The Devil Wears Prada 2 has already banked $10 million in previews on Thursday night, and is expected to make over $75 million this weekend.
This impressive box office performance puts the much-anticipated sequel on course to easily exceed the original 2006 film.
The first Devil Wears Prada film made $27.5 million on its opening weekend and went on to gross over $124 million domestically and over $326 million worldwide.
By contrast, Variety reports that some estimates suggest the sequel could make as much as $100 million on its opening weekend alone.
That would place it among the highest grossing films of the year. The Super Mario Galaxy Movie recorded the biggest opening weekend of the year, making over $131 million. Michael Jackson biopic Michael opened to $97 million, while Project Hail Mary made $80 million domestically on its first weekend.
The Devil Wears Prada 2 is also performing well internationally, having already banked more than $50 million in total globally.
The film sees Meryl Streep reprise her role as fashion editor Miranda Priestly, along with fellow original cast members Anne Hathaway, Emily Blunt, and Stanley Tucci.
The original film, an adaptation of Lauren Weisberger’s 2003 novel of the same name, followed Hathaway’s Andy Sachs as an aspiring journalist hired as a co-assistant at a major New York fashion magazine, only to be mistreated by her demanding editor.
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The sequel has been well-received by critics, with The Independent’s Clarisse Loughrey handing it four stars and writing: “Welcome to the resistance, Miranda Priestly. Not even the die-hard loyalists of 2006’s fashion satire The Devil Wears Prada expected much from its return to the big screen: a ‘cerulean sweater’ callback, certainly, alongside some washed out lighting and plenty of egregious product placement.
“All are, unfortunately, present in The Devil Wears Prada 2 – get ready to play a hypercapitalist Where’s Wally? with all the snuck-in Diet Coke cans. Yet the sequel has also seemingly come out of nowhere to deliver what might be the most trenchant, committed portrait made about the state of contemporary journalism.
“In the film’s punch-the-air climax, Meryl Streep’s Miranda, the imperious overseer of Runway magazine, locks that X-ray vision of hers onto some gilet-fitted investor (BJ Novak) and lambasts the encroachment of AI into the media space as an affront to ‘human achievement.’ It’s not exactly All the President’s Men, but we’re in a dire situation – it’ll do nicely.”
