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- [00:05]
A
Hello, and welcome back to the Glossy Podcast. I'm your host, senior fashion reporter Dani Parisi, and I'm here with our editor in chief, Jill Manoff. Hello, Jill.
- [00:13]
B
Good morning. This is going to be a fun episode full of spoilers.
- [00:18]
A
Yes, this is Glossy Goes to the Movies. We saw devil wears Prada 2, and we normally, obviously, are not a movie review podcast, but it's such a big moment for the industry, and it feels like everyone in fashion is trying to be in the movie or was trying to be in the movie when they were making it. And the original, I think, has not just a big influence on people who are in fashion, but also, I think, influenced how people outside of the industry view fashion. So it just felt like something we should talk about. So, Jill, you and I both saw it. We both probably have extremely illegible notes written on a notebook in the movie theater. At least I do.
- [00:56]
B
Was yours crowded? Oh, sorry, go ahead.
- [00:58]
A
Mine was very crowded. Yeah.
- [00:59]
B
I went to 10pm in St. Louis, and there were three other people in the theater. And so I just let my. I was able to take my notes with my phone light blaring. Nobody cared.
- [01:11]
A
See? Okay, yours are probably easier to read than mine. No, I wrote mine on a notebook, and I was like. It was like automatic writing. Like, I didn't even look down. But I saw it 8pm in New York City, so it was definitely a lot more crowded. Obviously, we're gonna be talking about spoilers, so if you are someone who really cares about that, maybe wait and come back to this episode after you have seen the movie. If you don't care, then you can hear our thoughts on it. But it's a really. I mean, I liked it first of all, to start, I liked the original two, which I also just rewatched before this to remind myself. But I felt this way about the first movie, and I feel this way about this one. Almost has just as much, if not more to say about the media industry than about fashion in particular. Like, and we. You know, fashion media is a particular subset of the media industry, but a lot of stuff in this movie hit very close to home if you are a reporter or writer or you're in editorial at all. Yeah. So where do you want to start, Jill?
- [02:09]
B
Yeah, I would agree with that. I mean, and the introduction of HR into Miranda's life was pretty funny to me. Like, obviously, she can't be such a biatch with a capital B like she was before. I thought that was interesting. And obviously, like you said, budget cuts, crumbling of media all the things. There's even that Jeff Bezos kind of storyline with. With that was interesting. So a lot of parallels to Vogue and what's actually happening at Conde Nast.
- [02:38]
A
Yes. Let me do. How about. I'll do an extremely brief summary just for. For people who haven't seen the movie, don't care about spoilers, and want to be able to follow along. But the, the contrivance that kind of gets Anne Hathaway, Andy and Meryl Streep, Miranda back together is that Andy is now a respected journalist for some sort of prestigious New York newspaper. At the very beginning, she and her colleagues win a prestigious award and then all get laid off. Which feels extremely true to the media environment these days. Meanwhile, for Runway, they have recently published a story praising a brand called Speedfash. And then afterwards it comes out that this brand is using sweatshop labor. And it's a big PR crisis for them, which we can talk about. I was a little bit like, Vogue praises brands that use sweatshop labor all the time.
- [03:25]
B
I thought that was a. I don't
- [03:27]
A
think that would be that big a deal, really. But in order to restore credibility, they hire Andy to bring some of her prestigious journalism credibility to the magazine. And so Andy and Miranda are now working together again. But the rest of the plot really has to do with the total, totally different media world of 2026 compared to 2006. In 2006, Miranda Priestley is like, she can get the Harry Potter manuscript before it's published. Like, everyone is terrified of her. And she makes or breaks everyone's careers. And it's like 2026. It is not like that anymore. This is true in real life. And the movie, I think, does a pretty good job of depicting this. Like, their budget's getting cut. They don't have the money to do extravagant week long shoots. They have two days to film short form video content. Like, no one's reading the print magazine anymore.
- [04:17]
B
No car service. No. She's hanging her own coat. She's flying economy, God forbid.
