May 5, 2026 • 28 mins
In this episode of TV Reload, hosts discuss the highly anticipated sequel, The Devil Wears Prada 2. They dive into the film's themes, characters and music. Sharing their thoughts on what makes this movie stand out. From the evolution of the characters to the return of beloved actors, Ben and Brose dissect the film's strengths and weaknesses. They also discuss the music, cinematography and costume design. Highlighting the attention to detail that makes this sequel a visual treat. With a mix of humour and insight, the hosts give their honest opinions on whether this film lives up to its predecessor.
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Speaker 1 (00:00):
It's in the news today, but it was actually on
TV Reload the podcast last week that line. Welcome back
to TV Reload the podcast where we dive into the
shows and film everyone is talking about. And while my
co host Bros And I still can't afford Prata twenty
years later since the first film came out, I think
we today will make up for it with our movie
knowledge and movie insights.
Speaker 2 (00:20):
How I hopefully, I'm very well. That means we're not devils.
That's what means we're not the Devil. I wore my weird,
our youngervic Hawaiian shirt to the Devil was Brata? What
did you wear?
Speaker 1 (00:34):
I think I was unsurprisingly seeing it at the time
that I saw it in a previous screening, so I
was wearing what I was already wearing.
Speaker 2 (00:41):
I was part of.
Speaker 1 (00:42):
But broadly the Devil I reckon people would call me
the devil.
Speaker 2 (00:45):
So the uber I called to the cinema was a Prato.
Does that count? The devil rides in Prato?
Speaker 1 (00:53):
I'm assuming that that's a joke.
Speaker 2 (00:54):
Can you it as a joke? I caught the tram
because they're all free in Melbourne now, So I love that.
Speaker 1 (00:58):
I love that I was on the Gold Coast, so
I literally walked across the road from a conference where
I was at and was able to see the film
a few days before it came out.
Speaker 2 (01:05):
Yes, I got to see it on a Thursday night.
I went to the cinema. Hoiz, I give houts a
lot of plugs here apparently, but puts in Melbourne Central.
There was a good crowd too, maybe forty fifty people
in the audience, which was good, but no one was
reacting to anything for the whole movie. I was laughing
out loud, feeling like an idiot, you know how I laugh.
And there's some really laugh out loud funny moments in
this film, but no one people were talking amongst themselves.
Speaker 1 (01:28):
I was in a cinema and I'm going to tell
you that that same thing happened to me. I'm hoping
coincidentally we were in cinemas with people with no personalities.
But I fear that we may not be. I don't know.
Maybe people were sitting there so anxious about one of
their favorite films getting a sequel that they couldn't react
on the first viewing. They just sat there nervously.
Speaker 2 (01:49):
Hopefully because look, people were coming out. I mean I
got to Thursday Night movies quite regularly for the podcast,
among other things, like people came out for this film,
people want to see it, and all the films we've
done this year, people are coming out with this one,
and that's a good sign. So it's nice. The what
have we got first? A plot or we've got a
clip to play? What are we what are we going
to do first?
Speaker 1 (02:05):
Well, let's roll clip, and let's roll clip, and then
we'll go into a little bit about what we now
know as the synopsis, because they've been kind of keeping
that under lock and key, so we don't want to
give away too much for you with that, but we'll
be back in just a moment. Hello, well look what
TJ maxtre dem Sorry? Who is this? Do you know her?
Speaker 2 (02:27):
Do I know her?
Speaker 1 (02:28):
I'm Andy Sachs Andrea. She was one of the emilies,
one of the what am I having a hallucination?
Speaker 2 (02:36):
Emily?
Speaker 1 (02:37):
You also know her. We were Runway at the same time, Randa, Really,
where was I am? The new futures editor at Runaway? No,
you are not. Yeah, we're also thrilled. What's funny is
you've changed, you have You're much more confident kept those eyebrows, though,
didn't you so. Two decades after walking away from Runway Magazine,
(02:58):
Andy Sachs has built a respectful career as a journalist,
as we expected that she would, until her entire newsroom
is suddenly shut down. With nowhere else to turn, she
finds herself back under the command of Miranda Priestley, who
is now struggling to keep Runway relevant. As tensions rise,
old relationships are tested and new power plays emerge, forcing
(03:20):
Andy Sex to navigate ambition, loyalty, and the changing face
of media while deciding just how much of herself she
is willing to compromise to succeed.
Speaker 2 (03:31):
There we go. They're always prior too, So upfront, this
is what I'm gonna say about this film. It's not
the satirical kind of film that the first one was,
But I think at the same time, we're a much
more mature audience when it comes to fashion. So when
the first film came out, maybe we weren't as familiar
with some of these bigger brands and the idea of
you know that type of fashion, high end fashion, and
so forth, Whereas now, because of the first film, among
(03:52):
other things, we're quite familiar with that idea, so it
doesn't if you're going for the satire. There's a little
bit dribbled all the way through it, but it's not
as strong and it's not as big. What this film
I think does superbly. And whether you agree with me
or not, here, Ben, this is what I'm asking you.
It's just nice to see our old friends together again.
It's good to see Stanley Tucci and Anne Hathaway and
Meryl Streep and Emily Blunt, you know, bouncing off each
other and all new characters around them. That's what the
(04:15):
film's about. And we get to just spend time with
our friends again.
Speaker 1 (04:17):
That's exactly right. And I think that what's interesting about
The Devil Births Prida and the length of time that
has been there is that Miranda, Andy, Emily and Nigel,
our four fantastic characters are all back and they are
so dear to us, you know, as the time has
gone on. So there is a huge danger in bringing
back characters like this to see where they are now,
because do you a bring back all of those characters
(04:39):
as impersonations of themselves and don't make any big, bold decisions,
or do you acknowledge that there's been twenty years and
a lot could have happened to these people, and I
think that the director has made a bold choice in
not necessarily having to man explain what there are a
few differences to these characters in the twenty years it's
been And I applaud him for this because I actually
(05:01):
really like what these characters look like. In twenty twenty six.
Speaker 2 (05:04):
Yeah, David Frankel taking the reins again, and Aileen Brosh
mccannach came back and wrote the script. She wrote the
script for the first one as well. And look, it's
fairly standard that if you do a film twenty years
later that you've got to explain that somehow. But what
I like is that they've taken the last twenty years
as the fictional twenty years in the film universe as well.
And so Andy's gone out there and learned how to
be a quality journalist like she'd had ambition to do.
(05:26):
And Emily has continued to work in fashion, and she's
had to deal with the massinations of machinations of fashion,
and Miranda's still had to maintain her position at the
top and has fought her way to still be there
twenty years later. But I like that those characters have
grown or evolved over twenty years and we get to
catch up with them, and I thought they did that
part really, really, really well. How did you feel about
Miranda specifically in this version of the film, because I
(05:49):
think I don't know if we quite get the Miranda
we wanted, but we still get the Miranda we love. Well.
Speaker 1 (05:53):
I think that this is a choice for Meryl Streep,
and look, Meryl Streep does not make a decision by
a mistake. So I think a few people that have
already been talking to me about this film and saying
that what was going on with Merrill while she was
making this film? It almost looked like she had tears
in her eyes or she looked a bit tired. And
the truth of the matter is fashion magazines are almost dead,
(06:15):
and you could only imagine the character of Miranda Priestley,
which you know, when I first saw the first film,
it was described to me about a movie about people
who get bullied. You know, bullying is a buzzword and
has been now for twenty years, and it has been
sort of redefined and relooked at and controlled in workplaces.
And there's a joke in the movie about the fact
that Miranda Priestley can't throw her jackets at people anymore
(06:38):
very clever. But look, I actually think she is choosing
to do that. I think Merrill looks like as Miranda
Priestley should. Back in the day she was flying first
class telling people to basically, you know, fuck off that
they didn't know the difference between two different colors that
to me were the same color. Shout out to you,
Andy Sachs. But the thing is she would be exhausted
(07:00):
being pulled into this universe. And look, the fact of
the matter is, you know, people don't buy magazines anymore.
I don't even have a news agency in my suburb.
Speaker 2 (07:09):
I don't I've got a Tattlesall store that selves magazine.
Speaker 1 (07:12):
Yeah, but they don't have vacation.
