The world didn’t necessarily need a sequel to The Devil Wears Prada. It’s not a criticism, just a fact about revisiting a movie that ended exactly where it needed to. And yet, 20 years later, David Frankel and writer Aline Brosh McKenna have uncovered a narrative premise that actually justifies reopening the doors of Runway: a media industry collapsing under its own weight and the people who build their careers in the twilight of its golden years refusing to be quietly consumed by it.