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5.1.2026
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“The best way to make a dream come true is to wake up.”
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—Anna Wintour
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20th Century Studios
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In
</td>
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The Devilish Buzz
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Out
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The Golden Age of Print
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<tr>
<td class="YXx" style="border-collapse: collapse; word-break: break-word; color: #000; font-family: Whitman, Garamond, Times, serif; font-weight: 400; font-size: 18px; line-height: 107%; padding: 2px 0; padding-top: 12px;">
<p class="BBC" style="word-break: break-word; margin-bottom: 0; margin: 18px 0 0;">
The problem with the promotional circus around
<em>
<strong>
The Devil Wears Prada 2
</strong>
</em>
(the
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
never-ending parade of red carpets
</a>
, the questionable product tie-ins, the actual print version of
<em>
Runway
</em>
magazine, et al.) is that it constantly reminds you why this movie really exists: for money. Yet, there is actually a compelling reason to revisit these characters 20 years later, besides pure nostalgia and paychecks. The original film took place in a world where words like “Instagram,” “
<strong>
Kardashian
</strong>
,” “woke,” and “search engine optimization” largely meant nothing. “TikTok” wasn’t even a
<strong>
Ke$ha
</strong>
song yet, let alone an app. Print magazines still reigned supreme. Since then, the industry has been beset by cost-cutting, layoffs, and a continued (and often confusing) shift to digital. But do casual
<em>
Prada
</em>
fans actually want to see all of that, or do they just want two hours of fashion fantasy? Well, according to critics, the film attempts to do both. “[It's] actually pretty blunt about what has befallen magazines,”
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
writes
</a>
<strong>
Richard Lawson
</strong>
. The trade-off seems to be that, while the first was basically a spoof of the fashion magazine world, this one is, “both more affectionate toward fashion and more fiercely protective of what, at its best, it can be,”
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
according
</a>
to
<em>
Time
</em>
. (In fact, this time around you actually feel a bit sorry for Miranda Priestly.) Yet, the film still attempts to hit all the beats that made the first such a success. “[It] scratches every itch a legacy sequel ought, with callbacks and cameos and jokes galore,”
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
adds
</a>
Little White Lies. Perhaps it goes without saying that
<strong>
Meryl Streep
</strong>
is as great as ever. She rarely does sequels, but it’s clear she brought more to this than merely the expectation of a paycheck. But perhaps the ultimate verdict on the film comes from our colleagues who actually work in today’s fashion media world. Time and time again we’ve heard the same thing from those who have caught early screenings: “It’s so fun! You should go see it!”
</p>
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<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: inherit;" target="_blank">
<img alt="NEW YORK, NY - MAY 6: Tracee Ellis Ross attends The Metropolitan Museum Of Art's 2019 Costume Institute Benefit "Camp: Notes On Fashion" at Metropolitan Museum of Art on May 6, 2019 in New York City. (Photo by Sean Zanni/Patrick McMullan via Getty Images)" class="kAw" src="https://inboxflows.com/_/image/https%253A%252F%252Fimgix.bustle.com%252Fuploads%252Fgetty%252F2026%252F5%252F1%252F334ee0be%252Fnew-york-ny-may.jpg%253Fw%253D640%2526h%253D427%2526fit%253Dcrop%2526crop%253Dfaces%2526dpr%253D2/?inbox_flows_img_sig=eyJwYXRoIjoiaHR0cHMlM0ElMkYlMkZpbWdpeC5idXN0bCIsInRpbWUiOjE3Nzc2NjQyNjguNzg3NjMwOH0:1wItgK:T_q94kbtzGqbZL1hchxrJl14v4A1jdKQWMIsWaqNVLE" style="border-style: none; -ms-interpolation-mode: bicubic; text-decoration: none; border: 0; outline: 0; padding: 0; display: block; width: 100%; max-width: 700px;" width="640"/>