- [04:23]
A
Yes. So it just. I think that part felt very true to me that, like the. The for. I'm going to try to keep it focused on fashion. But the print magazines do not have the dominant sway anymore. I think some. A few of the really big ones definitely are still important institutions. And I think they have done their best to adapt to like the digital world. Which, by the way, the first one is kind of right before all of that. So it really was. If that movie had been made even two or three years Later, I think you would have started to see some of the ways that the Internet is like really changing everything. But 2006 was right, I think before a lot of the really big changes. Yeah. So I'm sorry, I'm talking a lot.
- [05:04]
B
No, it was close to home. There were a lot, a lot of the talk of why are we doing all this? So people can scroll past it while they're sitting in the toilet. And you know, it's. Yeah, the content consumption is different. And when, when Andy tries to bring like valuable journalism to this, to this world, a lot of talk about like not losing our core customer, but while we evolve and I don't know, we hear this from brands all the time. But you're so right. It really. I felt like it was like an accurate snapshot of the times. I felt like they did a good job.
- [05:34]
A
Yeah. And I wonder, Jill, your perspective because I. When I started in journalism, which was like 10 years ago there, I never worked at any sort of print publication actually. Well, no digiday. We did used to have a print edition for the first year or two that I worked here, but it was very intermittent.
- [05:54]
B
It was a great product and it was for members. It was kind of like a bonus.
- [05:57]
A
Yeah, yeah, exactly. It wasn't like the core of the business. I know people who work at or worked at big magazines that have print circulation, many of which have extremely scaled back their print circulation. But I'm wondering your perspective because you worked in the industry a little longer than me and I feel like you do have some experience working at places more like that. So I don't know, what's your feeling on those changes?
- [06:24]
B
No, yeah, really briefly. I felt like I kind of rode all of the highs and lows, like coming from a print publication that was luxury lifestyle in St. Louis that kind of took all their full time writers to freelance when things were. And then, you know, found ways to supplement. And then also Mode Media, like the whole, the whole business model was thriving on Facebook ads, which we know, like that would never fly today. I had a job at Sears, which is a little outside of media, but part of my job was SEO. That would never fly today. So it's kind of like, luckily I'm getting ahead before my job becomes obsolete. But you see it all happening.
- [07:00]
A
Yeah. And you were also a stylist as well. And I was thinking about with Nigel Stanley Tucci's character is like the styling director and he's, he's lamenting in this movie how he has such a limited budget for clothes and for time and that kind of stuff.
- [07:16]
B
Yes. And. Well, obviously, Vogue, we know that there's a lot of paid product placement in their fashion editorials. I thought the storyline was interesting with Dior. Emily's now at Dior, and they had to, like, make amends with Dior. And Dior was pissed off about this sweatshop story. And they wanted to, I don't know, maintain the aspiration that's around Vogue. So they promised Dior a ten page feature or something. No, five. It came down to five. A five page feature to make them happy. So, like, paying for editorial content. God forbid. Again.
- [07:49]
A
Yes. And it's funny. So again, the plotline where Runway has run the story, that's praising this brand that uses sweatshop labor. And then it's a huge scandal. And like you said, Dior, represented by Emily, who was the first assistant in the first movie, now she's seemingly leading their luxury retail or she's some sort of senior executive role at Dior, is, like, mad about that story. It's kind of funny. Dior last year, literally was being investigated by, like, Italian antitrust authorities, I think, over their labor practices. So it's just funny that that is presented as this horrible scandal and everyone's mad about. And it's like every. Like, not every. A lot of fashion brands are doing it. And it has come out before. And it hasn't been a massive PR crisis for people who wrote about it.
- [08:32]
B
Oh, my God. And so many side notes. I know we have to talk fashion, but just that scene where, like, Emily has the power over Miranda, it was just like, what's happening? It was. It was interesting. It was fun to watch.
