{"id":946375,"date":"2026-05-08T15:51:14","date_gmt":"2026-05-08T15:51:14","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/946375\/"},"modified":"2026-05-08T15:51:14","modified_gmt":"2026-05-08T15:51:14","slug":"the-devil-wears-prada-2-easter-eggs-third-movie-the-last-supper","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/946375\/","title":{"rendered":"‘The Devil Wears Prada 2’: Easter Eggs, Third Movie, The Last Supper"},"content":{"rendered":"

\n\tAfter 20 years and two blockbuster films, does \u201cThe Devil Wears Prada\u201d director David Frankel<\/a> really think \u201cthat\u2019s all\u201d for Miranda Priestly and her reign as the terrifying editor-in-chief of Runway magazine?<\/p>\n

\n\t\u201cI said, \u2018Never again,\u2019 and here we are,\u201d Frankel says with a laugh. \u201cSo, I certainly would never say, \u2018Never again,\u2019 again.\u201d<\/p>\n

\n\tNot that Frankel wasn\u2019t on board for a sequel to the haute-couture comedy in theory \u2014 the 2006 film made $326 million at the box office, after all \u2014 but all the stars had to align for another movie to make sense, beginning with the return of Meryl Streep as Miranda.<\/p>\n

\n\t\u201cAnnie Hathaway has a great analogy for the experience of making the movie,\u201d Frankel says, quoting his leading lady who returns alongside Streep, Emily Blunt and Stanley Tucci. \u201cWe were getting the band back together for a new album and going on tour and playing the new songs, but the audience also wants to hear the old hits. So, it\u2019s a little bit of sprinkling in the old hits with the new stuff.\u201d<\/p>\n

\n\tOf course, finding a way to pay homage to a movie that came to define a generation \u2014 without overdoing it \u2014 would be no small feat. Fortunately, a large swath of the creative team from the 2006 movie returned to take on that challenge, including screenwriter Aline Brosh McKenna, producer Wendy Finerman, cinematographer Florian Ballhaus, production designer Jess Gonchor, composer Theodore Shapiro and costume designer Molly Rogers (who\u2019d been an assistant to original costume designer Patricia Field).<\/p>\n

\n\t\u201cThe Devil Wears Prada 2<\/a>\u201d ends on a hopeful note, with Miranda, Andy and Nigel ushering the glossy fashion magazine into the future; they\u2019re safe for now, bolstered by the independent wealth of Sasha Barnes (Lucy Liu), but the state of the publishing business is still shaky. After her failed coup, Emily is poised for redemption and a rebrand\u2026at Coach. There\u2019s plenty of runway to plot out a threequel. Plus, the movie has grossed an eye-popping $233 million at the global box office in the first two weeks, making a third movie feel even more likely.<\/p>\n

\n\tBut before we predict the journalism trials they\u2019ll face next, Frankel breaks down some of the sequel\u2019s key moments, from the callbacks to the original movie (and why Adrien Grenier\u2019s Nate didn\u2019t make the cut); highlights from filming in Milan and the symbolism of Da Vinci\u2019s The Last Supper; and why Miranda is less of an ice queen this time around.<\/p>\n

\t\tHow did you and Aline go about figuring out how and when to place references to the original movie? There are callbacks as early as the opening montage, with Andy brushing her teeth and a street vendor holding two identical belts as she walks through the park.\t<\/p>\n

\n\tThere were little things, like the belts, that were late in the game additions. Other things, like the cerulean sweater and lines like, \u201cA million girls would kill for this job,\u201d were easy to do. Then we had to go through and edit some out because [if there were] too many, you\u2019d get a little annoyed with us.<\/p>\n

\t\tEventually, Miranda is going to have to say, \u201cThat\u2019s all.\u201d That line comes at a pivotal moment in the story, when she calls out Emily\u2019s betrayal.\t<\/p>\n

\n\tThat is like \u201cthe callback,\u201d if you will, and hats off to Aline for really saving it for that spot in the movie. It\u2019s one of my favorite moments in the movie, because it really all comes together: it\u2019s the pivotal dramatic moment, and the most profound callback.<\/p>\n

\t\tTell me more about filming that scene.\t<\/p>\n

\n\tThat scene is great. Three amazing movie stars firing on all cylinders with great material and huge stakes for their characters in a beautiful setting. Our production designer, Jess Gonchor, created this phenomenal Milan hotel room. Incredible visual effects, because that was shot in New York, not in Milan, so that scene really stands out.<\/p>\n