</a>
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<div class="iO8" style="font-family: PilatNarrow, Helvetica, sans-serif; font-size: 10px; line-height: 120%; opacity: 0.75; padding-top: 3px;">
Sean Zanni/Patrick McMullan/Getty Images
</div>
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In
</td>
</tr>
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<td align="center" class="fN_" style="border-collapse: collapse; word-break: break-word; font-family: PilatNarrow, Helvetica, sans-serif; line-height: 100%; font-weight: 400; font-size: 50px;">
<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: #000;" target="_blank">
Art
</a>
</td>
</tr>
</tbody>
</table>
</td>
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</tbody>
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</td>
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</tbody>
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<tbody>
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<td align="center" class="x4o HcY" style="border-collapse: collapse; word-break: break-word; font-family: PilatNarrow, Helvetica, sans-serif; line-height: 100%; font-weight: 700; font-size: 30px; text-transform: uppercase; color: #f24923; padding: 20px 0 10px;">
Out
</td>
</tr>
<tr>
<td align="center" class="fN_" style="border-collapse: collapse; word-break: break-word; font-family: PilatNarrow, Helvetica, sans-serif; line-height: 100%; font-weight: 400; font-size: 50px;">
<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: #000;" target="_blank">
Tech
</a>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
<td class="YXx" style="border-collapse: collapse; word-break: break-word; color: #000; font-family: Whitman, Garamond, Times, serif; font-weight: 400; font-size: 18px; line-height: 107%; padding: 2px 0; padding-top: 12px;">
<p class="BBC" style="word-break: break-word; margin-bottom: 0; margin: 18px 0 0;">
Back in reality, Miranda’s inspiration,
<strong>
Anna Wintour
</strong>
, is preparing for the biggest night of the year: The Met Gala. To some extent, this year’s “
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
Costume Art
</a>
” theme has been overshadowed by all the pre-event chatter. There’s the aforementioned
<em>
Prada
</em>
sequel (Streep is set to attend her very first Met Gala as co-host).There’s the fact
<strong>
Beyoncé
</strong>
is making her return to the Met steps for the first time in ten years, but may or may not use the occasion to kick off her hotly anticipated “Act III” album and era. Then there’s, well, the Silicon Valley of it all.
<strong>
Jeff
</strong>
and
<strong>
Lauren Sánchez Bezos
</strong>
are both honorary co-chairs and the night’s main sponsors.
<strong>
Mark Zuckerberg’
</strong>
s Meta is expected to have a major presence, certainly through its Instagram subsidiary, but also likely to promote its new line of AI-enhanced glasses. Speculation is that other major tech figures will be on hand, too (not that this is entirely a new phenomenon …remember when
<strong>
Elon Musk
</strong>
shocked the world by debuting his romance with
<strong>
Grimes
</strong>
at the gala?). That’s a bit of a shame, because while the "Art Is Fashion" dress code is a bit esoteric (it’s all about the “centrality of the dressed body,” per The Metropolitan Museum of Art) we’re willing to bet that means most designers will likely referencing some of their favorite works of art. Fashion has been directly influenced by visual art since the paint brush and the sewing needle first crossed paths. The mixture has created amazing moments on the runway for years. Before the red carpet opens on Monday, take some time to brush up on the history of art and fashion’s long romance,
<a class="GsP VGF" rel="noreferrer" style="background: transparent; cursor: pointer; word-wrap: break-word; text-decoration: underline; color: #000; font-weight: 700;" target="_blank">
here
</a>
.