- [08:43]
A
Yeah, well. And they say, like, without adverti or without us, there's no you or something referring to advertisers and the media. And. Yeah, Dior, I know, is a paid, like, an official product placement sponsor with the movie. So that was, like, huge kind of placement for Dior to be, like, the brand in. Because they could have done a fictional brand or something, you know, for that important of a plot role. But they used real Dior as this, like, brand who we have to please. And without their advertisement, it's, you know, we're gonna fall apart, that kind of thing. So for Dior, that's a good spot to be in that movie. Absolutely. And that was interesting. Cause the first movie. No, that's not true. The first movie has a designer. It's a fictional designer. And they show him kind of, like, groveling to Miranda because, like, one positive word or One negative word from her, like, will totally upend his business. And it's like, it's totally flipped now.
- [09:38]
B
Yes, I so agree. Let's talk about all the designers included. It was so many. Yeah. What. What stood out to you?
- [09:46]
A
Well, so I made a list of every brand that was mentioned or that the clothes were shown. I'm sure there were a bunch of the clothes that I saw that I didn't know the brand, but there was tons. Versace, Tiffany. Tiffany was an official product placement sponsor. Margiela is mentioned as being thrifted by Andy Gaultier is thrifted by her assistant, Vivienne Westwood. Dior. Obviously Valentino. There's a joke where Emily is talking about the paint in the store and she's like, subtle. We're not Valentino. There's jokes like that. Fendi, Cuccinelli, Gabriela Hearst, Totem, Dolce and Gabbana. There was a ton of Ton.
- [10:23]
B
And if you. Even if they didn't say the name, there were so many things that were just recognizable. There was a fellow in the office who, every time they showed him, he's clearly wearing Tom Brown with the three stripes. Like, I'm like, there's the Tom Brown guy. And also, you see Nigel carrying a Goyard bag. You see Miranda when she's going into her economy. See it in. On the plane. She's wearing kind of a mint oversized Bottega. It doesn't say Bottega. Um, but yes. Anyway, in terms of. Yes, the cameos. Let's talk cameos. Because Marc Jacobs was in it.
- [10:56]
A
Yes, Marc Jacobs was in it. I mean, it's kind of funny. The movie had probably four or five montages that were just a bunch of famous people, you know, like, it starts with this. A bunch of influencers. And multiple times the movie kind of pauses and just shows Law Roach, you know, for a second or something. But yeah, a bunch of people who were mentioned or shown. Heidi Klum, Naomi Campbell, Ciara, Ashley Graham, Pauline Chalamet, the Cuccinelli sisters. It's an interesting mix of influencer types, but then also kind of fashion people who maybe are not as instantly recognizable by face. I mean, Vanessa Friedman, Fashion Media people were in it. Um, but like, the Cuccinelli sisters who, like, I don't know if they would be. Are super recognizable. Maybe I'm wrong about that. But there are people who. It's like, oh, obviously that's that very famous influencer or whatever. And other people. It's like, if you know fashion, you recognize this person and Even if you
- [11:56]
B
just know pop culture, there are a lot of people where you're like, what are they doing there? And, like, if a lot of people probably didn't know they were somebody. But, like, the golfer Rory McIlroy was in it.
- [12:05]
A
Rory McIlroy was in it. Yep.
- [12:07]
B
I was like, wait, I know him.
- [12:09]
A
John. What is his name? John Baptiste, the pianist. What is that?
- [12:13]
B
Oh, is his name John Biste? Oh, I didn't even see him. And I know who that is.
- [12:16]
A
John Batiste. Sorry. Yes.
- [12:18]
B
Lady Gaga had a big moment. I mean, that was no secret.
- [12:22]
A
Yes. And Donatella Versace had a whole scene. I mean, not a whole scene, really, but more than a cameo. She's got a line and everything. Same with Lady Gaga, like, an actual entire scene. Whereas a lot of the other people are kind of just spotted or glimpsed, you know, milling around.
- [12:37]
B
I was like, for a lot of them, I'm like, good for them. How'd they get that? Vanessa Friedman was mentioned twice. And on the media front, just interesting, you know, folks. Well, there was mention of, like, business of fashion. There was mention of, again, Vanessa Friedman, Kara Swisher. Who else? Tina Brown, Some just folks that are just, like, in this world that were either there or were mentioned.