\t\tIt\u2019s hard to pick a favorite, but what other scenes will you remember? \t<\/p>\n

\n\tI love the two scenes in the Last Supper. They are just really beautiful, really resonant. The one where Miranda accuses Andy of betraying her is just so wonderfully dramatic. And then the dinner scene where Benjy \u2014 this character that you think is kind of a whack job billionaire \u2014 delivers really the most profound speech in the movie about the future and how it\u2019ll come for us all. Miranda\u2019s there, making a plea for the human touch and preserving the best of human achievement. That scene is, obviously, what the movie is all about: this battle between man-made creativity and whatever is coming next; we don\u2019t know what it is, but we\u2019re terrified of it, and we know it\u2019s coming for us.<\/p>\n

\t\tTell me about shooting with that incredible tableau in the background.\t<\/p>\n

\n\tWe scouted the actual Da Vinci Museum, and we could have shot the one scene with people talking in front of the painting. They would have been fine with that. I said, \u201cCan we do a dinner with candlelight?\u201d and they said, \u201cNo, absolutely not.\u201d So, we built a set.<\/p>\n

\n\tBut I got to spend a lot of time in the room with the real Last Supper and learn a lot about it. It\u2019s amazing; you\u2019re standing there with a 600-year-old painting that still moves you. There\u2019s no better way to dramatize the best of human achievement than that painting.<\/p>\n

\t\tAnd having that painting really underscores what Miranda\u2019s saying to Andy. She\u2019s asking, \u201cAre you Judas?\u201d\t<\/p>\n

\n\tThere\u2019s definitely that undertone.<\/p>\n

\t\tThese were incredible actors 20 years ago, but now everyone has fully blossomed, particularly Anne and Emily. But this movie is different because it\u2019s not just from Andy\u2019s perspective. We really get a chance to meet Miranda behind the glasses. We go home, go upstairs and hear those conversations that she and her new husband (Kenneth Branagh) have. Why establish them as co-protagonists this time around?\t<\/p>\n

\n\tAnytime you\u2019re revisiting something, you want the opportunity to go deeper. In the first movie, when the mask comes down, and you see a little fragility, you understand how driven she is, but also how much pain there is, how much sacrifice. So you think like, \u201cWell, how long can she do it?\u201d And now it\u2019s 20 years later, and she\u2019s still been doing it. Every day, she\u2019s still fighting the good fight and adapting. That\u2019s one of the most remarkable things about the people who stay at the top: how they adapt. How their businesses change, how the money changes, how the people change, and what is important changes. All that has evolved in Miranda\u2019s world. It\u2019s also just fun to see her take off the glasses and pour herself a glass of ros\u00e9 and spill some tea.<\/p>\n

\n\tIf the movie was just her being the ice queen and the demanding boss for two hours, it would be fun, but it wouldn\u2019t be illuminating. What, for me, is fascinating is a woman in her mid-70s, let\u2019s not forget, really needing to confront the question of, \u201cWhat\u2019s her legacy going to be? Was it all for naught? Is it all going to disappear?\u201d And as she asks, \u201cWhen do I stop? When do I say enough is enough?\u201d Speaking as someone who wants to keep doing it till the end, who never wants to hang it up, it\u2019s easy to identify with someone who just loves their job and loves what they do. And I think that\u2019s true of Meryl, too. She loves to play, and she\u2019ll do it as long as people will have her.<\/p>\n

\t\tWhat was it like getting to work with Meryl this time around, where she wasn\u2019t going Method? She\u2019s said she allowed herself to have a lot more fun. What was different?\t<\/p>\n

\n\tIt was really getting to work with the real Meryl versus the first movie, she was Miranda all the time. She and I became good friends through the first movie, but her relationship with Annie and Emily was always distant when we were shooting. Now, after 20 years, they\u2019re good friends, and she\u2019s close to them; they\u2019re like long-lost daughters, and there\u2019s a really great dynamic. She had much more fun making this movie.<\/p>\n

\t\tSome of that fun is that you allow the actors to improvise and throw out lines. Some of the most iconic and enduring lines in the first movie were things that they came up with. Were there any ideas that they brought to the table this time that stand out?\t<\/p>\n