Speaker 2 (07:14):
Yeah. No, you're right. And it's good that they confronted
that as well. It's always dangerous I think in film
or even TV when they can confront technology. But I
think they did a good job in this instance because
they didn't overplay it. It was just a fact. They didn't
have to over explain anything because we know it. But yeah,
I think they handled that stuff really well and the
script was tight. There's one sequence. At one point we
jumped from an industry party to someone's birthday to then
(07:35):
a funeral, and it's just three events, bang bang bang,
and it just tells the story what within about seven minutes,
three locations, fast cuts between each each event, and really
tight writing and tight direction.
Speaker 1 (07:47):
I was never bored. This movie never allows you to
be bored. They just keep punching along. And whilst I
think it's sometimes they try to be a little bit
ambitious with telling a current story, and some points forgetting
that it's supposed to be a little bit lighter, it
does in its third act decide to go full Campo
and throw Madonna song's fashion makeup like everything that you've wanted.
Speaker 2 (08:09):
Another special guest singer that has a huge moment as well, Yeah,
which we won't reveal. I'll say one thing. They go
to Milan in that part of the movie, and how
great did Anne Hathaway look once they got to Milan.
Didn't they just turn it on fashion hair makeup? She
looked incredible.
Speaker 1 (08:22):
Anne Hathaway from a gay man's perspective, is delicious. And
anyone that comes to me and says they don't like
Anne Hathaway and revoke your gay license because she is
kind of that underdogish type character that comes with a
lot of her choices with her movie roles, which I
thinks to probably the LGBTI community in a way, and
(08:43):
so she kind of plays that role really well. But
I loved seeing her being really sexy in this.
Speaker 2 (08:50):
Didn't even look like Anne Hathaway half the time.
Speaker 1 (08:52):
No, but that's because you're too busy, just just no
mom only joking them.
Speaker 2 (08:57):
I just thought she was sucking it away, is what
Ben's saying. I was locking it away.
Speaker 1 (09:02):
I just thought she looked phenomenal. And yeah, the only
thing I didn't like about her was I did feel
like in the movie it did take me a little
bit of time to understand and Hathaway's journey with this
character mer or right came to me with what I
explained before. Yeah, yeah, yeah, But with Anne Hathaway, there
were moments where she looked like she was having a
(09:23):
little too much fun playing Andy, like, well.
Speaker 2 (09:27):
She's more confident, which we learn obviously see for me
and maybe this is part of the same problem that
you had. I feel like she was too frumpy some
of the time. It's like you have worked at runway
you've learned to understand what fashion means. You know, you've
learned how to make yourself look good as well, like
what to wear and how to look good. And then
she just walk around it looks like tracksuit pants and
a T shirt. At one point in the office it's not,
but it looks like it. And then at the end
(09:48):
she's just looking frumpy again. It's like, but she knows
how to dress and do her own makeup and hair
to look amazing in Milan. But then, you know, I
found that a bit weird, like at least some nods.
Although there's the nod that she picked up a designer
piece that thrift store or whatever, that was nice, But
I just think even then it was a frumpy looking
sports coat. And did she have to roll that?
Speaker 1 (10:07):
I thought it was a nice jacket.
Speaker 2 (10:09):
What did she have to roll her sleeves up?
Speaker 1 (10:11):
Yes, because she's at Runway.
Speaker 2 (10:12):
In every outfit she's got sleeves that go up halfway
up before him. Just let the sleeves flow, love, just
let them hang down. That's what sleeves are for.
Speaker 1 (10:21):
I'm just glad that she's a woman and you're not
going on about her brushing her hair forward. Because all
this movie is for you, because like the thing that
this movie does well with its characters, I want to
know whether you feel the same way. Stanley Tucci is
the one out of the four that really levels up
and is better than his original performance, or maybe he
(10:42):
had more to do.
Speaker 2 (10:43):
I think in this one he has more control, like
he's actually making things happen, not just guiding things as
they happen, if that makes sense. Like the twist at
the end about well, you know, the twist at the
end that he says in the third finale is really tasty.
You know, it's a really nice moment and it's a
good reward. It does have three this film, by the way,
which is bizarre. But he does have a little more power,
(11:03):
a little bit more agency, I think.
Speaker 1 (11:05):
But I just felt like, out of these four characters,
they had the impossible task of living up to their
original roles and their performances, and he just smatches this,
Like I for sure that the heart and soul of
this film. To me, that grounds it and gives it
the gravitas to Stanley Tucci.
Speaker 2 (11:23):
So yeah, I agree, I agree. What did you think
of Justin Thorreau as mister Barnes there.
Speaker 1 (11:29):
I did not know it was him until afterwards. I
rang a friend of mine who I knew had seen
an early screening in America the week before, and they
said to me on the phone, oh god and justin throw.
What did you think? And I was like, who was he?
Speaker 2 (11:42):
Yeah? I had no idea. I didn't know until I
looked into the cast for this podcast. I'm like, I know,
I knew it was someone, like you know, I was
bugging me. I couldn't work it out. But at the
same time, Wow, just amazing.
Speaker 1 (11:52):
Do you remember how he lean he was in Charlie's
Angels Too full Throttle?
Speaker 2 (11:55):
Oh yeah? Or in romy and Michell's high school reunion. Yes, yeah,
he was dining Little Vella. Yeah, and that's not he's
not fatter and he's put on. He's like, he's a
bit more muscular. But I don't know if he was
padded as well. I don't know. It was amazing. And
then Lucy lou Is his ex wife.
Speaker 1 (12:12):
Brilliant casting. I love Lucy Lou. I could watch her
in anything. And then she was so good.
Speaker 2 (12:17):
And the thing about Lucy Lou is, if she's in
a bad project, she's not great. But if you stick
her in a prestige project. She is fire. She is
so good. And I was saying she's bad. It's just
you know that the material does let her down as
an actor, but when you give a good material, she's
and she was so strong in this, she was so
in control, was so good.
Speaker 1 (12:34):
Okay, great. For a minute there, I thought you were
going to go all Bill Murray on me and about
her work.
Speaker 2 (12:39):
I'm like, oh, no, no, no, And look, I love
Lucy Loo and always have. I'm just saying, because her
career has been a bit up and down, that sometimes
she's in lesser stuff and she just doesn't break through.
But when you give a good material, she's really strong.
Although what happened to her Fionce? Were we ever going
to meet her fiance?
Speaker 1 (12:52):
Well, maybe we'll meet that in the Devil West part
of three. And look, I thought that character was worthy
enough for us to want her see her again.
Speaker 2 (13:01):
Yeah for sure. Yeah yeah.
Speaker 1 (13:02):
And also we now you know, there's some things that
they can do with that character. I do feel like
as we've sort of shifted into some of the supporting
roles that we have missed out on the old Emily.
To talk about Emily Blunt, now I have something to
tell you on this podcast that.
Speaker 2 (13:16):
We're right, are gonna people are gonna lose their shit over.
Speaker 1 (13:18):
I hated her in the first one, as in I
didn't mind the character. I hated Emily Blunt's portrayal.
Speaker 2 (13:27):
Yeah right, and now so I thought her acting with
shit or something like yeah, right, right, Okay.
Speaker 1 (13:32):
It's taken me twenty years of watching her films to
absolutely adore her, like Emily Blunt is right.
Speaker 2 (13:37):
We'll see the first film that was Emily Blunt's first
significant US correct, She don't do English TV and series
and bits and pieces like that. Maybe an English movie
here or there, but yeah, that was her first international
US screen time. And yeah, it makes sense that we've
seen her in a few films since then where she's amazing,
including what's the horror film that her husband that drank
Quiet Place, Quiet Place. She's incredible in a quiet place.
(13:59):
Oh but and a lot of stuff she's done, like
in that horrible Disney Jungle movie. It's pretty much an
awful movie, but she's great in that.
Speaker 1 (14:05):
So good in that movie. That Jungle Cruise movie should
have been the biggest piece of shit it is, except
for well, I enjoyed that movie. I remember watching I
think I had a champagne or something something that you
must have.
Speaker 2 (14:15):
I watched it sober. It is not a good movie.
Speaker 1 (14:17):
She does a lot of heavy lifting in this film.
