Hi!! I'm a thirty-something on here hoping to making some writing buddies :) I have dreams of being a published author some day but currently fanfiction is my life. If you enjoy reading/writing about Mirandy from the Devil Wears Prada films or just sapphic ships in general, lets be friends! We could share ideas and beta read and help each other grow. Dont be shy!đ€
Considering how approving and encouraging Miranda was at the prospect of Andy writing the book about her, imagine a fic where they went all âThe seven husbands of Evelyn Hugo.â
Theyâd sit down together, Miranda would give all the juicy details of her life, her job, the industry, her marriages, her enemies, her lovers and Andy would write it all down in order to write the book.
Miranda would drop vague hints about being in love with someone she shouldnât have been decades ago, how inappropriate it was and how it could never have been.
Obviously because Andy canât leave it be, sheâd dig into that.
Through it Andy would realise that Miranda had actually been in love with her the whole time theyâd worked together and even afterwords, which is why she pretended to not know who she was despite still thinking of her often.
And then once sheâd figured it out, Miranda would be all
âYou took your time.â
God I wish I had the time to write a full fic like this đ€Ł
i love dwp1 so fucking much, but at its very core that movie says: you have to choose, and there's only one right choice. andy's friends are assholes, nate is a bastard, and andy is the one who framed as wrong for choosing her very good job that is a legitimately good entry into the industry she wants to work in. miranda's divorce, while inadvertently making miranda more interesting than the movie ever intended, is a narrative device to show andy that if she keeps this up, she will end up alone. what's crazy about all that is that, at the same time, the movie tries to argue that the choice to be made isn't whether or not to be a good person, but whether or not to be in a situation that makes you a bad person. this is insane, btw. but andy at the end is like, i don't want to be like you therefore i must not be here. the abdication of personal responsibility for your actions is, actually, wild.
so you could have knocked me over with a fucking feather by the time i walked out of dwp2. because i never in one hundred trillion years expected them to come back 20 years later and recognise that actually, andy made all those choices, they didn't happen to her, and yes, actually, she's that selfish bitch (huge fucking compliment). she didn't get married, she didn't have kids, she's flounced in and out of lily's life for 15 years, and the moment someone threw her a piece of driftwood to cling to, she leapt on board. even at the last moment, she still couldn't quite bring herself to not look down on the genuine potential runway offered her, but hell, she'll settle for it.
that car scene made me insane. miranda calling her out again, and andy finally agreeing, and more than that, going all on this arrangement that neither of them actually wants, exactly, but could be mutually beneficial to them both? i practically moaned.
that compromise was both the theme and the hero of this film blows my mind. miranda, who will do anything for advertisers, who will sit her assistant next to her and have her call out all the politically incorrect things she cannot say anymore, who hangs up her own coat, but is still, fundamentally the same person she was 20 years ago: she loves her job, and will do anything to keep doing it. and that is, from start to finish, who andy always was.
and instead of judging them this time, dwp2 says: yes, there are choices to make, and there are always costs whichever way you choose. but there's no wrong choice this time. just find a way to do what you love and you'll be fine.
(and if you can, along the way, make it up to the people you hurt as you do. because there will always be people you hurt, but actually there isn't some natural order of punishment that goes with that. guys, that emily wanted to be friends all that time? i cried. the nigel resolution? bawled.)
Going to the theater on a busy Friday night was the perfect choice. The crowd (predominantly millennial and gen x women) was great and there was lots of laughter, lots of audible reactions, applause at the end, etc. Perfect theater experience.
Also, I just want to give a big hug to this fandom, which was my very first real fandom?! Other than the occasional betaing and fic-reading, I haven't been active in DWP stuff for a long time. But it's really touched me that I've been getting fic comments and kudos this whole time (and it cracks me up whenever someone is surprised that I'm still here responding to comments), and there's been a huge uptick in that since DWP2 started taking off, and I'm really grateful. I have never done fandom stuff on my real-name social media accounts and have in fact gotten rid of a lot of mainstream social media, so I've never been in any of the FB groups or other fan spaces other than tumblr and AO3 (and livejournal of course), and I use discord but I don't even know if there's a discord for Miranda/Andy. Other than the people from the fandom I'm still good friends with, I feel sort of out of the loop on how people from the original fandom are feeling about the movie. But I hope everyone is having a great time!
