When The Devil Wears Prada released in 2006, I was a journalism student with stars in my eyes and very little idea of who Anna Wintour was, or what Runway magazine was really a stand-in for. I watched it the way most people outside the fashion bubble did — as an entertaining film, marked by Meryl Streep’s terrific performance, and a story about a young woman finding herself in the most glamorous of worlds. The fashion was aspirational. The Valentino gown, the Paris sequences, the cerulean speech — it all felt like a window into a world that was distant and larger than life, to someone sitting in a journalism classroom trying to figure out what a career in media even looked like. I filed it away as one of those films you happily revisit on a Sunday afternoon when you want something stylish and comforting. Which I did, more than once, over the years. Cut to 2026. I walked into the sequel carrying nearly two decades of a media career on my back and high expectations.…