- [13:04]
A
I think Gia Tolentino was in it as well. The New Yorker writer. Well, one thing we can say, and we talked about this a little bit in our meeting, discussing what we're going to talk about here, but it's so different than the first movie where famously, a lot of fashion and media people did not want to be in it because they didn't want to anger Anna Wintour. So it's the first movie. They talk a lot about fashion and they talk about famous people. They don't really show up. Whereas this one was absolutely stuffed with cameos. And there was lots of reporting beforehand that people were, like, clawing their way to get into this movie. Some people, notably, allegedly were supposed to be in it and then were cut. Like Sydney Sweeney, who filmed a cameo and then was not in the final movie. It's just very. It's funny because at the same. In the original movie, it's like Runway is this huge cultural presence and everyone wants it, but there's no actual celebrities or people in the movie. And then now it's like the opposite, whereas, where the fictional magazine is waning in its influence, but the movie is even more influential and more people want to be in it.
- [14:08]
B
I so agree. Did you like the kind of nostalgic, throwback kind of elements, like the CERULEAN sweater came back as a cerulean vest at the end worn by Andy. And then, you know, Andy's old friend was in it. That, like, gets really excited about the fashion. She was her roommate. And then there's the Vogue music play. That kind of stuff where they're like rushing around from place to place. I loved it. I thought that was great. And then, yes, whenever there's like the Vogue music, it's like the montage of all the fashion. That's when the best fashion was showed, in my opinion. Like, there was a lot of sequin, a lot of sparkle, a lot of like, statement. Whereas, like in the office, I mean, still, it looked Miranda, it looked Andy. I mean, talk to me. I wanted to talk about a little bit about Andy's evolution because, you know, obviously she went from knowing nothing about fashion. She had this, like, crash course for a while in the first movie. And then she's back 20 years later. Clearly she's a grown up. She's a 40. 40 something. She has more confidence. It was like suits and vests. And with those learnings, like she said, I took some things away from. From this job when she was talking about that Margiela blazer and thrifting it. And there are a couple of hints of that. Like she's carrying this great fringe bag. She did that in the first movie as well. There's a scene where she's got that, like cap and tie. Like when she was wearing that iconic Chanel look when she went to Miranda's house in the first one. But also some very like of the moment things. There's a scene where she's rushing around wearing capris. There was a scene where she's wearing like studded heels. You know, studded heels in that. The opener. That was those Valentino, like, rock stud style that people had a fit about. Like Andy was wearing. It looked like a pair from the same collection. Not sure. But then there's hints of like the old Andy. Like when she's making a bunch of calls and she's wearing like a Bjork T shirt. Was it a Bjork T shirt?
- [16:02]
A
I think so. She also was. Let me check something really quick. IL G L W. What is that? She was wearing this shirt with an acronym. Yes. She's also wearing, at one point while working, a ILGWU T shirt, which is the International Ladies Garment Workers Union. Which is, you know, a fashion union of apparel. Yeah. I scribbled it in my notes during the movie and I could barely read it. But I thought that it looked like a union shirt, but I couldn't tell exactly what it was, so I looked it up. So I was thinking it was a media union. Like, maybe she had been in a union at some other magazine or newspaper. But it's a garment workers union. But, yeah, she definitely has a little bit of a quiet luxury vibe in some scenes. Like a subtle neutral tone blazer, a lot of, like, jeans, with, like, a kind of sweater vest that was kind of cerulean. Yeah, you're right. Could I forgot about that. Yeah. And I think Nigel even says explicitly the phrase quiet luxury at one point.
- [17:03]
B
Yes. It's when he's picking out her clothes for the Hamptons. Tell me, did I miss something? I felt really confused, and I'm like, do they just want a moment for this dress? Was this, like, new Chanel or something? Like what? Okay, so when they're shopping for the Hamptons, he's picking things out for her. Quiet luxury. Fendi Cucinelli. Gabriella Hearst custom. Kelly. Yes. Totem. And then she's like, but I want to wear that. And it's that kind of like, stained glass looking color block. Deal. And then he's like, okay, you cannot. And they don't show it. It's going to be like a big reveal. You cannot stain. She stains. I was waiting for there to be, like, a storyline. That's all that happened. Is it just, like the whole buildup so she can get into the kitchen to talk to Miranda? I didn't understand.
