This week, Leisure Weekly is celebrating the 15th anniversary of The Devil Wears Prada’s birth with a gape again at the 2006’s model-world comedy, allotment of which asks the film’s screenwriter, Aline Brosh McKenna, to believe the set Prada’s protagonists, first conceived in author Lauren Weisberger’s 2003 contemporary, might maybe well be a decade and a half of later. Whereas McKenna predicts correct things for Anne Hathaway’s persona profession-clever (“Andy has a podcast on Slate or works for Axios,”), she also imagines Andy “scrambling” after breaking up with Nate (Adrian Grenier.) “I don’t whine they’ve seen every diverse in 10 years,” she muses. Composed, it’s a entire (literal) hell of loads better than what McKenna envisions for Stanley Tucci’s unhappy, overly genuine Runway outdated college Nigel, who she suspects is possible quiet toiling away at the magazine, by no plan managing to flee Miranda Priestley (Meryl Streep) or her mighty orbit, no matter his most sharp efforts.
“Miranda quiet has her fingernails into the difficult hiking wall that is model and media and has possible fully expanded her fluctuate,” says McKenna. “Nigel is quiet by her side. I don’t whine he ever will get out. It’s the Faust legend, and he’s in hell. He’s quiet ferrying folks across the River Styx, because he doesn’t maintain a preference.” Oh no. Unnecessary to state.
If it makes you’d possible be feeling any better, even though, Emily (Emily Blunt) has married a Scandinavian royal household member and “is in the Denmark tabloids carrying some fantastic asymmetric taffeta thing.” Which feels gargantuan, especially vivid she bought mowed down by a cab, all in the pursuit of that fabulousness.
Devil Wears Prada Screenwriter Reveals Who Lives ‘In Hell’
