Sthere is much discussion abouthypothesis that The Devil Wears Prada 2 is a film about the end of journalismor at least its unstoppable decline. The fashion magazine Runwaysalways directed by the very snobbish Miranda, finds itself (like all newspapers after the advent of the Internet and social media) in full liquidity crisis, subjected to the strict control of the publisher. Which requires her to do everything, including the hiring of Andy, the former assistant with the cerulean sweater, who has just been fired from a generalist newspaper where she churned out award-winning social investigations.
The film, which predominantly features female figures, all rather strong-willed and well interpreted, it has the limit of many American films that simplify and trivialize just to propose a happy ending that silences consciences.
PIt’s unfortunate that the issue here is serious and the “patch” proposed to preserve journalism is “worse than the hole”as anyone who wants to see it will be able to verify. The images of the Met Gala and Lady Gaga’s performance will perhaps be worth the ticket to those who, like me, still believe that the “white knight”, who takes the trouble to save us, must really be “white”.
Antonella Baccaro (photo by Carlo Furgeri Gilbert).
However, what I find objectionable in the film is the use of the image of Leonardo’s Last Suppergranted for 80 thousand euros as a backdrop to the dinner offered by Runways to the international jet set. Obviously this is a reproduction hung in a shed, to avoid damage. And God forbid.
Meryl Streep as Miranda Priestly in the film “The Devil Wears Prada 2”. (photo Macall Polay. © 2026 20th Century Studios).
But the effect remains that of a country that sells off its masterpieces for the use and consumption of those who can afford itlike the fallen nobles who rent the residences as bed & breakfasts. It’s not the first time, you will say: it happened in Venice, seized for the Bezos weddingor in Noto, for those of the Ferragnez. But the symbolic strength of the Last Supper is something else, and the result, in my opinion, misleading.
Paradoxically, the film performs the miracle of telling how the world of fashion, once considered for the few, has adapted to the “plebeian” relevance of influencers. While art, once food for all, is turning into a toy for the bored rich.
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Antonella Baccaro’s articles on I Woman and on Corriere della Sera.