- [17:48]
A
Yeah, I feel like the dress was fine looking, but it wasn't that show stopping the way it was described. And you're right, they, like, resisted showing it while they're talking about it. You're like, oh, my God, what is this dress gonna look like? And it's like a normal dress that was pretty.
- [18:01]
B
It was something that I would be like, I wouldn't want to wear it. I mean, I'm sure it's like a Chanel and it's iconic, but I was like, what?
- [18:08]
A
Yeah, it was a little weird. Another thing I want to talk about is Emily. Blunt's character, also named Emily we mentioned, is now working at Dior, some sort of senior executive role. And at one point, Andy goes to profile her and their new flagship that they're opening. And she says something about, you know, luxury retail is the only part of this business that still makes money. What did you think about that line? And, like, I mean, I think that's true. And ultimately, the product being sold in the store is kind of like what all of this is really meant to be about. So I don't know. What did you. What did you think of that line?
- [18:43]
B
Yeah, I wrote down the line as well. And I bolded it because I was just like. I mean, spot on. It's kind of like why we're doing all of this and why it kind of builds off the conversation from the first movie. Like, it's all, like, a little frivolous. But guess what? It makes good money. Like, you think there's no story behind this? This pays. This pays. This pays. This. Anyway, I felt like it was spot on. I wrote that down. I wrote down a lot of one liners that were pretty spot on. But something that I thought was a little bit off, actually, because, you know, this day and age with the kids with budget conscious shoppers, I mean, there's some fun snark. And I laughed out loud. What did they say when Andy walked in and Nigel says, look what TJ Maxx dragged in. TJ Maxx got a name drop. But it was, like, a snarky one. But. But, I mean, she could have gotten that look at T.J. maxx. T.J. maxx is killing it. Somebody told me at our dinner the other night, it used to be that you would sell clothes to TJ Maxx by the pound. They would take anything. And now it's like, TJ Maxx is too exclusive for some of the things that we want to sell. Anyway. I thought that was interesting.
- [19:52]
A
Wow. And, you know, that's a good one. Because another kind of snarky name drop that I wrote down was at the very end. Emily kind of turns out to be sort of villainous. And she's scheming to get the magazine taken away from Miranda so she can take Miranda's job, blah, blah, blah. And she's thwarted. And then at the end, she and Andy meet up. And in my theater, I don't know about yours, maybe yours was not crowded enough for this. Andy's like, hey, it's great that you moved from Dior to coach. And, like, everyone in my theater laughed at that.
- [20:21]
B
Oh.
- [20:21]
A
Like. Like, I feel like that was meant to be. Kind of like she's like, come down in the world. She was at Dior, now she's a coach.
- [20:31]
B
You know, I almost feel like she's come down to earth and realizing, why am I putting front as well at the same time? Because then she talked about how, like, working with Dior, although she. She got made fun of or, like, dissed for her French all the time. And also, ah, she ate carbs during that same conversation, God forbid, she was eating French fries. So anyway, I felt like that was a whole, like, scene of her, like, coming down to earth. Get. Get over yourself.
- [20:57]
A
Yeah, she started working at Coach and immediately started eating carbs. I feel like there's one more big topic I want to talk about, which is the. We've touched on it a little bit, the media layoffs and the changing media environment. There's also, I think, to me, the most interesting thing. And I think this is related to fashion, but it kind of touches on a lot of things. There's the scene with Andy and her new extremely forgettable boyfriend where she's talking about, like, how so many things are being gutted and laid off and all these, like, amazing cultural institutions, including magazines. But other things too are being, like, bought by soulless corporations who bring in McKinsey consultants who advise them to fire everybody. And everything that's like, beautiful and fun and human is getting, like, you know, sucked dry. And just everything's going to be replaced by like, these know nothing tech oligarchs who are like, we'll just have AI do everything. And it's like, that's presented as really villainous and like a bad thing. And I was thinking about how Miranda is. So in the first movie, Miranda is like, very. She's obviously very antagonistic and she's got a little bit of like, a softer part, but it's. She's still considered, like. I feel like she's presented as kind of a negative force with this, like, super intense mindset, this philosophy. But I feel like she looks much more sympathetic in the second movie. Not just because of the way she's written, but also there's way worse people in, like, media and business now than Miranda. Like, Miranda cares about the product and the quality and she's really exacting, but it's because she's committed to making something that's the best of the best. And it's contrasted with this dumb tech guy who's doesn't know anything about fashion, doesn't care, and is like, we'll just have AI do it. Who cares? You know what I mean? And that's presented as horrible, which I think it is.