Scattered, spoiler-filled thoughts below...
I feel genuinely incredibly touched, as someone just a few years younger than Anne Hathaway, to realize now just how much DWP is from the vantage point of youth and DWP2 is from the vantage point of early middle age. They were literally both made for me. The extremes of Miranda have softened, time and the Human Resources department have defanged her a little, but the change in Andy's perspective is just as important. She wouldn't define "villain" in the same way anymore, and the self-righteous entitlement has shifted to accommodate nuance, and in the age of AI it's all the more crucial to understand that every human is just a human. Even if you're Miranda Priestly. I've always been most interested in Miranda's human moments, and the way her constructed persona is a very human thing to do, and I loved what the new movie has to say about all of that.
The end shot of the three adjacent offices made me feel like I was going to soar into the sky. Nothing could have been better than that
The cinematography was really excellent; as so many industries are crippled by budget constraints and artificial intelligence and billionaires who do whatever the fuck they want without even understanding why or exhibiting the curiosity that would allow them to find out, I really love that there was this visual love letter to the city woven into the plot
I think everyone who's disappointed by a softer Miranda whose brain, body, and demeanor have aged is COMPLETELY missing the point, full stop, and I will not apologize for this take lol
Very obsessed with how 2026 Miranda sees Andy as a human woman experiencing a timeline, and how that connects to her own reflections on the timeline
I felt there were a good amount of callbacks to the original movie, a good amount of fan service, etc. Less would have felt like a missed opportunity, and more would have felt cheesy, and I was relieved by the balance they struck. They made a 2006 movie for 2006 and a 2026 movie for 2026 (and didn't shy away from making it 2026 levels of depressing, thank goodness), and the in-jokes inherent to the sequel-ness kept things light and bubbly and fun without distracting from the substance
My favorite parallel/callback just might be the party in the Hamptons when Miranda knows every single person's name and is doing rapidfire introductions for Andy
Andy helping Miranda better understand Nigel was incredible
I have never forgotten Meryl Streep mentioning in an interview that she played Miranda as a person whose life is without music. It occurred to me last night while going to bed that in 2026 Miranda is literally married to a musician. I LOVE THAT. I don't feel totally dialed in on what the film had to say about her marriage, which felt loving and quiet and comfy (do we ever see them actually kiss?), but I like that she's with someone who's into whatever she has going on and has his own things too. His kindness, his sobriety, and his support of his wife all painted a fuller picture than I would have expected from the 2006 version of these filmmakers, and I enjoyed it all more than I expected to
I thought Andy's relationship to Peter was really well done. The big sweeping climactic moments were about work and working relationships, not romance, and that was as it should be, but there's hope that she will be happy with him and him with her
LILY! She is perfect! It makes me so happy that they're still so close, that she's still working in the art world, and that she ended up unlocking so many doors for Andy throughout the film (and that she got a sweet bag)
Gaga cameo fuck yeah
Obsessed with Miranda's assistants and Andy's assistant; they inform the movie as much as absolutely anything else and that's as it should be
I need to watch Andy and Miranda's pivotal car scene about eight more times before my thoughts are fully formed, but I have big (good, complex) emotions about the celebration of work. It didn't feel to me like a message of "everybody has to work their ass off to have value"; it felt like pushing back against the idea that sacrifices should lead to regret. As our industries are shrinking and dissolving and changing in some very scary ways, this movie planted a flag in the ground. Our memories and accomplishments cannot be taken away even if future possibilities can, and there is still a future in which we can make stuff even if the circumstances are frequently tragic
So many feelings about Emily. I love the ways she fucks up, I love her shaky sensibilities, I love that she's a mom, I love that she and Andy are going to be friends and that she will hopefully start to see herself more clearly through both her own eyes and the eyes of people who can appreciate her and challenge her
Delighted to report that I still ship Miranda/Andy. It feels different now, softer and wiser, less about an ingenue and a powerhouse rocking each other's world. I always liked that they both had some growing up to do, and they did. I think their chemistry and mutual appreciation are interesting and fun and a weirdly chill part of their busy lives :)
I am truly shocked that this movie got made and that I not only liked it but loved it. I was just here to have a good time but I'm legitimately really into what is going on!!!!!!!!!!
