‘The Devil Wears Prada’ and the Problem of Female Ambition

TL;DR

Critics have largely dismissed 'The Devil Wears Prada 2' as a 'tribute act' and 'shallow,' despite its significant global box office success.
The film's popularity, especially among women over 25, highlights a disconnect between critical judgment and audience appeal, particularly concerning female ambition.
The franchise takes female ambition seriously without apology, with the sequel showing Andy Sachs becoming more like Miranda Priestly in her devotion to work.
Qualities criticized in Miranda Priestly, such as perfectionism and severity, are often celebrated in ambitious men, suggesting a double standard in how female leadership is perceived.
Fashion and aesthetics, the world Miranda governs, are often dismissed as frivolous by critics, despite their significant social and economic power.
The sequel reframes Andy Sachs not as an escape from elite ambition, but as someone who has learned from Miranda about the costs and disciplines of excelling in demanding institutions.
The film reflects a cultural shift where visible female ambition is increasingly accepted, unlike in previous generations that expected women to downplay their success.
The franchise argues that women's cultural worlds, like fashion and media, are often unfairly dismissed as shallow consumerism rather than recognized as legitimate aesthetic and social languages.
The franchise's core achievement is insisting that women's ambitions, and the worlds they inhabit and create, deserve to be taken seriously.

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