- [22:46]
B
Yes.
- [22:46]
A
I thought that whole plotline was really interesting. Obviously media is affected by that. But same goes for fashion. Same goes for a lot of other things where it's like the soul is getting sucked out in. In the pursuit of profit and capital accumulation.
- [23:00]
B
Oh, my gosh, the speed at which this fellow who was all about AI and rapid growth and all the things that he sold the version of Conde Nast, when somebody just offered. It was like he took. He had a 15 second call. Really? Okay, bye. Like, no thought around it? No, I'm with you. That was definitely smart and accurate. And also Miranda, I don't know. A lot can change in 20 years. Okay. But like, she was a little too, too nice. Like, I'm sure she'd look at Nigel and say, have I taken you for granted? I was like, wait, she doesn't care about people. Yeah, but. And also her clothes. But like, it could be. Again, we're going through so much in the industry. We're all coming down to earth. You can't be on this high horse, this fantasy land. It doesn't work anymore. But like, they show her in the Hamptons, Miranda wearing like a casual button down white jeans and sneakers. I almost died. You get a short.
- [24:00]
A
I noted that too. That, that was, that was a little bit of an un. Miranda, like, outfit. Was the Hamptons outfit.
- [24:06]
B
Agree. But yes, she was. She. I mean, and I know that they were very chummy with Anna Wintour during the. The making of this movie.
- [24:13]
A
Yeah, yeah. Not a coincidence. I think that they get more involvement or cooperation with Anna Wintour and Vogue and the depiction is a little less sharp. But again, I also think that there are worse people to skewer in media and business right now. So I think that was kind of where more of the sharp satire was aimed. One thing that struck me as a little bit dated by just a tiny bit was the. The son of the guy who owns the Conde Nast equivalent. Who. Irv. I forget his last name. Who's kind of like. He's like the Si Newhouse sort of figure. He dies and his young son or younger takes over the company and he keeps saying guys and then correcting himself and saying, sorry, people. And I was a little bit like, that type of guy doesn't care about that anymore. Like, maybe a couple years ago I was like, I feel like the. The CEO who is like being performatively progressive. I'm like, all those guys are. They're not doing that anymore. That's from a couple years ago. Maybe.
- [25:18]
B
I actually had the same thought. It felt a little. Yeah. A couple of years back.
- [25:24]
A
Yeah.
- [25:24]
B
People like the one person in my theater laughed out loud when he did that the first time. No, there were three. I thought, I wish I was at your theater. It sounds like people were like fans and immersed in getting the joke and fashion people responding. It's literally the three people. What I mean, it was 10 o' clock show, one person fell asleep and was snoring. And I'm. This is good, good programming. This is a good entertainment. What are you doing?
- [25:46]
A
Yes. No, there was definitely a bigger reaction. And, yeah, I just found all of the business stuff and the tech CEOs kind of, like, encroaching on fashion and other parts of the world was really interesting to me. The guy who we're talking about, who is originally going to buy Runway, and then he gets sort of the son of the original owner, sells it to somebody else, is definitely meant to be kind of like, among others, a Jeff Bezos type figure who is, like, really, like, he's shown his before picture and he has zero style and is just like a computer nerd. And then now he's really rich and his fashion girlfriend is, like, showing him, but he doesn't really understand the institutions, and he's just, like, buying them and then maybe hollowing them out. And he has a divorce. He has a ex wife who took, like, half of his money and is now also a billionaire who is played by Lucy Liu, who's going to, you know, she's going to swoop in and buy Runway at the end and save it. Who's definitely, like a Mackenzie Bezos figure who, like, is more philanthropic. That part, to me a little bit, was like, oh, we just need the right nice billionaire to buy our magazine, and then everything will work out.