Speaker 2 (14:20):
Yeah, I think she does too, and she's got a
you know act like she's attracted to Barnes, who's not
the most attractive guy.
Speaker 1 (14:25):
She does a great job of being attracted to his
money and not attracted to Yeah, so good. She's there
for the money and the brands, like she's there for
the opportunity. She ain't there for that bloke, that boy.
Speaker 2 (14:36):
This film almost feels like if Emily wasn't in the
first film as Emily, this would have been a completely
different character in this film. But they put Emily there
because they had her to use, if that makes sense,
And because Emily Blunt is now a you know, a
box office name, so there is that sense of, well,
if they just introduced someone new there, it wouldn't have
mattered so much.
Speaker 1 (14:52):
Well, I can't wait to go back and rewatch this film.
I reckon I might even see this film maybe two
or three times.
Speaker 2 (15:00):
Whether that's the other thing I wanted to ask you
just quickly, what did you think of Miranda having a
husband and that husband being Kenneth Branner.
Speaker 1 (15:08):
I thought Kenneth Brenner was delicious in this as well.
Speaker 2 (15:10):
I thought he was very good, but it just seemed
unnecessary or something.
Speaker 1 (15:14):
Well, I think we had to see.
Speaker 2 (15:15):
I think it's more humanized her more, didn't it. That's
exactly right.
Speaker 1 (15:19):
There was choices in this film where I was like, ah,
now I know why we're at a party, or now
I know why I'm Donna song is playing, or now
I know why Kenneth Brenner is here, and there too
bring us back to the joy of this man, I think,
because there are points where you're thinking, no, I think
I really liked it when Miranda was like a total
bitch and bullied people like it was nineteen ninety six. Yeah, yeah,
exact where she had to come a long way. And also,
(15:41):
you know, there was a scene in the movie where
Merrill's performances Miranda Priestley when she found out about something
that was something she wanted and had been wanting for
a while. Don't want to give that away, but look,
essentially she was the It's complicated Meryl Street character for
a minute. But my point being with this though, is
that the Kenneth Brenner character allowed us to see that
Merril has evolved as Miranda exactly.
Speaker 2 (16:03):
Yeah, you're right.
Speaker 1 (16:04):
It's not because Merril is not a good actress. You know,
Meryl hasn't turned up and given as a b side
version of this character. These are choices that she would
have deliberately made. And I think that moment where we
see a bit of a softer side to her is
not her dropping the character. It is because there has
been things in her life that have softened her.
Speaker 2 (16:24):
Yeah. No, And I think you're right. And with all
the work behavior, place behavior stuff, you know, she's obviously
been through it. There's been something happened there that has
meant they've had a good look at her behavior and
she's been reprimanded, etc. And you know, her job's always
on the lines, So no doubt her job was on
the line at some point. And it could have been
ten years ago or five years ago, it doesn't matter.
But she might have been me too, for all we know. Like,
there's so much has happened in life that has probably
(16:45):
affected Miranda as well. Were you upset that the guy
from Entourage wasn't in the film, Did you not at
all the cranky chef. You didn't.
Speaker 1 (16:54):
I would have really liked to have seen And this
is where you know this movie would have looked a
bit sex and see, to which this movie always had
the danger of looking like, which it didn't. Imagine if
she went to go and buy a bagatt and he
was now just running a stand on.
Speaker 2 (17:09):
The street of hot dog Vendor. Yeah, Radio City musical.
Speaker 1 (17:13):
Andy, and is that you? And she's like whatever. His
character's name is dipshit, dipshit. So do you work at
a bagel van? Do you sell hot dogs for two dollars?
Speaker 2 (17:26):
Now? What happened to you?
Speaker 1 (17:28):
Since you rakunt and.
Speaker 2 (17:29):
I saw you? What about Australia's newest heart throb Patrick Brammel.
Speaker 1 (17:36):
Oh, no, people will hate me for this, but like
I love I love Patrick Brammel. You love Paddy bram
I love Patty. I loved him in Offspring and of
course I love him in Colin from Accounts.
Speaker 2 (17:47):
And How's that he was good in How's That?
Speaker 1 (17:48):
I love Patrick Brammel. But Patty in this to me
is drowned. There's something really feels wedged in, doesn't it.
It feels not right? And then I found out something
today Wi Trum bringing to the table.
Speaker 2 (18:01):
Is it reshoots? Was it redershoots?
Speaker 1 (18:03):
Patrick Bramle turned up on set and they'd been going
for something like maybe three months or something.
Speaker 2 (18:07):
It was a long they'd.
Speaker 1 (18:08):
Been shooting this and that character had been written a
couple of ways in a couple of times, and they
approached him to be in the film. And you know,
he and Harriet they switch over who is working for
the kids? Yeah, who's working? And yeah. So he just
filmed like a I think something like a six or
nine week shoot of an Australian drama here in Australia
(18:29):
and it was then turned for them to go over
season for her to shoot an American series and he
got asked to do this and he turned it down
because it was not his time to work, which is incredible, incredible. Yeah,
and they thought it was him playing Harble, I think.
But essentially they had written this character a certain way.
It was an American character. It was not supposed to
be Australian. However, they were looking for someone who could
(18:50):
bring warmth and humor, and that's someone who could match
at Annie happy.
Speaker 2 (18:54):
Yeah, that's what Patrick can do though. Patrick Brammle is
instant charisma, charming, and he's funny. I mean he's like
that in real life. He was like the on screen
and so he's an easy guy to cast. They made
a good decision, right like.
Speaker 1 (19:03):
The tic tic tic for ment and paper that this
would work, and considering that the Americans are watching Colin
from accounts on loving it, and the director loved Colin
from accounts they were watching it while making The devil
Bes prior to that, they were like, we need this guy.
So they didn't even self tape him or anything. Yeah,
he was able to get the job. However, what lets
him down in this is I think that they allowed
(19:25):
him to do a bit of improv yep, which he
obviously does in his work here in Australia when it's
a comedy where I don't know the Hugh Jackman joke.
Did that work for you?
Speaker 2 (19:35):
What was interesting is that I didn't quite get it
because I knew they weren't going to have Hugh Jackman
in a cameo right, sorry to boiler for people's okay,
but it just seemed like they had to get rid
of him, like as soon as he said that and saying, oh,
that's weird, it's like, Oh, because they've got to get
rid of him so that Andy can have a conversation
with whoever it was at that point, Emily, maybe you know,
they had to divide and conquer, so why have him
go to the party in the first place. Was kind
(19:56):
of the weird thing.
Speaker 1 (19:57):
This is my take on it. Sorry I should say
this is not what the thing is. But I feel
as though his character is us as an audience, you know,
someone who doesn't belong in that fashion universe that comes
and has a front row seat to all of this
to give us that kind of feeling, do you know
what I mean?
Speaker 2 (20:13):
He's not used consistency and consistently, and the script doesn't
support his character at all.
Speaker 1 (20:17):
The problem with doing this where you've got too many
storylines happening like this is you have to then tie
them off and we end up with three endings.
Speaker 2 (20:23):
Yeah, and we do, and they're charming, they're short, like
it's not like the end of Lord of the Rings
where we get three endings and they go for half
an hour each. But yeah, I found that weird. Look.
I think Patrick does a great job. I think he's
really well cast. I just think the film lets him down.
And there has been talk. I think maybe you even
told me about this, But I've been watching interviews with
all the guys from the movie. I'm Jimmy Fallon and
(20:43):
all the shows, and the cast didn't see the edit
till the premiere or there was a screening just well
before they did media, and I think Meryl Streep said
there were things in it because they asked the cast,
what do you want in it? Once they'd filmed it,
and Meryl was disappointed there wasn't as much Miranda that
she wanted in the film. So it seems like they
overshot this film and then kind of refined it in
the editing suite, which is surprising and made such a
(21:04):
good film. By the way. It seems like, yeah, they've
cut a lot of stuff out, So maybe there was
some more Patrick Bremle. Maybe he did that trick of
playing the scene three different ways and they chose which
way they'd use it in the edit. But yeah, it
feels like there's there's some type of two hour, three
hour director's cut floating around that would probably be entertaining.
