Editor’s Note: All review content reflects the views of the individual author only and does not represent a stance taken by The Collegian or its editorial board.

As a lover of fashion, journalism and catty remarks, it was only natural that “The Devil Wears Prada” became my favorite movie back when I was probably 14. The film’s charm snuck up on me; I related instantly with the plucky heroine, Andy Sachs, played by Anne Hathaway, just trying to get a job in the industry she loved, furiously devoted to telling the truth with a sort of aloofness to the expectations of others.

The first film tells the story of Sachs’ job at the fictional Runway magazine, modeled after Vogue, as she works under tyrannical Editor-in-Chief Miranda Priestly, played by the inimitable Meryl Streep, one of the best characters in film in my opinion. Her biting quips and icy remarks have wormed their way into my vernacular, and I’ve marveled for years at the command she is able to maintain over a room.

While “The Devil Wears Prada 2” is not the original — nothing ever could be — what is delivered is a nostalgia-heavy sequel that is more emotional and heavy than the first. It’s a satisfying, albeit cooler, ride.

The background of the film’s plot is that the Runway magazine has had to adapt to the 21st century of media and technology, and it is struggling. The print magazine has been all but decimated in lieu of clickbait-y online articles and short-form content. Human resources has toned down Miranda’s signature move of throwing her coats at her assistants. There is change in the air, and it casts a pall of doom over the first act of the film.

Change comes, too, for Andy Sachs, who finds herself fired from her beloved reporting job as part of budget cuts, and she winds up hired as Runway’s new feature editor to help through a PR scandal. It is there she reunites with Streep’s Priestly, as well as Stanley Tucci’s ever-charming Nigel Kipling, a creative director for Runway, and crosses paths with fellow ex-assistant, Emily Charlton, portrayed by Emily Blunt, who is now working in high fashion retail.

The plot weaves and winds through Andy rediscovering her journalistic spark at Runway, debating whether to pen a book exposé of Miranda, as well as navigating the difficult future of print journalism. This is a film truly fit for the modern media landscape, including a thinly veiled reference to Jeff Bezos purchasing Vogue for Lauren Sanchez as a wedding present.

It’s heavier, gloomier and more despondent than the original, or at least maybe that’s just how I felt as a journalist who recently headed a fairly public effort to save The Collegian‘s print newspaper. There are some bits of the film that seem purely crafted for the people of the journalism industry: Andy’s passionate and fiery speech about the importance of a free press, Miranda’s dedication to hard copies and Andy’s delight at a potential love interest reading her work. It feels like a special inside club has been referenced that only journalists will understand.

However, the plot picks up the pace and becomes much more of an enjoyable cinematic venture when the crew descends into Milan for a fashion event. The cinematography across the film is stunning — New York City plays a bigger role than in the original, and the Italian landscapes are impressive and ornate.

The film is flush with cameos and special appearances by fashion and celebrity elite, which helps blur the line between the film and reality as in the original. The fashion worked for me and kept my attention, with inclusions of feminine menswear and modern street style, but I know it’s received mixed reviews by others. I sympathize with some of these reactions, especially the bar necklace and pearls that Andy wore the entire movie that I got sick of looking at about an hour through.

Emily Blunt steals every scene she is in and is by far the funniest member of the cast. What is really missing here is Streep’s ice-cold digs as Priestly, but what it’s replaced with is her wonderful acting skills in painting a more emotional, stripped-back and human Miranda. It is not a disappointment, per se, but rather a trade-off that was made by the writers.

The inclusion of Kenneth Branagh as Priestly’s new husband is a nice touch, it was enjoyable to see her have a loving home life. On the other hand, Patrick Brammall’s character, who is Andy’s new boyfriend, is one-dimensional and boring. It was a plot that could have been left out entirely.

Tucci shines as he did in the first film, and I thought Hathaway’s performance as Andy was endearing and charming. Newcomer additions include Simone Ashley’s standout performance as first assistant, Amari. I wish she had more screen time and could have been explored further. Some other additional new characters feel superfluous and excessive, and the plot does suffer pacing issues. However, there is a happy ending, something that is all too rare in the media industry these days.

What shines about the film, truly, are the nods to the original: a “spring florals” gala, the famous onion bagel scene, a cerulean sweater and Miranda’s signature Starbucks order stamped on the side of her cup. These tongue-in-cheek nods felt included for super fans, and they kept me grinning. While nothing will ever top the original for me, “The Devil Wears Prada 2” ultimately delivered a satisfying and nostalgic follow-up.