The Devil Wears Prada 2: A Nostalgic Misstep with Starbucks Tie-In

Ben Thompson, Culture Editor
5 Min Read
⏱️ 4 min read

In a curious blend of nostalgia and frustration, *The Devil Wears Prada 2* has recently announced a partnership with Starbucks that leaves many questioning the relevance of both the film and the brand. Set against a backdrop where glossy magazines are fading and cinema attendance is dwindling, this sequel attempts to capture a charm that many feel has long since evaporated.

The Film’s Uncertain Timing

As the much-anticipated follow-up to the beloved 2006 original, *The Devil Wears Prada 2* finds itself in a peculiar predicament. The film is a reflection of an era when glossy magazines reigned supreme, yet it emerges in a time when few venture to theatres and even fewer indulge in high-end publications. This stark juxtaposition evokes a sense of melancholy, as audiences grapple with the film’s intent to resurrect an age that feels increasingly distant.

Adding to the film’s odd positioning, the Starbucks collaboration presents a range of beverages inspired by its characters. From Miranda’s elite caffe latte—“a no foam, extra shot, extra hot drink with non-fat milk”—to Andy’s more relatable oat milk cappuccino, the menu aims to reignite fond memories. Yet, this partnership raises eyebrows; it feels like a desperate grasp at a bygone era where Starbucks was synonymous with sophistication and culture.

The Starbucks Dilemma

In the early 2000s, sipping a Starbucks coffee was considered a status symbol, a mark of quality and lifestyle. The chain even ventured into publishing and music, reflecting its aspiration to be more than just a coffee shop. Fast-forward to 2026, and Starbucks’ image has dwindled significantly. With its overexpansion and a menu that now seems dominated by sugary concoctions, the brand struggles to maintain its former prestige.

The juxtaposition between the film’s glamorous premise and Starbucks’ current state is jarring. It prompts reflection on whether *The Devil Wears Prada 2* is merely a nostalgic echo or an earnest attempt to connect with an audience that longs for simpler times.

A Reflection on Nostalgia

Perhaps this sequel serves as more than just a film; it’s an elaborate homage to the mid-noughties, a period many view through rose-tinted glasses. The notion of a world before political upheaval and economic uncertainty resonates deeply. For some, the film might evoke a longing for a time when life appeared more stable, allowing for leisurely afternoons spent with a magazine and a coffee.

That said, the choice to partner with Starbucks could have been more thoughtful. A collaboration with a brand that embodies contemporary culture, such as Greggs, might have felt more aligned with today’s realities, offering a relatable twist on nostalgia rather than an unrealistic one.

The Future of Nostalgia in Cinema

As viewers increasingly seek authenticity in their entertainment, *The Devil Wears Prada 2* must navigate the delicate balance between homage and relevance. It’s a challenge that many sequels face, especially those rooted in a particular cultural moment that no longer exists.

The film industry is rife with unpredictability—blockbusters can flop, while indie films may surprise. Yet, as this sequel prepares for release, it remains to be seen whether it can connect with audiences who are now more discerning than ever.

Why it Matters

The partnership between *The Devil Wears Prada 2* and Starbucks encapsulates a broader conversation about nostalgia in contemporary media. It reflects our collective yearning for simpler times while highlighting the pitfalls of clinging to outdated brands. As we navigate an ever-changing cultural landscape, the choices made in such collaborations reveal much about how we perceive our past and our hopes for the future. In an age where authenticity is prized, the film’s challenge will be to resonate with a generation that has moved beyond the glitzy façades of the past.

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Ben Thompson is a cultural commentator and arts journalist who has written extensively on film, television, music, and the creative industries. With a background in film studies from Bristol University, he spent five years as a culture writer at The Guardian before joining The Update Desk. He hosts a popular podcast exploring the intersection of art and society.
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