Speaker 1 (21:20):
It's surprising to me that they would have had more
Merrill because when we talked about that last week, and
i'd only heard that she was disappointed with.
Speaker 2 (21:27):
That's right, you said it last week, that you go.
Speaker 1 (21:29):
Yeah, So I don't know, like we got a lot
of merrill.
Speaker 2 (21:32):
I think she means she wanted more of the two
thousand and six merril.
Speaker 1 (21:35):
Maybe that's what she was talking about.
Speaker 2 (21:36):
But maybe there was more of that early, because I
think a little bit more of that would have been nice.
Speaker 1 (21:40):
So one of the things about this film that I
thought was really interesting was the choices of bringing back
some of the themes from the first movie, and when
they do come out and you hear those themes that
we obviously now very much know, I think it works
really well, and I don't know why they deviated from that.
I felt like we could have heard more of the
music that we'd heard in the first movie.
Speaker 2 (21:58):
I looked back. I guess Theodore Shapiro, who did the
score for both films, I guess he just wanted to
get paid ben so he did some new stuff to
go with its old stuff.
Speaker 1 (22:08):
I don't know. There were some choices with the music
where it was new composed music where I was like,
this would be better if it was the old theme
the themes.
Speaker 2 (22:16):
Yeah, do you know what I mean, working some of
the old themes even into new pieces, rather than just
abandon them completely.
Speaker 1 (22:22):
Because for people who go and see these movies that
are looking forward to a sequel because they're so attached
to the first one, they do need to hear the
music from the first movie again to remind them that
this is the sequel that they want. And everything's okay.
I mean not everyone I think wants that.
Speaker 2 (22:36):
The composer doesn't want that either.
Speaker 1 (22:37):
So did you think of it? Did you enjoy his way?
Speaker 2 (22:40):
I really loved the music. Yeah, I thought that it
was really good. Like you're saying, it's good, it's good
that I've got references to the first film, but it
was a new film. But I mean, Shapiro is an
amazing composer anyway. A Secret Life of Walter Mitty, which
has an amazing score. He also does Severance the music
and Severance is extra iconic. Yeah, everyone talks about the
music and that as well, Like he's just done so
much good stuff Jackets. It was a really good score
(23:01):
of the TV series as well, so Florin Bullhouse as
well was the cinematographer. I love a guy like this
who's done a lot of sci fi kind of stuff, insurgent, mean,
in Black Godzilla, allegiant, all that kind of stuff, allegiant.
But then to do a New York film and I
just think this film looked gorgeous. I think it looked
really good. And some really nice shots getting Andy crossing
the road so we can see that New York skyline
(23:23):
on different angles though as well, the different shots of
the building where runway is, the zoom up or the
pan up at one point looks spectacular like a reverse
Madman almost. But yeah, some really good stuff just to
make it look a little bit different. And then in
Milan the camera work. How well do they use those
locations in Milan? Oh?
Speaker 1 (23:39):
I mean, he would have had a great time going
over there in seat of location scouting and setting up
shots because all the shots look so purposeful. The thing
about Floraen to me is that when I'm seeing a
movie of his, I know it's a film that he's
making because he makes it look like a blockbuster film.
Speaker 2 (23:56):
Yeah he does, doesn't he It's.
Speaker 1 (23:57):
Hard to make something look like that, and you have
to feel like The Devil Wears prior to two is
a blockbuster, and immediately on first view you have to
feel like you're watching a blockbus exactly. Yeah, and he
does that because he managed to make Godzilla quite amazing,
do you know what I mean?
Speaker 2 (24:13):
Like usually stunning that film?
Speaker 1 (24:14):
Yeah, usually stunning. Godzilly is I mean it's a terrible
movie and terrible. People may say the same thing about
the Men in Black movies, but the.
Speaker 2 (24:21):
First Man in Black is visually spectacular and it's a
great film, no question. Yeah, ably shout that, and he
did a great job.
Speaker 1 (24:26):
So you do definitely get that from Florin in this movie,
and yes, it doesn't disappoint when it comes to its
visual Molly Rogers, who does costuming designer, it is a crazy,
crazy job to do a film like this and to
make all that every frame, every time we see these characters,
the detail is perfection. And I actually think that Molly
manages to do a better job in this one than
(24:48):
the first movie.
Speaker 2 (24:49):
So yeah, I feel like there's less clothes in this
film in terms of clothes and hustle and bustle, but
actors wearing costumes extraordinary. They look so good and she
does a great job putting all that together. I've got
to ask you as quickly, did you see Naomi Campbell
in this film at all, because she gets a credit
and I think we only see her bank. In fact,
sixteen year old bros Is ninety nine percent sure we
saw her back. But at the moment when they arrive
(25:12):
in Milan where Andy says hello to someone as if
we should know who that is, and I think that
was Nami Campbell, but also it might be wrong there too,
might be wrong.
Speaker 1 (25:20):
Well, I'm definitely going to get that. On the second
and third.
Speaker 2 (25:22):
Hearing out of five, I wasn't sure about how where
I was when we walked out, and this has been
delayed in recording, which is not a bad thing. I've
been able to settle, and for me, I'm going to
give this a three and a half, a strong three
and a half. I'm not detracting from this film at all,
but in my mind, Devil Wez Prior is a four
star film. It's a solid, watchable comedy, it's engaging, and
(25:44):
this doesn't fall far from the mark. I just don't
think it's as good as that. But you don't get
a sequel without a great film, I think in this instance,
so just the fact that the first one is the
first one, it gets a higher score, which doesn't make
sense to everybody, but it makes sense to me. So
three and a half? What about you, Ben? Where are
you taking us on this journey?
Speaker 1 (25:58):
I'm giving it a four star?
Speaker 2 (26:00):
Yeah, and that's fine, it's good, it's worthy.
Speaker 1 (26:02):
Do you know that I've taken half a star off
because of this? And that is that I've spoken to
a lot of people who've told me things that I've gone,
oh yeah, okay, yeah, no, probably that wasn't great, you
know what I mean. Where from my first viewing, just
as a standalone without talking to anyone else, I was
at a four and a half. But look, they probably
do let you down with a few things along the way,
and we've touched upon a few of those in Yeah.
Speaker 2 (26:23):
I think too. Though. Just back on that is, I
think it's cool to deride a sequel. I think it's
cool to say something is not as good as the
twenty year old original version, you know. And I don't
think like that. When I see a film like this,
I'm judging it on its merits, you know. And I
get annoyed with the reviewers that take a political angle,
or they take a historical angle and use that as
a justification for deriding something and it's like time will
(26:45):
tell us if this is a classic or not. But
I can't wait, you know, five years from now, well
three years or two years from now, sitting down and
watching both films back to back. I think it's just
a great idea and great fun.
Speaker 1 (26:56):
Look, I mean, I think it does a better job
than any of the Bridget Jones has ever did of
trying to re create Yeah, the first Bridget. So absolutely
I'm going to say this, and I think I'm probably
on my island, but I'm what devil is that the
Devilbear's prior of island for me is that both of
those films are four star films for me, and I
like them both just as much. Now, we don't know
(27:16):
what this journey is going to look like in terms
of you talking about this looking forward in a few
years time, but I have a feeling that I'll be
rewatching this movie just as much as I'll be rewatching
the first one moving forward.
Speaker 2 (27:28):
Yeah, no, I agree, And like I said, I can't
see watching the original film ever again without watching the
sequel straight away once it's available on streaming or whatever.
Speaker 1 (27:36):
And they're the left and the right hand to something.
You know, this would not have been great if this
was just a photocopy of the first one. So they
obviously had to make some bold choice and they do
so maybe just for you who's going out to see
The Devil Wears Prior to too, if you haven't seen
it yet and you're listening to us, lovey your expectations
and go and enjoy this for what it is.
Speaker 2 (27:53):
Just have fun, just catch up with your old friends. Now.
Next week, Ben, shall we take a trip to the farm.
Speaker 1 (27:59):
I think we should take a trip to the farm,
the funny farm this week, I should say, because this
episode is running away, but yes, head to the farm.