- [26:57]
B
They don't need to be from this world. It's fine.
- [27:00]
A
Yeah, exactly. And she says at the end, when Lucy Liu's character, like, buys Runway, she's like, you'll have all the editorial independence and all the. I was like, yeah, every new owner always says that, you know, And I kind of are like, we'll see how long that lasts. But it felt a little bit like happily ever after. A nice person bought the magazine, and it's all good now.
- [27:19]
B
Yeah, I agree it was cheesy, but in a cute way. It was meh. I thought. Did you think Beauty? I thought Beauty had a bigger moment in this. In this movie than last time. I mean, first of all, I got there a little bit early. I was waiting because we were getting all these pitches about the retailers and brands that are going to. Either they have an ad before the movie, like, they're going to have their ad, Nordstrom, for one, shown to every viewer of Devilverse. Prada. I didn't have that Nordstrom ad. I did have l' Oreal Paris with Kendall. Kendall and was mentioned a couple of times in the Movie. I thought that was kind of funny to me when they called her Candle. But Beauty for sure, definitely through the Emily character. She had like this blunt bob that was platinum and her, her hair kind of changed colors throughout the movie. There's a whole eyebrow plot line, somebody's eyebrows, people wearing blue eyeshadows. There were eye masks and red light ones and, and all these various.
- [28:15]
A
Anyway, Beauty's doing all sorts of skin care stuff when she's on the FaceTime call with her daughter. She has like the little red sticky things under her eyes and is rubbing a stick on her forehead and she's doing a whole routine.
- [28:28]
B
Yes, I liked it. That was enjoyable. I was looking for where because we had l' Oreal on the podcast this week on the beauty podcast. And I was. They were very, they, they didn't want to admit where they were in the movie. They like, wait and see. But I couldn't find them, so I'm sure I just missed it. But I didn't see a specific name or call out person.
- [28:47]
A
Yeah, well, there was such a flurry of like, product placement. It was kind of hard to track all of it. I mean, I, I only know from, from finding an official list of some of the brands that were product placement partners. But it was like Diet Coke, Starbucks, Smart Water, Samsung. It's like a lot of non fashion, non luxury. Google was one of them. There's also Tiffany. There's a scene where Emily's getting a Tiffany necklace bought. And that was like an official product placement moment there. But yeah, a lot of non fashion stuff. Smart Water was smartwater.
- [29:21]
B
Oh, interesting. I didn't know that.
- [29:22]
A
I don't even recall seeing smartwater in the movie at all.
- [29:24]
B
Yeah, some of the things I thought was kind of like, I don't know, love story to New York in a way. Like, there are some things that are very, like, recognizable and iconic. There's that bubbies that everyone goes to for brunch and like Milk Studios had a shout out. And then in addition to all the, like, media companies, I thought that was great.
- [29:43]
A
I also felt seen by both movies as someone who works in fashion media and does take the train everywhere. Instead of Ubers and private car, where Andy at the beginning takes the 7 train back to Queens, which is where I live, and I also take the 7 train. So I felt very represented by that part.
- [30:00]
B
Hey, neighbor.
- [30:02]
A
And the scene where, you know, they get budget cuts and they're like, no more private cars and everyone's freaking out. And I was like, well, you have to take the Train. Same as everybody else. Like me. So I liked that part. I was like, the train is nice. Okay, everybody take the train. The train's good.
- [30:18]
B
Get over yourself. There were some great looks, though. Like, overall, I feel like some. That really just stood out in my mind. And I don't know the designer, I don't know the name. But, like, at one point, Miranda tells Andy, you're not going to wear that to dinner. They use fashion as a way to, like, whenever something very intense comes up and somebody just doesn't want to deal with it, they start talking about fashion. It happened with Nigel.
- [30:40]
A
Comment on the look.
