Anne Hathaway sends fans into frenzy by teasing return to The Devil Wears Prada 2
The 42-year-old actress posted a short clip in which she appeared to confirm her return as Andy Sachs, the wide-eyed assistant turned journalist who first graced the screen in the first movie in 2006, with her TikTok footage sending fans into a frenzy over the upcoming release of a follow-up.
'Heading to werk #dwp2,' she captioned the video — but it was her wardrobe that caused the biggest stir.
In the clip, Anne is seen brushing her teeth with an electric toothbrush, a subtle nod to Andy's original interview scene in the first film.
But the detail that truly caught fans' attention was her cerulean blue sweater — a shade immortalised by Meryl Streep's Miranda Priestly in her now-famous monologue.
The original film, based on Lauren Weisberger's bestselling novel, followed Andy Sachs' foray into the ruthless world of fashion journalism at Runway magazine.
It became a cultural landmark, praised for its performances, fashion, and biting commentary on the industry.
The new video comes just weeks after Disney confirmed The Devil Wears Prada 2 is officially in development.
Anne will reprise her role alongside 75-year-old Meryl Streep as Miranda and 41-year-old Emily Blunt as Emily Charlton. Stanley Tucci, 63, is also returning as art director Nigel.
New additions to the cast include Lucy Liu, 55, Justin Theroux, 53, B.J. Novak, 45, and 32-year-old Pauline Chalamet.
Plot details remain under wraps, but sources suggest the story will explore Miranda's struggle to remain influential in an industry overtaken by digital platforms and shrinking print media.
Emily, now a powerful executive, holds the influence Miranda needs – setting the stage for a power shift that may upend old dynamics.
While Anne's teaser offered no spoken dialogue, the choice of wardrobe and caption immediately triggered a wave of quotes from fans.
One wrote: 'SHE'S WEARING THAT CERULEAN BLUE!!!!' while another added: 'EVERYBODY STAY CALM IT'S HAPPENING.'
Anne was later photographed on set wearing a black vest over a white T-shirt, a long denim skirt, and oversized sunglasses.
She held a folded newspaper under her arm—suggesting Andy remains tied to journalism, nearly two decades after her Runway days.
In Miranda's original monologue, she eviscerated Andy's fashion apathy by saying: 'You go to your closet and you select, I don't know, that lumpy blue sweater… what you don't know is that that sweater is not just blue, it's not turquoise, it's not lapis, it's actually cerulean.'
She continued: 'That blue represents millions of dollars and countless jobs… and it's sort of comical how you think you've made a choice that exempts you from the fashion industry.'
Fans now await confirmation on how closely the new film will follow Lauren Weisberger's 2013 novel Revenge Wears Prada, which sees Andy running her own bridal magazine before Miranda re-enters her life unexpectedly.
The Devil Wears Prada 2 is scheduled for a cinema release on 1 May 2026.
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The Advertiser
a day ago
- The Advertiser
Bambi in the public domain: A smart and bloody take on a childhood favourite
There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. The juggernaut that is Disney couldn't stop enterprising filmmakers jumping on this adaptation bandwagon when Steamboat Willie, the first on-screen appearance of Mickey Mouse, entered public domain in 2014, with recent horror films like Mickey's Slayhouse and Mouseboat Massacre hitting - well, they're not hitting cinemas, they're mostly appearing on horror streaming services like Shudder. Even my childhood favourite TV show characters The Banana Splits went on a malfunctioning animatronic killing spree in 2019's The Banana Splits Movie. Bambi: The Reckoning takes, yes, your sweet childhood memory, though for legal reasons, it draws from author Felix Salten's 1923 novel Bambi: A Life in the Woods, and not the Disney adaptation that they still very much hold all rights for. Director Dan Allen starts the film with a rustic animation that certainly nods towards the Disney drawings, showing over the title credits a young fawn losing his mother and growing up into a giant buck. Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked. There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. The juggernaut that is Disney couldn't stop enterprising filmmakers jumping on this adaptation bandwagon when Steamboat Willie, the first on-screen appearance of Mickey Mouse, entered public domain in 2014, with recent horror films like Mickey's Slayhouse and Mouseboat Massacre hitting - well, they're not hitting cinemas, they're mostly appearing on horror streaming services like Shudder. Even my childhood favourite TV show characters The Banana Splits went on a malfunctioning animatronic killing spree in 2019's The Banana Splits Movie. Bambi: The Reckoning takes, yes, your sweet childhood memory, though for legal reasons, it draws from author Felix Salten's 1923 novel Bambi: A Life in the Woods, and not the Disney adaptation that they still very much hold all rights for. Director Dan Allen starts the film with a rustic animation that certainly nods towards the Disney drawings, showing over the title credits a young fawn losing his mother and growing up into a giant buck. Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked. There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. The juggernaut that is Disney couldn't stop enterprising filmmakers jumping on this adaptation bandwagon when Steamboat Willie, the first on-screen appearance of Mickey Mouse, entered public domain in 2014, with recent horror films like Mickey's Slayhouse and Mouseboat Massacre hitting - well, they're not hitting cinemas, they're mostly appearing on horror streaming services like Shudder. Even my childhood favourite TV show characters The Banana Splits went on a malfunctioning animatronic killing spree in 2019's The Banana Splits Movie. Bambi: The Reckoning takes, yes, your sweet childhood memory, though for legal reasons, it draws from author Felix Salten's 1923 novel Bambi: A Life in the Woods, and not the Disney adaptation that they still very much hold all rights for. Director Dan Allen starts the film with a rustic animation that certainly nods towards the Disney drawings, showing over the title credits a young fawn losing his mother and growing up into a giant buck. Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked. There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. The juggernaut that is Disney couldn't stop enterprising filmmakers jumping on this adaptation bandwagon when Steamboat Willie, the first on-screen appearance of Mickey Mouse, entered public domain in 2014, with recent horror films like Mickey's Slayhouse and Mouseboat Massacre hitting - well, they're not hitting cinemas, they're mostly appearing on horror streaming services like Shudder. Even my childhood favourite TV show characters The Banana Splits went on a malfunctioning animatronic killing spree in 2019's The Banana Splits Movie. Bambi: The Reckoning takes, yes, your sweet childhood memory, though for legal reasons, it draws from author Felix Salten's 1923 novel Bambi: A Life in the Woods, and not the Disney adaptation that they still very much hold all rights for. Director Dan Allen starts the film with a rustic animation that certainly nods towards the Disney drawings, showing over the title credits a young fawn losing his mother and growing up into a giant buck. Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked.
Perth Now
a day ago
- Perth Now
Meet the Aussie duo rewiring comedy
In early 2020, appearing on the YouTube interview show Hot Ones, legendary comedian Will Ferrell mused on the future of comedy. Comedy clubs were back then and are now a shadow of their former selves and mere days ago CBS announced the cancellation of The Late Night Show with Stephen Colbert after 33 years on air, 10 of those with Colbert as host. But laughs aren't dead, they're just online now. Social media is proving the new frontier for comedians looking to cut their teeth, allowing budding comics to record sketches, develop characters and grow a platform without the aid of more traditional pathways. Half the world away from that Ferrell interview, comedy duo Swag on the Beat started life in a Melbourne supermarket after an innocent one-take video poking fun at Covid supermarket etiquette gathered almost 30,000 views. Melbourne duo Swag On The Beat made up of Isaac Gibbons and Jack Say. David Crosling Credit: News Corp Australia Today, the duo – made up of Jack Say, 28, and Isaac Gibbons, 29 – have amassed more than 3.3 million followers across Instagram, TikTok and Facebook. Having recently completed a live show tour around Australia, New Zealand and England, Say and Gibbons agreed with Ferrell's assessment that there was no substitute for honing a comedian's craft quite like performing in front of a crowd. However, they argued the nature of social media management meant nowadays comics needed to be a 'jack of all trades'. 'It was an amazing cutting of the teeth moment for us,' Say told NewsWire. 'We learned so much about live audiences, but it feels like now – you hear musicians talk about it as well – not only do you have to 'make the music', but you have to be the advertiser and you have to do all the social media stuff that comes along with it. 'It feels like you almost have to be a jack of all trades and to service each platform with what it requires in order to have a grip in the industry.' The boys just reached one million followers on Instagram alone. David Crosling Credit: News Corp Australia Continuing the aspiration of multi-platform mastery, the duo have cracked into the podcast space. It's a dangerous time to make the move. Internet commentators have complained the market is now so over-saturated that the sale of podcasting equipment ought to be restricted or banned. The boys, however, are finding the change of pace a welcome return to the ad lib comedy style of their younger years. 'Speaking for myself, I wasn't a huge podcast guy, so I guess I was always astounded by the amount of podcasts out there that have strong listenership,' Gibbons said. 