In 2006, “The Devil Wears Prada” was already on the brink of being a paean to the bygone glory days of magazines. The hollowing out of print media was already well underway. The brief boom of digital media was in the offing, but that would quickly collapse as well. The prosperous era of Vogue that the original movie was satirizing has ended. Twenty years later, we are all – magazine editors, digital journalists, freelancers and self-employed newsletter purveyors – fighting over the meager scraps that remain. 

This is the world that “The Devil Wears Prada 2” places us in. A world where plucky journalist Andy Sachs has found professional success and acclaim, neither of which protect her from her insolvent publication laying off its staff. A world where Miranda Priestley’s Runway still has prestige and cultural impact, but must chase web traffic and produce fashion spreads on shoestring budgets. And a world where, just as in this one, tech billionaires treat vital industries like playthings. 

It is the sad state of the media that brings Andy, who has just been laid off via text while receiving an industry award, back to Runway. The magazine has been savaged online for spotlighting a brand that a later exposé revealed to be using sweatshop labor, and their prodigal daughter, now a respected and unemployed investigative reporter, is hired to restore the publication’s journalistic gravitas. Meanwhile, Miranda is fighting to save her promotion to global head of content for Elias-Clarke, which owner Irv Ravitz has been dangling over her head. But before their happy ending, Andy and Miranda also must navigate McKinsey consultants, tech bros, and billionaires who see no distinction between the art of fashion and A.I. slop. To save their careers, ultimately, they have little recourse but to find a billionaire they trust more than the other billionaires.

In this episode, we discuss the film’s depiction of a media industry that has been ravaged by late-stage capitalism, of goofy tech billionaires, and of billionaire divorcées. We get into the idea of the “good billionaire,” who uses her wealth benevolently, and why it always seems to be a woman. We also talk the changing face of fashion, as unevenly depicted as it was in this movie. And we discuss “TDWP 2” as a girlboss movie (complimentary?!), and the space it makes for female ambition.  Hope you enjoy! xo

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