</p>
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</td>
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<tr>
<td style="border-collapse: collapse; word-break: break-word;">
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</td>
<td style="border-collapse: collapse; word-break: break-word;" width="740">
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<td style="border-collapse: collapse; word-break: break-word;">
<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: inherit;" target="_blank">
<img alt="Lord of the Flies scene" class="kAw" src="https://inboxflows.com/_/image/https%253A%252F%252Fimgix.bustle.com%252Fuploads%252Fimage%252F2026%252F5%252F1%252F7bb21435%252F3-lotf-1stlook_537598.webp%253Fw%253D640%2526h%253D360%2526fit%253Dcrop%2526crop%253Dfaces%2526dpr%253D2/?inbox_flows_img_sig=eyJwYXRoIjoiaHR0cHMlM0ElMkYlMkZpbWdpeC5idXN0bCIsInRpbWUiOjE3Nzc2NjQyNjguNzg3NzMyfQ:1wItgK:PXjL9h5hlztsM-eBIwN3tGAikx6LcMSIVkAl9hJZpMQ" style="border-style: none; -ms-interpolation-mode: bicubic; text-decoration: none; border: 0; outline: 0; padding: 0; display: block; width: 100%; max-width: 700px;" width="640"/>
</a>
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<td align="right" style="border-collapse: collapse; word-break: break-word;">
<div class="iO8" style="font-family: PilatNarrow, Helvetica, sans-serif; font-size: 10px; line-height: 120%; opacity: 0.75; padding-top: 3px;">
Netflix
</div>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
<td style="border-collapse: collapse; word-break: break-word;">
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<td align="center" class="x4o hn3" style="border-collapse: collapse; word-break: break-word; font-family: PilatNarrow, Helvetica, sans-serif; line-height: 100%; font-weight: 700; font-size: 30px; text-transform: uppercase; color: #262fff; padding: 0 0 10px;">
In
</td>
</tr>
<tr>
<td align="center" class="fN_" style="border-collapse: collapse; word-break: break-word; font-family: PilatNarrow, Helvetica, sans-serif; line-height: 100%; font-weight: 400; font-size: 50px;">
<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: #000;" target="_blank">
William Golding
</a>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
</tbody>
</table>
</td>
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<tr>
<td style="border-collapse: collapse; word-break: break-word;">
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<tbody>
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<td align="center" class="x4o HcY" style="border-collapse: collapse; word-break: break-word; font-family: PilatNarrow, Helvetica, sans-serif; line-height: 100%; font-weight: 700; font-size: 30px; text-transform: uppercase; color: #f24923; padding: 20px 0 10px;">
Out
</td>
</tr>
<tr>
<td align="center" class="fN_" style="border-collapse: collapse; word-break: break-word; font-family: PilatNarrow, Helvetica, sans-serif; line-height: 100%; font-weight: 400; font-size: 50px;">
<a class="GsP" rel="noreferrer" style="background: transparent; cursor: pointer; text-decoration: none; word-wrap: break-word; color: #000;" target="_blank">
George Orwell
</a>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
<td class="YXx" style="border-collapse: collapse; word-break: break-word; color: #000; font-family: Whitman, Garamond, Times, serif; font-weight: 400; font-size: 18px; line-height: 107%; padding: 2px 0; padding-top: 12px;">
<p class="BBC" style="word-break: break-word; margin-bottom: 8px; margin: 18px 0 0;">
The original
<em>
The Devil Wears Prada
</em>
film was never number one at the box office. It was actually released as counter-programming to an ill-fated
<em>
<strong>
Superman
</strong>
</em>
reboot (the one that involved several people who have now been thoroughly canceled). This time around, Prada is widely expected to come out on top, and it's other movies that are serving as mere counter-programming. There’s a CGI take on
<strong>
George Orwell
</strong>
’s
<em>
<strong>
Animal Farm
</strong>
</em>
. It has a star-studded cast (
<strong>
Seth Rogen
</strong>
plays the Stalin-esque pig “Napoleon” while
<strong>
Laverne Cox
</strong>
voices the Lenin-coded oinker “Snowball”), but critics say it’s just not very good.
<em>
<strong>
Deep Water
</strong>
</em>
combines the plane crash subgenre with shark attack films, and the reviews are about as mediocre as you’d expect.
</p>
<p class="BBC" style="word-break: break-word; margin-bottom: 0; margin: 18px 0 0;">
Television is a bit sleepy until Monday, when Netflix unveils its new take on
<em>
<strong>
Lord of the Flies
</strong>
</em>
. Like
<em>
Animal Farm
</em>
, you probably read the original book in high school—but unlike the
<em>
Animal Farm
</em>
adaptation, the critics like this one. “This is a first-class example of an adaptation done right, and television breathing new life into a familiar story,” writes
<em>
The Telegraph
</em>
.
</p>
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Follow us on:
</td>
</tr>
<tr>
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