- [30:41]
B
The look. So, like, intense moment. And Miranda says, you're not going to wear that to dinner, are you? And then Andy comes with these, like, ah, amazing. Like sequin suspenders that cover her boobs in this cute way. And a little bun. And she was so chic. And then at the funeral of the guy that drops over Emily, and she's wearing her, like, beret with the veil, and it's so iconic. And yes, of course, Miranda had a lot of iconic looks. There's this one where she's in the street with her, like, foil blouse with, like, a sequin jacket with jewels on it. Anyway, it was amazing.
- [31:15]
A
I like that top she had with all the tassels. And then she kind of like, harrumphs at one point and all the tassels are shaking. Yeah, a lot of good looks. And I felt in a more conspicuous way than the first movie. The first movie obviously put a lot of emphasis on the clothes as well, but was more notable. For sure.
- [31:34]
B
For sure.
- [31:35]
A
So, Jill, do you feel like being in this movie? We talked about all the brands that were desperately trying to be involved in the movie or get shown in the movie. Do you feel like that will have any sort of tangible, positive impact on the brands themselves or on fashion as a whole?
- [31:50]
B
I would think it would just do something for fashion with a capital F, you know, like for dressing up, for putting on a designer. It seemed like every designer had, like, equal excitement around it. Like her friend, her roommate, Andy's roommate got a. Like, Andy gave her a bag and she was like, Valentino. Oh, my God. And, you know, it wasn't kind of the top three brands that we hear about all the time. So that was cute. And a lot of nostalgia for, like, Chanel in the first. First movie like that, those 2016 collections. I feel like Chanel had a lot of love, maybe a little more so than others. And I don't know, I just felt like it was like. It got me excited to wear fashion in general, not one designer in particular.
- [32:37]
A
Yeah, me too.
- [32:38]
B
What about you?
- [32:39]
A
No, I. I feel the same way. I think the brands that got really nice, positive placement are kind of like ones that are already big and successful, like Dior. So I. Maybe some people might watch this and they don't already own Dior or don't already know Dior and now do or will. But I think it's more just like a general boosting interest in. In fashion as a whole. And like, like you said, capital F. Fashion.
- [33:06]
B
Yeah. And maybe it was more inspiring to the normal folk, like people who are not in fashion and maybe don't know designers, because it did show some good kind of elevated meets more casual or wearable pieces. There were more jeans. There were more. Again, like Miranda wearing that fringe jacket. It looked almost like bohemian, even though it was clearly a designer jacket. So it was kind of less structured, less glossy, a little more wearable in my eyes.
- [33:35]
A
Okay. I think maybe that's all. I mean, I don't know. We could do a full hour talking about this movie. I enjoyed it and the fact that it's so closely about our world. I feel like there's so many things we could talk about, the accuracy of or what it means, but I think we touched on a lot of stuff. Maybe we should wrap it up here.
- [33:54]
B
Let's do it.
- [33:55]
A
But this was fun. If they do devil wears Prada 3, we'll have to do another episode and
- [33:59]
B
they'll give Glossy a shout out. Come on.
- [34:03]
A
They should make a movie about our newsroom. Actually, one more thing. This did make me nostalgic for going into the office all the time.
- [34:10]
B
What?
- [34:10]
A
Which, when I was actually doing it, was annoying, but.
- [34:14]
B
Yes.
- [34:14]
A
But the movie made it look really fun.
- [34:16]
B
The Little Hustle in the Morning. Oh, my God. It's just like my main thrill in life. You're in your cute outfit. You are working it. All right. We'll be back someday.
- [34:29]
A
We will. We will. Well, this was a great conversation. Thank you for being here, Jill, and thanks for listening.
- [34:35]
B
Thank you,
- [34:39]
A
And thank you for listening to the Glossy podcast. Don't forget to give us a rating and a review on Apple Podcasts or Spotify, wherever you listen to this, because that helps us out so much. And don't forget to subscribe to the Glossy podcast to hear interviews with industry insiders, and we can review segments where we break down the news. The new episodes come out every Friday. Until the next time, thanks for listening.