The fashion world is back, and it’s already making money.
The Devil Wears Prada 2 pulled in $10 million from early preview screenings, signaling a powerful return for one of Hollywood’s most recognizable franchises. Industry analysts expect the sequel to open between $75 million and $80 million domestically. Some projections climb even higher, landing near $100 million as audience demand builds.
That surge comes as theaters ride a wave of renewed interest. Just last week, Michael outperformed expectations with a $97.2 million debut after early forecasts suggested a softer $70 million opening. Studios now see an opportunity for consecutive blockbuster weekends.
International markets are already responding. The sequel has earned $40.5 million across 45 territories within its first two days. That early global traction strengthens confidence in its long-term performance.
The production carries a reported budget of $100 million, excluding marketing. That figure sharply exceeds the original film’s $40 million cost. Still, analysts expect the sequel to surpass its predecessor’s total earnings within weeks. The 2006 original opened modestly at $27.5 million but finished with $326 million worldwide.
The cast returns with familiar faces. Anne Hathaway reprises her role as Andy Sachs, now a features editor at Runway magazine. Meryl Streep returns as Miranda Priestly, the commanding editor-in-chief, alongside Emily Blunt as Emily Charlton and Stanley Tucci as Nigel Kipling.
The storyline reconnects the characters years after their original arc, placing them in new positions of power within the fashion industry. Emily Charlton, once an assistant, now holds a senior executive role at Dior, adding fresh tension to old relationships.
Critics note that the film leans heavily on the strength of its cast. Variety’s film critic Guy Lodge writes:
“The film’s chief pleasures are those of practiced professionals doing their job, and doing it well,” writes Variety’s film critic Guy Lodge in his review. “None of the stars here is slacking, and their combined, easily resumed chemistry ensures that this sequel, for good long stretches, feels like old times — even if it’s hard to imagine fans of its predecessor cherishing repeat viewings to quite the same extent. Something that hasn’t changed, moreover, is Streep’s effortless MVP status: Her Miranda may now be too familiar to be menacing, but the hushed, lacerating economy of her line readings, the glassy reserve of her body language, the layers of passive-aggressive meaning she compacts into one arched brow or tight half-smile all invite a kind of in-the-presence-of-greatness awe. “Boy, I love working,” says Miranda quite sincerely, and so, it seems, does Streep. And work, as this alternately breezy and quite pessimistic crowdpleaser is quick to remind us, isn’t to be taken for granted.”
The early numbers point to one outcome: audiences are ready to return to Runway magazine.
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