Next week we're back with the Sheep Detective, so we'll
get to find out exactly what Hugh Jackman looks like
in that film. But if you're looking for something to
see this week, Devilwes prior to two is out. It
is outgrossing the expectations where they're forecasting on how much
(28:20):
movie this is going to make. And it is a
delight to return to our four friends who are back
playing characters that are just like Cafreins fucked up.
Speaker 2 (28:28):
You'll have to rerecord that later
It's in the news today, but it was actually on
TV Reload the podcast last week that line. Welcome back
to TV Reload the podcast where we dive into the
shows and film everyone is talking about. And while my
co host Bros And I still can't afford Prata twenty
years later since the first film came out, I think
we today will make up for it with our movie
knowledge and movie insights.
Speaker 2 (00:20):
How I hopefully, I'm very well. That means we're not devils.
That's what means we're not the Devil. I wore my weird,
our youngervic Hawaiian shirt to the Devil was Brata? What
did you wear?
Speaker 1 (00:34):
I think I was unsurprisingly seeing it at the time
that I saw it in a previous screening, so I
was wearing what I was already wearing.
Speaker 2 (00:41):
I was part of.
Speaker 1 (00:42):
But broadly the Devil I reckon people would call me
the devil.
Speaker 2 (00:45):
So the uber I called to the cinema was a Prato.
Does that count? The devil rides in Prato?
Speaker 1 (00:53):
I'm assuming that that's a joke.
Speaker 2 (00:54):
Can you it as a joke? I caught the tram
because they're all free in Melbourne now, So I love that.
Speaker 1 (00:58):
I love that I was on the Gold Coast, so
I literally walked across the road from a conference where
I was at and was able to see the film
a few days before it came out.
Speaker 2 (01:05):
Yes, I got to see it on a Thursday night.
I went to the cinema. Hoiz, I give houts a
lot of plugs here apparently, but puts in Melbourne Central.
There was a good crowd too, maybe forty fifty people
in the audience, which was good, but no one was
reacting to anything for the whole movie. I was laughing
out loud, feeling like an idiot, you know how I laugh.
And there's some really laugh out loud funny moments in
this film, but no one people were talking amongst themselves.
Speaker 1 (01:28):
I was in a cinema and I'm going to tell
you that that same thing happened to me. I'm hoping
coincidentally we were in cinemas with people with no personalities.
But I fear that we may not be. I don't know.
Maybe people were sitting there so anxious about one of
their favorite films getting a sequel that they couldn't react
on the first viewing. They just sat there nervously.
Speaker 2 (01:49):
Hopefully because look, people were coming out. I mean I
got to Thursday Night movies quite regularly for the podcast,
among other things, like people came out for this film,
people want to see it, and all the films we've
done this year, people are coming out with this one,
and that's a good sign. So it's nice. The what
have we got first? A plot or we've got a
clip to play? What are we what are we going
to do first?
Speaker 1 (02:05):
Well, let's roll clip, and let's roll clip, and then
we'll go into a little bit about what we now
know as the synopsis, because they've been kind of keeping
that under lock and key, so we don't want to
give away too much for you with that, but we'll
be back in just a moment. Hello, well look what
TJ maxtre dem Sorry? Who is this? Do you know her?
Speaker 2 (02:27):
Do I know her?
Speaker 1 (02:28):
I'm Andy Sachs Andrea. She was one of the emilies,
one of the what am I having a hallucination?
Speaker 2 (02:36):
Emily?
Speaker 1 (02:37):
You also know her. We were Runway at the same time, Randa, Really,
where was I am? The new futures editor at Runaway? No,
you are not. Yeah, we're also thrilled. What's funny is
you've changed, you have You're much more confident kept those eyebrows, though,
didn't you so. Two decades after walking away from Runway Magazine,
(02:58):
Andy Sachs has built a respectful career as a journalist,
as we expected that she would, until her entire newsroom
is suddenly shut down. With nowhere else to turn, she
finds herself back under the command of Miranda Priestley, who
is now struggling to keep Runway relevant. As tensions rise,
old relationships are tested and new power plays emerge, forcing
(03:20):
Andy Sex to navigate ambition, loyalty, and the changing face
of media while deciding just how much of herself she
is willing to compromise to succeed.
Speaker 2 (03:31):
There we go. They're always prior too, So upfront, this
is what I'm gonna say about this film. It's not
the satirical kind of film that the first one was,
But I think at the same time, we're a much
more mature audience when it comes to fashion. So when
the first film came out, maybe we weren't as familiar
with some of these bigger brands and the idea of
you know that type of fashion, high end fashion, and
so forth, Whereas now, because of the first film, among
(03:52):
other things, we're quite familiar with that idea, so it
doesn't if you're going for the satire. There's a little
bit dribbled all the way through it, but it's not
as strong and it's not as big. What this film
I think does superbly. And whether you agree with me
or not, here, Ben, this is what I'm asking you.
It's just nice to see our old friends together again.
It's good to see Stanley Tucci and Anne Hathaway and
Meryl Streep and Emily Blunt, you know, bouncing off each
other and all new characters around them. That's what the
(04:15):
film's about. And we get to just spend time with
our friends again.
Speaker 1 (04:17):
That's exactly right. And I think that what's interesting about
The Devil Births Prida and the length of time that
has been there is that Miranda, Andy, Emily and Nigel,
our four fantastic characters are all back and they are
so dear to us, you know, as the time has
gone on. So there is a huge danger in bringing
back characters like this to see where they are now,
because do you a bring back all of those characters
(04:39):
as impersonations of themselves and don't make any big, bold decisions,
or do you acknowledge that there's been twenty years and
a lot could have happened to these people, and I
think that the director has made a bold choice in
not necessarily having to man explain what there are a
few differences to these characters in the twenty years it's
been And I applaud him for this because I actually
(05:01):
really like what these characters look like. In twenty twenty six.
Speaker 2 (05:04):
Yeah, David Frankel taking the reins again, and Aileen Brosh
mccannach came back and wrote the script. She wrote the
script for the first one as well. And look, it's
fairly standard that if you do a film twenty years
later that you've got to explain that somehow. But what
I like is that they've taken the last twenty years
as the fictional twenty years in the film universe as well.
And so Andy's gone out there and learned how to
be a quality journalist like she'd had ambition to do.
(05:26):
And Emily has continued to work in fashion, and she's
had to deal with the massinations of machinations of fashion,
and Miranda's still had to maintain her position at the
top and has fought her way to still be there
twenty years later. But I like that those characters have
grown or evolved over twenty years and we get to
catch up with them, and I thought they did that
part really, really, really well. How did you feel about
Miranda specifically in this version of the film, because I
(05:49):
think I don't know if we quite get the Miranda
we wanted, but we still get the Miranda we love. Well.
Speaker 1 (05:53):
I think that this is a choice for Meryl Streep,
and look, Meryl Streep does not make a decision by
a mistake. So I think a few people that have
already been talking to me about this film and saying
that what was going on with Merrill while she was
making this film? It almost looked like she had tears
in her eyes or she looked a bit tired. And
the truth of the matter is fashion magazines are almost dead,
(06:15):
and you could only imagine the character of Miranda Priestley,
which you know, when I first saw the first film,
it was described to me about a movie about people
who get bullied. You know, bullying is a buzzword and
has been now for twenty years, and it has been
sort of redefined and relooked at and controlled in workplaces.
And there's a joke in the movie about the fact
that Miranda Priestley can't throw her jackets at people anymore
(06:38):
very clever. But look, I actually think she is choosing
to do that. I think Merrill looks like as Miranda
Priestley should. Back in the day she was flying first
class telling people to basically, you know, fuck off that
they didn't know the difference between two different colors that
to me were the same color. Shout out to you,
Andy Sachs. But the thing is she would be exhausted
(07:00):
being pulled into this universe. And look, the fact of
the matter is, you know, people don't buy magazines anymore.
I don't even have a news agency in my suburb.
Speaker 2 (07:09):
I don't I've got a Tattlesall store that selves magazine.
Speaker 1 (07:12):
Yeah, but they don't have vacation.