Here's the thing about the firing of the previous Runway (senior) features editor: She was already on the way out because she so obviously let the speed fash article pass through and get published without scrutiny. She pulled wool over Miranda's eyes and Miranda was furious and going to axe her probably in a humiliating way in person. But, Miranda hung it around Andrea's/Andy's neck like a millstone to make her purposely feel bad.
Thoughts on the beards of TDWP2 besides them all being boring, dull and wholly unnecessary:
Stuart (Priestly) was a glorified butler, opened car and house doors, not invited to the gala, walked the dog, claimed the grown twins as his girls when he's gotta be husband number three or four at this point and they aren't his kids, creepily stared at Andy when she left the table in the Hamptons like he might follow, if not that he knew his wife and Andy were fucking, oddly smiled at Miranda when playing violin at Irv's funeral and finally hugged Miranda like a cold, dead fish and offered himself as a grand prize better than her life's work at Runway when she asked what she might do/have when she stops working.
When Miranda told Andy to take the train she ended up meeting Peter. Like Miranda pushed her towards comp het. Peter could barely tell Andy his own name when they first met. His nervousness around her was maybe supposed to be endearing, but it came off as aloof and unsure of himself. It was hard to understand him when he spoke, which no offense to any Aussies at all. He just spoke very softly like he almost wasn't supposed to be heard. Just a prop piece. He listened to Andy and laughed at her jokes like he was supposed to and not that he wanted to do anything but get into her pants. At Irv's party, he ran off to meet Hugh Jackman offscreen and left Andy with her coworkers. If Hugh Jackman had actually agreed to appear in the film, they could have met him together. Andy and him sort of broke up before she went to Milan, but it was hard to tell that they were even together as more than sounding boards. Their reunion and kiss at the end felt slightly sweet, but entirely unearned.
Benji Barnes was a smarmy, rich tech dude bro who had some kind of glow up because he made money and lost weight. His ex-wife Sasha made off with a lot of his money and he still seemed hung up on her when he asked Andy about having seen her in front of Emily. His body was hairless by Emily's insistence, but his face and head were hideously hairy. He wanted to give Emily whatever she wanted to keep her at his side, but he didn't care about Runway. He was clueless about why she even wanted it. I'm not sure why he dumped Emily as she told Andy, but absolutely good riddance! She didn't need a man and his money to have her own power and prestige.
Finally, as others already have said Sasha Barnes (Lucy Liu) should have had a new wife and Nigel should have had either a husband or a boyfriend of his own at the very least. The sexy black man standing near him in one scene looked promising.
Emotional Walls Your Character Has Built (And What Might Finally Break Them)
(How your character defends their soft core and what could shatter it) Because protection becomes prison real fast.
ⶠSarcasm as armor. (Break it with someone who laughs gently, not mockingly.)
ⶠHyper-independence. (Break it with someone who shows up even when theyâre told not to.)
ⶠStoicism. (Break it with a safe space to fall apart.)
ⶠFlirting to avoid intimacy. (Break it with real vulnerability they didnât see coming.)
ⶠGhosting everyone. (Break it with someone who wonât take silence as an answer.)
ⶠLying for convenience. (Break it with someone who sees through them but stays anyway.)
ⶠAvoiding touch. (Break it with accidental, gentle contact that feels like home.)
ⶠOversharing meaningless things to hide real depth. (Break it with someone who asks the second question.)
ⶠOverworking. (Break it with forced stillness and the terrifying sound of their own thoughts.)
ⶠPretending not to care. (Break it with a loss they canât fake their way through.)
ⶠAvoiding mirrors. (Break it with a quiet compliment that hits too hard.)
ⶠTurning every conversation into a joke. (Break it with someone who doesnât laugh.)
ⶠBeing everyoneâs helper. (Break it when someone asks what they need, and waits for an answer.)
ⶠConstantly saying âIâm fine.â (Break it when they finally scream that theyâre not.)
ⶠRunning. Always running. (Break it with someone who doesnât chase, but doesnât leave, either.)
ⶠIntellectualizing every feeling. (Break it with raw, messy emotion they canât logic away.)
ⶠTrying to be the strong one. (Break it when someone sees the weight theyâre carrying, and offers to help.)
ⶠHiding behind success. (Break it when they succeed and still feel empty.)
ⶠAvoiding conflict at all costs. (Break it when silence causes more pain than the truth.)
ⶠFocusing on everyone elseâs healing but their own. (Break it when they hit emotional burnout.)
