The Devil returned to theaters on May 1, 2026 — claiming the authoritative style of Sa Su Phi power suits, this time, in addition to her signature Prada. As the culmination of twenty years of waiting for fans of the original film, “The Devil Wears Prada 2” was highly anticipated. Before the film’s release, rising excitement was accompanied by intensifying worries; concerns ranged from the potential for storyline inconsistency and character regression to the perpetuation of Asian stereotypes through the new character Jin Chao (Helen J. Shen). Since the movie’s release, both criticisms and praises have circulated. But The New York Times, The Guardian, and The Voice seem to agree: “The Devil Wears Prada 2” is a poignant sequel, exploring themes of vulnerability and change with high resonance for our digitalizing society.

The Devil Wears Prada 2 transports viewers back to Runway Magazine headquarters in bustling New York City. The fashion industry remains fast-paced and unforgiving, but the world has been transformed: the decline of print media has thrust Runway into financial decline. The formidable Miranda Priestly (Meryl Streep) has been weakened by the digital age, and her vulnerability gives her former assistant, Emily Charlton (Emily Blunt), humbling monetary leverage. With a recently laid-off Andy Sachs (Anne Hathaway) as mediator, Miranda is forced to navigate unfamiliar power dynamics: the film follows efforts to rein in Miranda’s snark, the fallout from fast-fashion scandals, and high-stakes industry rivalries. 

The pop-driven soundtrack, composed by Theodore Shapiro, included a mixture of high-energy and evocative songs by Dua Lipa, Laufey, SZA, and Raye. And with a stint as the musical accompaniment to Runway’s fashion show in Milan, Lady Gaga was one of many celebrity cameos: she contributed three original songs to the film, including “Runway,” featuring Doechii, “Glamorous Life,” and “Shape of a Woman.” Fictional or real, the sequel is not short of fashion icons, and the appearances of Donatella Versace, Marc Jabos, Heidi Klum, and the like certainly contribute to the overall glamour of the movie. However, in a film to which style is central, the work of costume designer Molly Rogers has received mixed reviews. Michelle Lee, a style editor for People Magazine, wrote that while Nigel (Stanley Tucci) and Emily retained the “sharp” and “fiery” style they established, respectively, in the original, other characters’ looks were questionable; she lamented the “hodgepodge” of Andy’s muted suits and flamboyant dresses, and Miranda’s “average and one-dimensional” work clothes. Lee’s sentiments have been echoed by countless critics, but others, including Elle’s Alexandra Hildreth, have defended the “high-low nature of many of the looks” as realistic portrayals of fashion editors and industry professionals. 

Besides the fashion, other points of controversy have plagued the film’s reviews. Millions of viewers have pointed out how Andy’s assistant, Jin Chao, was made to stand in stark contrast to the rest of the Runway staff: her glasses, academic attire, and recitation of academic credentials have been interpreted as a cheap Asian caricature. The Asian Journal interprets the character portrayal as part of a broader trend of a lack of cultural sensitivity. But this view has also been challenged — many agree with the perspective of Korean-American filmmaker Joseph Kahn, which he shared on X: “[Japanese audiences] feel that [Jin is] a caricature, which she is, but not about Asians but Gen Z…[her] outfit is actually very couture in a film about fashion. Her glasses and hair clips are of the moment.” 

Controversies aside, the plot delivers. The proliferation of gossip, the brutality of layoffs, and the struggle to cater to short attention spans provide a surprisingly accurate depiction of the contemporary media landscape, in which short-form content is dominant, and print is no stranger to budget cuts. Audiences concerned about setbacks in Andy’s character development as she returns to a subordinate role in the fashion industry are relieved by the preservation of the confidence she earned in the original. She approaches Runway with a heightened passion, simultaneously embodying the authenticity that endeared audiences to her 20 years ago. And Miranda Priestly is seen in a new form: her fall from glory — as she hangs up her own coat, following complaints of coat-throwing from HR, and chafes in a United Airlines economy seat for the first time — is humorous, but also a powerful reminder of the volatility of power in a transformed world. The consensus: “The Devil Wears Prada 2” has flaws, but it ultimately serves as a thought-provoking revival of its predecessor. Final rating: 4/5 stars.