Speaker 2 (07:14):
Yeah. No, you're right. And it's good that they confronted
that as well. It's always dangerous I think in film
or even TV when they can confront technology. But I
think they did a good job in this instance because
they didn't overplay it. It was just a fact. They didn't
have to over explain anything because we know it. But yeah,
I think they handled that stuff really well and the
script was tight. There's one sequence. At one point we
jumped from an industry party to someone's birthday to then
(07:35):
a funeral, and it's just three events, bang bang bang,
and it just tells the story what within about seven minutes,
three locations, fast cuts between each each event, and really
tight writing and tight direction.
Speaker 1 (07:47):
I was never bored. This movie never allows you to
be bored. They just keep punching along. And whilst I
think it's sometimes they try to be a little bit
ambitious with telling a current story, and some points forgetting
that it's supposed to be a little bit lighter, it
does in its third act decide to go full Campo
and throw Madonna song's fashion makeup like everything that you've wanted.
Speaker 2 (08:09):
Another special guest singer that has a huge moment as well, Yeah,
which we won't reveal. I'll say one thing. They go
to Milan in that part of the movie, and how
great did Anne Hathaway look once they got to Milan.
Didn't they just turn it on fashion hair makeup? She
looked incredible.
Speaker 1 (08:22):
Anne Hathaway from a gay man's perspective, is delicious. And
anyone that comes to me and says they don't like
Anne Hathaway and revoke your gay license because she is
kind of that underdogish type character that comes with a
lot of her choices with her movie roles, which I
thinks to probably the LGBTI community in a way, and
(08:43):
so she kind of plays that role really well. But
I loved seeing her being really sexy in this.
Speaker 2 (08:50):
Didn't even look like Anne Hathaway half the time.
Speaker 1 (08:52):
No, but that's because you're too busy, just just no
mom only joking them.
Speaker 2 (08:57):
I just thought she was sucking it away, is what
Ben's saying. I was locking it away.
Speaker 1 (09:02):
I just thought she looked phenomenal. And yeah, the only
thing I didn't like about her was I did feel
like in the movie it did take me a little
bit of time to understand and Hathaway's journey with this
character mer or right came to me with what I
explained before. Yeah, yeah, yeah, But with Anne Hathaway, there
were moments where she looked like she was having a
(09:23):
little too much fun playing Andy, like, well.
Speaker 2 (09:27):
She's more confident, which we learn obviously see for me
and maybe this is part of the same problem that
you had. I feel like she was too frumpy some
of the time. It's like you have worked at runway
you've learned to understand what fashion means. You know, you've
learned how to make yourself look good as well, like
what to wear and how to look good. And then
she just walk around it looks like tracksuit pants and
a T shirt. At one point in the office it's not,
but it looks like it. And then at the end
(09:48):
she's just looking frumpy again. It's like, but she knows
how to dress and do her own makeup and hair
to look amazing in Milan. But then, you know, I
found that a bit weird, like at least some nods.
Although there's the nod that she picked up a designer
piece that thrift store or whatever, that was nice, But
I just think even then it was a frumpy looking
sports coat. And did she have to roll that?
Speaker 1 (10:07):
I thought it was a nice jacket.
Speaker 2 (10:09):
What did she have to roll her sleeves up?
Speaker 1 (10:11):
Yes, because she's at Runway.
Speaker 2 (10:12):
In every outfit she's got sleeves that go up halfway
up before him. Just let the sleeves flow, love, just
let them hang down. That's what sleeves are for.
Speaker 1 (10:21):
I'm just glad that she's a woman and you're not
going on about her brushing her hair forward. Because all
this movie is for you, because like the thing that
this movie does well with its characters, I want to
know whether you feel the same way. Stanley Tucci is
the one out of the four that really levels up
and is better than his original performance, or maybe he
(10:42):
had more to do.
Speaker 2 (10:43):
I think in this one he has more control, like
he's actually making things happen, not just guiding things as
they happen, if that makes sense. Like the twist at
the end about well, you know, the twist at the
end that he says in the third finale is really tasty.
You know, it's a really nice moment and it's a
good reward. It does have three this film, by the way,
which is bizarre. But he does have a little more power,
(11:03):
a little bit more agency, I think.
Speaker 1 (11:05):
But I just felt like, out of these four characters,
they had the impossible task of living up to their
original roles and their performances, and he just smatches this,
Like I for sure that the heart and soul of
this film. To me, that grounds it and gives it
the gravitas to Stanley Tucci.
Speaker 2 (11:23):
So yeah, I agree, I agree. What did you think
of Justin Thorreau as mister Barnes there.
Speaker 1 (11:29):
I did not know it was him until afterwards. I
rang a friend of mine who I knew had seen
an early screening in America the week before, and they
said to me on the phone, oh god and justin throw.
What did you think? And I was like, who was he?
Speaker 2 (11:42):
Yeah? I had no idea. I didn't know until I
looked into the cast for this podcast. I'm like, I know,
I knew it was someone, like you know, I was
bugging me. I couldn't work it out. But at the
same time, Wow, just amazing.
Speaker 1 (11:52):
Do you remember how he lean he was in Charlie's
Angels Too full Throttle?
Speaker 2 (11:55):
Oh yeah? Or in romy and Michell's high school reunion. Yes, yeah,
he was dining Little Vella. Yeah, and that's not he's
not fatter and he's put on. He's like, he's a
bit more muscular. But I don't know if he was
padded as well. I don't know. It was amazing. And
then Lucy lou Is his ex wife.
Speaker 1 (12:12):
Brilliant casting. I love Lucy Lou. I could watch her
in anything. And then she was so good.
Speaker 2 (12:17):
And the thing about Lucy Lou is, if she's in
a bad project, she's not great. But if you stick
her in a prestige project. She is fire. She is
so good. And I was saying she's bad. It's just
you know that the material does let her down as
an actor, but when you give a good material, she's
and she was so strong in this, she was so
in control, was so good.
Speaker 1 (12:34):
Okay, great. For a minute there, I thought you were
going to go all Bill Murray on me and about
her work.
Speaker 2 (12:39):
I'm like, oh, no, no, no, And look, I love
Lucy Loo and always have. I'm just saying, because her
career has been a bit up and down, that sometimes
she's in lesser stuff and she just doesn't break through.
But when you give a good material, she's really strong.
Although what happened to her Fionce? Were we ever going
to meet her fiance?
Speaker 1 (12:52):
Well, maybe we'll meet that in the Devil West part
of three. And look, I thought that character was worthy
enough for us to want her see her again.
Speaker 2 (13:01):
Yeah for sure. Yeah yeah.
Speaker 1 (13:02):
And also we now you know, there's some things that
they can do with that character. I do feel like
as we've sort of shifted into some of the supporting
roles that we have missed out on the old Emily.
To talk about Emily Blunt, now I have something to
tell you on this podcast that.
Speaker 2 (13:16):
We're right, are gonna people are gonna lose their shit over.
Speaker 1 (13:18):
I hated her in the first one, as in I
didn't mind the character. I hated Emily Blunt's portrayal.
Speaker 2 (13:27):
Yeah right, and now so I thought her acting with
shit or something like yeah, right, right, Okay.
Speaker 1 (13:32):
It's taken me twenty years of watching her films to
absolutely adore her, like Emily Blunt is right.
Speaker 2 (13:37):
We'll see the first film that was Emily Blunt's first
significant US correct, She don't do English TV and series
and bits and pieces like that. Maybe an English movie
here or there, but yeah, that was her first international
US screen time. And yeah, it makes sense that we've
seen her in a few films since then where she's amazing,
including what's the horror film that her husband that drank
Quiet Place, Quiet Place. She's incredible in a quiet place.
(13:59):
Oh but and a lot of stuff she's done, like
in that horrible Disney Jungle movie. It's pretty much an
awful movie, but she's great in that.
Speaker 1 (14:05):
So good in that movie. That Jungle Cruise movie should
have been the biggest piece of shit it is, except
for well, I enjoyed that movie. I remember watching I
think I had a champagne or something something that you
must have.
Speaker 2 (14:15):
I watched it sober. It is not a good movie.
Speaker 1 (14:17):
She does a lot of heavy lifting in this film.
Speaker 2 (14:20):
Yeah, I think she does too, and she's got a
you know act like she's attracted to Barnes, who's not
the most attractive guy.
Speaker 1 (14:25):
She does a great job of being attracted to his
money and not attracted to Yeah, so good. She's there
for the money and the brands, like she's there for
the opportunity. She ain't there for that bloke, that boy.