'Obviously, it's a growing platform and there's people that listen to all kinds of content. And I think rather than talking other people down or focusing on how types of podcasts that don't deserve listeners, get listeners, maybe it's worth acknowledging that there's all kinds of listeners for different types of content and trying to tap into that, appreciate that everyone listens to different stuff and try to make something that can appeal to a lot of people.' Making content that is appealing to a wide spate of people is no easy task in the modern world and it's something that Say and Gibbons have made pains to improve on in recent years. 'We were talking about this earlier today actually. Something we've crystallised since the start of Swag and we're getting closer and closer to is being able to provide content that anyone can listen to,' Say said. Comedy legend Barry Humphries is among the boys' role models. Openart AI Credit: Supplied 'If you're 15 or 75, we would like to create stuff that anyone can enjoy, anyone can palate. 'While being fresh and interesting is kind of the goal for us, we don't want to exclude any group or person or people from our stuff. 'It's that classic line from when they wrote the Mr. Bean TV show. 'If a joke couldn't be understood by people in Egypt, then it didn't get in'. He's on the extreme level where he didn't even speak, but we're sort of taking a leaf out of that book, which is: Does this allow everyone who can hear and watch our stuff the chance to enjoy it? 'There's only so much you can do as two guys, but we feel like we're getting better at dividing our time and energy up into multiple parts of the industry, which feels like an essential thing.' It's difficult to put your finger on Australian comedy in the same way you can identify dry British humour or brazen American comedies, and the nature of social media skits as an emerging form of content means prospective filmers may lack the comic role models of other mediums. However the boys cast the net wide and believe the vagueness offers an opportunity to cherry pick and aspire to the best. 'We're big fans of Chris Lilly, everything done by Chris Lilly,' Gibbons said. Australian icon in Chris Lilley as Jonah Takalua. Supplied Credit: Supplied 'I love the character comedy and the way he can very convincingly play all different types of characters. Sacha Baron Cohen as well. 'I think the Godfather of Australian comedy, Barry Humphries, is of course iconic. Flight of the Concords is a duo who has a hilarious dynamic and incorporates music which we try to do as well.' '(American and British humour) both are incredible, but I suppose beyond personal preference of the comedy styles, as Australia does in many other ways, we sort of take little bits of longstanding cultures that we like and try and incorporate them into our own things,' Say added. 'Maybe there's a bit of that going on that is forming the Australian comedy style.' The duo has partnered with KitKat to release a line of Commuter Camouflage Hoodies and are celebrating reaching one million followers on Instagram by throwing a party at the Railway Hotel in Brunswick on Saturday, August 30, announcing a secret project they've 'been working on for months'.
Perth Now
2 days ago
- Perth Now
Gwyneth Paltrow hired as 'temporary' spokesperson for Astronomer after viral Coldplay kiss cam incident
Gwyneth Paltrow is starring in a new ad for Astronomer. Almost two weeks after the tech company's married CEO, Andy Byron, was caught on a Coldplay concert kiss cam with his arms around his HR executive Kristin Cabot, Gwyneth has been hired as a 'temporary' spokesperson for Astronomer. Gwyneth, 52 – who was married to Coldplay frontman Chris Martin from 2003 until 2016 - appeared in a short video on Astronomer's social media speaking about the company's strengths. She said: 'I've been hired on a very temporary basis to speak on behalf of the 300-plus employees at Astronomer. Astronomer has gotten a lot of questions over the last few days, and they wanted me to answer the most common one.' The first question, 'OMG! What the actual f***?', then appeared on the screen in writing. However, she dodged the question and said: 'Yes, Astronomer is the best place to run Apache Airflow, unifying the experience of running data, ML and AI pipelines at scale. We've been thrilled so many people have a newfound interest in data workflow automation.' The next question to Astronomer was, 'How is your social media team holding...' However, she moved on before the whole question could be asked, saying: 'We will now be returning to what we do best, which is delivering game-changing results for our customers. Thank you for your interest in Astronomer.' The video was captioned: 'Thank you for your interest in Astronomer.' At Coldplay's July 15 concert, a cameraman panned across the crowd and showed Byron and Cabot in an embrace. In a video shared to TikTok, as the couple frantically tried to dodge the camera, Chris, 48, could be heard saying: "Oh, look at these two. All right, c'mon, you're okay. 'Oh, what? Either they're having an affair or they're just very shy.' Both Byron and Cabot have since resigned from the company.
