The world must be changing fast and beyond recognition if even Miranda Priestly can’t afford to be nonchalant anymore. Played by Meryl Streep in the 2006 film, it was a rare instance of a star marrying the material.

Streep, in her 50s then, was planning to retire from Hollywood (which she revealed in an interview recently), when a studio offered her to play the Darth Vader of bosses from hell – the kind who does more damage with a well-timed sigh than most can with 20-minute rants. Priestly, a demanding editor-in-chief for the fashion magazine Runway, also had the layer of an ambitious woman fending off sharks at work.

The box office success of the 2006 film made it a cultural totem, among the definitive frothy rom-coms set in New York City, and put Streep back on the map as one of the most enduring star-actors, still going strong 20 years later.

However, by the time the sequel begins, physical magazines have disappeared. Journalism feels like a fool’s errand, when everything has essentially boiled down to creating the winning narrative with the help of the highest bid for the cheapest mouthpiece available in the market. And AI is gunning for people’s jobs including designers, models and crusaders of good taste like Priestly.

An untouchable hi-flyer for decades, she has suddenly come to the realisation that she’s no more than replaceable furniture in her office. And her indifference is slowly morphing into panic.

Directed by David Frankel and written by Aline Brosh McKenna (the director-writer duo behind the 2006 film too), the sequel starts with Andrea Sachs or Andy (Anne Hathaway) winning a journalism award. After her stint in Runway, she went on to become a ‘serious’ journalist, even going on to write a four-part........

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