Speaker 2 (14:36):
This film almost feels like if Emily wasn't in the
first film as Emily, this would have been a completely
different character in this film. But they put Emily there
because they had her to use, if that makes sense,
And because Emily Blunt is now a you know, a
box office name, so there is that sense of, well,
if they just introduced someone new there, it wouldn't have
mattered so much.
Speaker 1 (14:52):
Well, I can't wait to go back and rewatch this film.
I reckon I might even see this film maybe two
or three times.
Speaker 2 (15:00):
Whether that's the other thing I wanted to ask you
just quickly, what did you think of Miranda having a
husband and that husband being Kenneth Branner.
Speaker 1 (15:08):
I thought Kenneth Brenner was delicious in this as well.
Speaker 2 (15:10):
I thought he was very good, but it just seemed
unnecessary or something.
Speaker 1 (15:14):
Well, I think we had to see.
Speaker 2 (15:15):
I think it's more humanized her more, didn't it. That's
exactly right.
Speaker 1 (15:19):
There was choices in this film where I was like, ah,
now I know why we're at a party, or now
I know why I'm Donna song is playing, or now
I know why Kenneth Brenner is here, and there too
bring us back to the joy of this man, I think,
because there are points where you're thinking, no, I think
I really liked it when Miranda was like a total
bitch and bullied people like it was nineteen ninety six. Yeah, yeah,
exact where she had to come a long way. And also,
(15:41):
you know, there was a scene in the movie where
Merrill's performances Miranda Priestley when she found out about something
that was something she wanted and had been wanting for
a while. Don't want to give that away, but look,
essentially she was the It's complicated Meryl Street character for
a minute. But my point being with this though, is
that the Kenneth Brenner character allowed us to see that
Merril has evolved as Miranda exactly.
Speaker 2 (16:03):
Yeah, you're right.
Speaker 1 (16:04):
It's not because Merril is not a good actress. You know,
Meryl hasn't turned up and given as a b side
version of this character. These are choices that she would
have deliberately made. And I think that moment where we
see a bit of a softer side to her is
not her dropping the character. It is because there has
been things in her life that have softened her.
Speaker 2 (16:24):
Yeah. No, And I think you're right. And with all
the work behavior, place behavior stuff, you know, she's obviously
been through it. There's been something happened there that has
meant they've had a good look at her behavior and
she's been reprimanded, etc. And you know, her job's always
on the lines, So no doubt her job was on
the line at some point. And it could have been
ten years ago or five years ago, it doesn't matter.
But she might have been me too, for all we know. Like,
there's so much has happened in life that has probably
(16:45):
affected Miranda as well. Were you upset that the guy
from Entourage wasn't in the film, Did you not at
all the cranky chef. You didn't.
Speaker 1 (16:54):
I would have really liked to have seen And this
is where you know this movie would have looked a
bit sex and see, to which this movie always had
the danger of looking like, which it didn't. Imagine if
she went to go and buy a bagatt and he
was now just running a stand on.
Speaker 2 (17:09):
The street of hot dog Vendor. Yeah, Radio City musical.
Speaker 1 (17:13):
Andy, and is that you? And she's like whatever. His
character's name is dipshit, dipshit. So do you work at
a bagel van? Do you sell hot dogs for two dollars?
Speaker 2 (17:26):
Now? What happened to you?
Speaker 1 (17:28):
Since you rakunt and.
Speaker 2 (17:29):
I saw you? What about Australia's newest heart throb Patrick Brammel.
Speaker 1 (17:36):
Oh, no, people will hate me for this, but like
I love I love Patrick Brammel. You love Paddy bram
I love Patty. I loved him in Offspring and of
course I love him in Colin from Accounts.
Speaker 2 (17:47):
And How's that he was good in How's That?
Speaker 1 (17:48):
I love Patrick Brammel. But Patty in this to me
is drowned. There's something really feels wedged in, doesn't it.
It feels not right? And then I found out something
today Wi Trum bringing to the table.
Speaker 2 (18:01):
Is it reshoots? Was it redershoots?
Speaker 1 (18:03):
Patrick Bramle turned up on set and they'd been going
for something like maybe three months or something.
Speaker 2 (18:07):
It was a long they'd.
Speaker 1 (18:08):
Been shooting this and that character had been written a
couple of ways in a couple of times, and they
approached him to be in the film. And you know,
he and Harriet they switch over who is working for
the kids? Yeah, who's working? And yeah. So he just
filmed like a I think something like a six or
nine week shoot of an Australian drama here in Australia
(18:29):
and it was then turned for them to go over
season for her to shoot an American series and he
got asked to do this and he turned it down
because it was not his time to work, which is incredible, incredible. Yeah,
and they thought it was him playing Harble, I think.
But essentially they had written this character a certain way.
It was an American character. It was not supposed to
be Australian. However, they were looking for someone who could
(18:50):
bring warmth and humor, and that's someone who could match
at Annie happy.
Speaker 2 (18:54):
Yeah, that's what Patrick can do though. Patrick Brammle is
instant charisma, charming, and he's funny. I mean he's like
that in real life. He was like the on screen
and so he's an easy guy to cast. They made
a good decision, right like.
Speaker 1 (19:03):
The tic tic tic for ment and paper that this
would work, and considering that the Americans are watching Colin
from accounts on loving it, and the director loved Colin
from accounts they were watching it while making The devil
Bes prior to that, they were like, we need this guy.
So they didn't even self tape him or anything. Yeah,
he was able to get the job. However, what lets
him down in this is I think that they allowed
(19:25):
him to do a bit of improv yep, which he
obviously does in his work here in Australia when it's
a comedy where I don't know the Hugh Jackman joke.
Did that work for you?
Speaker 2 (19:35):
What was interesting is that I didn't quite get it
because I knew they weren't going to have Hugh Jackman
in a cameo right, sorry to boiler for people's okay,
but it just seemed like they had to get rid
of him, like as soon as he said that and saying, oh,
that's weird, it's like, Oh, because they've got to get
rid of him so that Andy can have a conversation
with whoever it was at that point, Emily, maybe you know,
they had to divide and conquer, so why have him
go to the party in the first place. Was kind
(19:56):
of the weird thing.
Speaker 1 (19:57):
This is my take on it. Sorry I should say
this is not what the thing is. But I feel
as though his character is us as an audience, you know,
someone who doesn't belong in that fashion universe that comes
and has a front row seat to all of this
to give us that kind of feeling, do you know
what I mean?
Speaker 2 (20:13):
He's not used consistency and consistently, and the script doesn't
support his character at all.
Speaker 1 (20:17):
The problem with doing this where you've got too many
storylines happening like this is you have to then tie
them off and we end up with three endings.
Speaker 2 (20:23):
Yeah, and we do, and they're charming, they're short, like
it's not like the end of Lord of the Rings
where we get three endings and they go for half
an hour each. But yeah, I found that weird. Look.
I think Patrick does a great job. I think he's
really well cast. I just think the film lets him down.
And there has been talk. I think maybe you even
told me about this, But I've been watching interviews with
all the guys from the movie. I'm Jimmy Fallon and
(20:43):
all the shows, and the cast didn't see the edit
till the premiere or there was a screening just well
before they did media, and I think Meryl Streep said
there were things in it because they asked the cast,
what do you want in it? Once they'd filmed it,
and Meryl was disappointed there wasn't as much Miranda that
she wanted in the film. So it seems like they
overshot this film and then kind of refined it in
the editing suite, which is surprising and made such a
(21:04):
good film. By the way. It seems like, yeah, they've
cut a lot of stuff out, So maybe there was
some more Patrick Bremle. Maybe he did that trick of
playing the scene three different ways and they chose which
way they'd use it in the edit. But yeah, it
feels like there's there's some type of two hour, three
hour director's cut floating around that would probably be entertaining.
Speaker 1 (21:20):
It's surprising to me that they would have had more
Merrill because when we talked about that last week, and
i'd only heard that she was disappointed with.
Speaker 2 (21:27):
That's right, you said it last week, that you go.
Speaker 1 (21:29):
Yeah, So I don't know, like we got a lot
of merrill.
