sus raised the issue of Trump’s continued public defense of the fund. “It can still be an important issue and also not moving forward,” Block said. “That isn’t a direction to move forward with the fund.”
Although Leon rejected CREW’s bid for an immediate block, he indicated he is still considering its request for a longer-term block against the fund.
A block order from a separate federal judge in Virginia remains in effect until at least Friday.
Fallon Gallagher is a legal affairs reporter for MS NOW.
The date when Social Security’s trust fund is expected to run out of money just got bumped up. The fund is now projected to empty in 2032according to a new report released by Social Security’s trustees.
The new depletion date isn’t an earth-shaking change — it’s only a quarter earlier than the estimate in last year’s report. But it illustrates how President Donald Trump’s policies are degrading a program he promised to never jeopardize — and accelerating an approaching crisis in how our government will assist the elderly and disabled.
The report names three factors that contributed to the earlier insolvency date. One is a declining fertility rate, but the other two drivers can be traced back to Trump: a drop in immigration into the country, and the “substantial effect” of the tax policies in the One Big Beautiful Bill he signed last summer.
Trump’s acceleration of the program’s insolvency comes atop his assaults on the program’s administrative capacities.
Reduced immigration during Trump’s second term — especially when coupled with a declining fertility rate — strains Social Security because the program is funded through payroll taxes. Those come out of people’s paychecks, and fewer workers supporting an aging population means the program receives less revenue. Indeed, Social Security already has been tapping its trust fund for the better part of the past two decades because the program’s costs have exceeded its cash income. And as the Center on Budget and Policy Priorities pointed out last yearlast year’s tax cuts were a boon to the rich but a bust for the solvency of the Social Security trust fund.
To be clear, if the fund is depleted, Social Security won’t go belly up. Benefits will continue to be paid out, but there will be a large drop in the amount. The Committee for a Responsible Federal Budget estimates that the “average monthly cut would total $500, which is more than what the average retired household spends on groceries each month.”
That would be a huge blow to the budgets of many older Americans. Social Security is a major source of income for most retirees, and roughly 40% of beneficiaries over the age of 65 rely on it for most of their income. And it would mark the destabilization of the sole source of retirement security for most Americans that is supposed to be insulated from ups and downs — unlike 401K plans. As the CBPP has pointed outSocial Security is “most workers’ only source of guaranteed retirement income that is not subject to investment risk or financial market fluctuations.”
Trump’s acceleration of the program’s insolvency comes atop his assaults on the program’s administrative capacities. His cuts to the Social Security Administration have left offices understaffedincreased wait timesand reduced quality of customer service.
Ultimately, Trump is exacerbating a colossal social safety net problem that predates him, and the trust fund will hit dire straits after he has left office. Democrats need to have clear plans for shoring up the program and making it robust for the future — which will require not being sheepish about taxes as a tool for renewing the social contract. And when Republicans try to claim that they, too, are champions of Social Security, all Democrats need to do is point to the truth.
Zeeshan Aleem is a writer and editor for MS NOW. He primarily writes about politics and foreign policy.
Today’s edition of quick hits.
* The latest from Northern Ireland: “The family of a man who lost an eye in a knife attack appealed for calm on Wednesday after the incident triggered a wave of anti-immigrant violence in Belfast overnight, with masked men burning families out of their homes and torching vehicles. The appeal came as a Sudanese man appeared in court charged with attempted murder and as British Prime Minister Keir Starmer and politicians in Northern Ireland condemned the violence by ‘masked thugs’ that had targeted ethnic minorities.”
* In related news: “The British government hit out at X owner Elon Musk Wednesday, accusing him of whipping up tensions online ahead of disorder in Belfast.”
* The tenuous state of a dubious ceasefire: “Trump said the U.S. is going to hit Iran ‘hard’ today when pressed by reporters in the Oval Office about his statement earlier that Tehran will ‘pay the price’ for taking ‘too long’ to reach a peace agreement. ‘Well, we’re going to be attacking them and attacking them very hard, resuming bombing,’ he said.”
* The latest casualty figures from Lebanon: “Israel’s military offensive in Lebanon has killed at least 3,666 people, including 131 healthcare workers, and injured more than 11,300 since the U.S. and Israel began their war with Iran in late February, the Lebanese health ministry reported yesterday.”
* The changing nature of modern warfare: “Ukraine is wreaking havoc on unarmored trucks and trains in the battlefield’s rear, using drones with upgraded engines and batteries, integrated Starlink communication systems and new artificial-intelligence capabilities. The ramped-up attacks are causing fuel shortages, complicating troop rotations and reducing Russian military activity on the front.”
* This seems like a reasonable request: “Democrats on the House Intelligence Committee demanded Wednesday that Bill Pulte, President Donald Trump’s controversial pick for acting director of national intelligence, submit to a full security check before assuming the post, including an examination of his financial holdings and foreign contacts.”
* Some market trends can’t be stopped despite the White House’s best efforts: “Even as President Donald Trump boosts coal over clean energy, solar power is hitting new milestones in the U.S. and remains the leading source of new power. Data released Wednesday by global energy think tank Ember, along with a report by the Solar Energy Industries Association and analytics firm Wood Mackenzie, show the continued growth of solar and decline of coal in the United States despite federal policy. In May, for the first time, solar supplied more of the nation’s electricity than coal, or 12.8%, Ember said.”
* A bizarre schedule for a nonemergency vanity project: “Federal officials are laying more groundwork to begin construction on President Donald Trump’s planned 250-foot-tall triumphal arch, sharing additional documents that detail the project’s scope and an aggressive timetable for potentially completing work before Trump’s term ends. According to National Park Service documents posted this month, the administration envisions 20 hours per day of construction on the arch, year-round, in hopes of completing the project within two to three years.”
See you tomorrow.
Steve Benen is a producer for “The Rachel Maddow Show,” the editor of MaddowBlog and an MS NOW political contributor. He’s also the bestselling author of “Ministry of Truth: Democracy, Reality, and the Republicans’ War on the Recent Past.”
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