Aline Brosh McKenna

me over the years because David Frankel, who directed the first movie, and I have stayed friends and sort of things would happen that felt like were pertinent to the Prada world and we would chat about them.

So it started to be more and more interesting to us.

And then we heard that Meryl was open to hearing some ideas.

And at that point, I had accumulated quite a lot of them.

So as I turned to these collaborators from 20 years ago and and it seemed like there was more to explore.

And then as we

you know, as the script went to Anne and Emily and Meryl and Stan, and we were able to sort of talk about, you know, what was relevant and where these folks were, and it felt like it made sense.

It's funny because the trailer that they released in which Miranda doesn't remember her, I saw some people saying, oh, does she, you know, is she sundowning?

Yeah.

And I'm exactly the same age that Miranda Priestly would have been in the first movie.

And the idea that 20 years from now that I would remember somebody who I spent a year with saying,

even if I wrote them a recommendation letter, it's believable that, you know, it's somewhere in there.

But yeah, she doesn't remember her when she sees her.

It struck me as tremendously funny because, you know, the idea of the first movie was always that your boss is really interesting to you and you are not as interesting to them.

And so I always felt like the first movie was tinged with Andy's perception of her.

who she was, but also Andy's perception of her.

And similarly, in this movie, there's the reality, but it's tinged with Andy's perception of who this woman is now, now that she's a woman in her 40s.

It was sort of like I discovered an old dollhouse and I got to go back there and set that all up again.

Well, I have video evidence of this, sadly.

When I was a kid, I was good at school, but I had trouble finding my people.