Based on the trailer, I thought this was going to be insipid – a disappointing attempt to rekindle a formula that worked perfectly well as a one-off 20 years ago. But ‘The Devil Wears Prada 2’ actually has quite a lot to say about how the fashion magazine industry has changed. Print magazines are no longer what they once were; everything has shifted online. So here we find Meryl Streep’s Miranda Priestly, once the ultimate arbiter of style, now operating in a world dominated by social media influencers… and suddenly her authority feels far less secure.

That gives the film a timely edge. It also opens up a strand about serious journalism through Anne Hathaway’s Andy, who has moved into more meaningful reporting but finds herself drawn back into the orbit of ‘Runway’ magazine and working again with Miranda and Nigel (Stanley Tucci). The world on screen is still one of immense wealth – glossy New York apartments and high fashion – but the tone is subtly different from the original, being less overtly mocking and more reflective.

The film raises interesting questions about what audiences actually want now. You can write a thoughtful, important article, but will anyone read it? Or will they just skim and look at the pictures while in the bathroom? There’s a sense that both Miranda and Nigel are dinosaurs in a world that has moved on from them. What I liked is that the film doesn’t simply try to replicate the original – it moves the story forward, shaped by the last two decades.

There are still comic touches, like Miranda being forced to fly economy or eat in the company canteen – “Do we have a canteen?” she asks, genuinely bewildered. Kenneth Branagh appears as her partner in an underdeveloped role, and there are cameos, including Lady Gaga. But beneath the gloss, the film touches on job insecurity at every level. One particularly sharp moment comes when Miranda learns Andy may write a tell-all biography – and rather than resist it, she encourages it, suggesting people have a right to know. This, after all, is a social media world where secrets are not exactly well kept.

And at the centre of it all is Streep, who remains excellent – underplaying the role, in marked contrast to, say, Glenn Close in ‘101 Dalmatians’, coolly dismissive rather than theatrical, and all the more effective for it.

“That’s all!”