Speaker 2 (21:32):
I think she means she wanted more of the two
thousand and six merril.
Speaker 1 (21:35):
Maybe that's what she was talking about.
Speaker 2 (21:36):
But maybe there was more of that early, because I
think a little bit more of that would have been nice.
Speaker 1 (21:40):
So one of the things about this film that I
thought was really interesting was the choices of bringing back
some of the themes from the first movie, and when
they do come out and you hear those themes that
we obviously now very much know, I think it works
really well, and I don't know why they deviated from that.
I felt like we could have heard more of the
music that we'd heard in the first movie.
Speaker 2 (21:58):
I looked back. I guess Theodore Shapiro, who did the
score for both films, I guess he just wanted to
get paid ben so he did some new stuff to
go with its old stuff.
Speaker 1 (22:08):
I don't know. There were some choices with the music
where it was new composed music where I was like,
this would be better if it was the old theme
the themes.
Speaker 2 (22:16):
Yeah, do you know what I mean, working some of
the old themes even into new pieces, rather than just
abandon them completely.
Speaker 1 (22:22):
Because for people who go and see these movies that
are looking forward to a sequel because they're so attached
to the first one, they do need to hear the
music from the first movie again to remind them that
this is the sequel that they want. And everything's okay.
I mean not everyone I think wants that.
Speaker 2 (22:36):
The composer doesn't want that either.
Speaker 1 (22:37):
So did you think of it? Did you enjoy his way?
Speaker 2 (22:40):
I really loved the music. Yeah, I thought that it
was really good. Like you're saying, it's good, it's good
that I've got references to the first film, but it
was a new film. But I mean, Shapiro is an
amazing composer anyway. A Secret Life of Walter Mitty, which
has an amazing score. He also does Severance the music
and Severance is extra iconic. Yeah, everyone talks about the
music and that as well, Like he's just done so
much good stuff Jackets. It was a really good score
(23:01):
of the TV series as well, so Florin Bullhouse as
well was the cinematographer. I love a guy like this
who's done a lot of sci fi kind of stuff, insurgent, mean,
in Black Godzilla, allegiant, all that kind of stuff, allegiant.
But then to do a New York film and I
just think this film looked gorgeous. I think it looked
really good. And some really nice shots getting Andy crossing
the road so we can see that New York skyline
(23:23):
on different angles though as well, the different shots of
the building where runway is, the zoom up or the
pan up at one point looks spectacular like a reverse
Madman almost. But yeah, some really good stuff just to
make it look a little bit different. And then in
Milan the camera work. How well do they use those
locations in Milan? Oh?
Speaker 1 (23:39):
I mean, he would have had a great time going
over there in seat of location scouting and setting up
shots because all the shots look so purposeful. The thing
about Floraen to me is that when I'm seeing a
movie of his, I know it's a film that he's
making because he makes it look like a blockbuster film.
Speaker 2 (23:56):
Yeah he does, doesn't he It's.
Speaker 1 (23:57):
Hard to make something look like that, and you have
to feel like The Devil Wears prior to two is
a blockbuster, and immediately on first view you have to
feel like you're watching a blockbus exactly. Yeah, and he
does that because he managed to make Godzilla quite amazing,
do you know what I mean?
Speaker 2 (24:13):
Like usually stunning that film?
Speaker 1 (24:14):
Yeah, usually stunning. Godzilly is I mean it's a terrible
movie and terrible. People may say the same thing about
the Men in Black movies, but the.
Speaker 2 (24:21):
First Man in Black is visually spectacular and it's a
great film, no question. Yeah, ably shout that, and he
did a great job.
Speaker 1 (24:26):
So you do definitely get that from Florin in this movie,
and yes, it doesn't disappoint when it comes to its
visual Molly Rogers, who does costuming designer, it is a crazy,
crazy job to do a film like this and to
make all that every frame, every time we see these characters,
the detail is perfection. And I actually think that Molly
manages to do a better job in this one than
(24:48):
the first movie.
Speaker 2 (24:49):
So yeah, I feel like there's less clothes in this
film in terms of clothes and hustle and bustle, but
actors wearing costumes extraordinary. They look so good and she
does a great job putting all that together. I've got
to ask you as quickly, did you see Naomi Campbell
in this film at all, because she gets a credit
and I think we only see her bank. In fact,
sixteen year old bros Is ninety nine percent sure we
saw her back. But at the moment when they arrive
(25:12):
in Milan where Andy says hello to someone as if
we should know who that is, and I think that
was Nami Campbell, but also it might be wrong there too,
might be wrong.
Speaker 1 (25:20):
Well, I'm definitely going to get that. On the second
and third.
Speaker 2 (25:22):
Hearing out of five, I wasn't sure about how where
I was when we walked out, and this has been
delayed in recording, which is not a bad thing. I've
been able to settle, and for me, I'm going to
give this a three and a half, a strong three
and a half. I'm not detracting from this film at all,
but in my mind, Devil Wez Prior is a four
star film. It's a solid, watchable comedy, it's engaging, and
(25:44):
this doesn't fall far from the mark. I just don't
think it's as good as that. But you don't get
a sequel without a great film, I think in this instance,
so just the fact that the first one is the
first one, it gets a higher score, which doesn't make
sense to everybody, but it makes sense to me. So
three and a half? What about you, Ben? Where are
you taking us on this journey?
Speaker 1 (25:58):
I'm giving it a four star?
Speaker 2 (26:00):
Yeah, and that's fine, it's good, it's worthy.
Speaker 1 (26:02):
Do you know that I've taken half a star off
because of this? And that is that I've spoken to
a lot of people who've told me things that I've gone,
oh yeah, okay, yeah, no, probably that wasn't great, you
know what I mean. Where from my first viewing, just
as a standalone without talking to anyone else, I was
at a four and a half. But look, they probably
do let you down with a few things along the way,
and we've touched upon a few of those in Yeah.
Speaker 2 (26:23):
I think too. Though. Just back on that is, I
think it's cool to deride a sequel. I think it's
cool to say something is not as good as the
twenty year old original version, you know. And I don't
think like that. When I see a film like this,
I'm judging it on its merits, you know. And I
get annoyed with the reviewers that take a political angle,
or they take a historical angle and use that as
a justification for deriding something and it's like time will
(26:45):
tell us if this is a classic or not. But
I can't wait, you know, five years from now, well
three years or two years from now, sitting down and
watching both films back to back. I think it's just
a great idea and great fun.
Speaker 1 (26:56):
Look, I mean, I think it does a better job
than any of the Bridget Jones has ever did of
trying to re create Yeah, the first Bridget. So absolutely
I'm going to say this, and I think I'm probably
on my island, but I'm what devil is that the
Devilbear's prior of island for me is that both of
those films are four star films for me, and I
like them both just as much. Now, we don't know
(27:16):
what this journey is going to look like in terms
of you talking about this looking forward in a few
years time, but I have a feeling that I'll be
rewatching this movie just as much as I'll be rewatching
the first one moving forward.
Speaker 2 (27:28):
Yeah, no, I agree, And like I said, I can't
see watching the original film ever again without watching the
sequel straight away once it's available on streaming or whatever.
Speaker 1 (27:36):
And they're the left and the right hand to something.
You know, this would not have been great if this
was just a photocopy of the first one. So they
obviously had to make some bold choice and they do
so maybe just for you who's going out to see
The Devil Wears Prior to too, if you haven't seen
it yet and you're listening to us, lovey your expectations
and go and enjoy this for what it is.
Speaker 2 (27:53):
Just have fun, just catch up with your old friends. Now.
Next week, Ben, shall we take a trip to the farm.
Speaker 1 (27:59):
I think we should take a trip to the farm,
the funny farm this week, I should say, because this
episode is running away, but yes, head to the farm.
Next week we're back with the Sheep Detective, so we'll
get to find out exactly what Hugh Jackman looks like
in that film. But if you're looking for something to
see this week, Devilwes prior to two is out. It
is outgrossing the expectations where they're forecasting on how much
(28:20):
movie this is going to make. And it is a
delight to return to our four friends who are back
playing characters that are just like Cafreins fucked up.
Speaker 2 (28:28):
You'll have to rerecord that later
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