\n\tWhen you\u2019re lucky enough to have a great screenplay to start with, then there\u2019s so much freedom. You\u2019ve already said something funny; now, let me see if I can top it. That\u2019s the game, and we all love to play it. That\u2019s the beauty of doing a second and third or fifth take. And we also had the benefit of Aline Brosh McKenna being on set the whole time, so a lot of the new lines weren\u2019t even improvised; they\u2019re actually written. They weren\u2019t in the original script, but she\u2019s written them. It\u2019s nice to have that traditional comedy playground where everybody is contributing.<\/p>\n

\n\tThere are very, very funny people in this movie. Justin Theroux is hilarious. B.J. Novak is hilarious. Caleb Hearon is hilarious. Simone Ashley, in little moments, steals every scene. Helen J. Shen is brilliant. So, it\u2019s just nice to bring in a new generation of actors and let them play.<\/p>\n

\t\tDo you have an inkling of which line people are going to quote back to you?\t<\/p>\n

\n\tThe one that I\u2019ve already heard a bunch of times is Emily\u2019s line, \u201cMay the bridges I burn light my way,\u201d which made me fall down laughing the first time. I\u2019m hoping there\u2019s a lot. But who knows? It\u2019s like trying to pick which single is going to be the chart topper.<\/p>\n

\t\tThere is a very touching full-circle moment at the Runway show in Milan, where Miranda finally lets Nigel have the spotlight. What was it like to shoot that scene?\t<\/p>\n

\n\tYears and years ago, my mom told me the best entertainment is full of laughs, but also makes people cry. It moves you because you\u2019re reminded of how fleeting life is, and what\u2019s important and what\u2019s not, and that makes us emotional. That scene in particular is the product of 20 years. It\u2019s an apology or an acknowledgement after 20 years. That\u2019s so long to take someone for granted, and 20 years ago, she screwed him over big time. It\u2019s so moving when that are people so full of love for someone else, that they will suffer like that. I joke that we\u2019ve made this movie that\u2019s trying to appeal to both an older audience and young people. And here\u2019s this scene, which is a 76-year-old woman apologizing to a 65-year-old man, and yet, you really have to have a heart of stone not to be moved by it.<\/p>\n

\t\tAll of us know what it feels like to be overlooked and to finally have the person say it is crazy\u2026\t<\/p>\n

\n\tEspecially Miranda!<\/p>\n

\t\tMiranda\u2019s never wrong. You mentioned there were callbacks that you couldn\u2019t weave in. Was there anything that really hurt to leave on the cutting room floor or that you didn\u2019t get to shoot?\t<\/p>\n

\n\tAn appearance by Nate [Adrien Grenier]. We debated, and we couldn\u2019t find a really satisfying way to integrate him into the story. And we didn\u2019t want to just do a run-in, so in the end, he didn\u2019t make the script. But we have great affection for him, and I really salute Adrien\u2019s Starbucks commercials, because they\u2019re genius and hilarious and so wonderfully self-deprecating. He really performs well in them, and he\u2019s really funny. So, I\u2019m thrilled that he still is part of the universe of the movie in that way.<\/p>\n

\t\tThis movie completely wraps up the story, but there could still be more. Obviously, Emily will one day get her redemption. Fans will want to see what happens with Runway. What do you imagine?\t<\/p>\n

\n\tIt\u2019s like you\u2019re ready to pitch another sequel.<\/p>\n

\t\tI\u2019ve got a sequel. I\u2019ve got a spin-off. We can do a Nate show.\t<\/p>\n

\n\tLook, it took us 20 years to do this one. And I said, \u201cNever again,\u201d and here we are. So, I certainly would never say, \u201cNever again,\u201d again. Let\u2019s see what happens. If there was an opportunity to revisit the characters and to share a few months with these wonderful actors again, obviously, I\u2019d love it.<\/p>\n","protected":false},"excerpt":{"rendered":"After 20 years and two blockbuster films, does \u201cThe Devil Wears Prada\u201d director David Frankel really think \u201cthat\u2019s…\n","protected":false},"author":2,"featured_media":946376,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[3935],"tags":[264181,77,3943,92175,16,15],"class_list":["post-946375","post","type-post","status-publish","format-standard","has-post-thumbnail","category-movies","tag-david-frankel","tag-entertainment","tag-movies","tag-the-devil-wears-prada-2","tag-uk","tag-united-kingdom"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@uk\/116539758228972621","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/946375","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/comments?post=946375"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/946375\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media\/946376"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media?parent=946375"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/categories?post=946375"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/tags?post=946375"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}