Lauren Weisberger is currently working on Revenge Wears Prada: The Devil Returns, which is scheduled for a spring 2013 release.
The sequel will follow the fortunes of former fashion magazine assistant Andrea Sachs and the awful boss she thought she had escaped, Miranda Priestly.
The 2003 novel was adapted for the big screen. The film version starred Anne Hathaway as Sachs and Meryl Streep as her editor.
Author Lauren Weisberger has announced a follow-up to her best-selling 2003 novel The Devil Wears Prada. Does that mean a movie sequel could also be in the works? Rather, how long until said movie sequel is announced?
Revenge Wears Prada: The Devil Returns will be published in April 2013 — almost a full 10 years since the release of her chick-lit classic. The book was partly based on and inspired by Weisberger's time at Vogue magazine.
In the hit 2006 big-screen adaptation, Anne Hathaway played Andy, the beleaguered personal assistant to Meryl Streep's "Devil," Miranda Priestly (who, of course, is said to be a take on longtime Vogue editor Anna Wintour), before parting ways on not-so-great terms.
The sequel picks up eight years after that, with Andy editing the biggest bridal magazine around — alongside Emily (played by Emily Blunt in the movie) — and planning her wedding to a "media scion" named Max, all while still being haunted by her former boss, whom she can't avoid forever in the fashion-magazine world.
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Hit feature film The Devil Wears Prada is being made into a half-hour comedy on Fox.
Romy and Michelle's High School Reunion writer Robin Schiff will write and produce the new show.
While the TV version will incorporate elements of the film, Fox TV president Angela Shapiro-Mathes says, "The TV series will not be exactly like (the movie or the book).
"The reason you loved the book and the reason you loved the movie was these were characters you really cared about in a world you wanted to learn more about."
The film's director David Frankel will not be involved in the new project, nor will the book's author Lauren Weisberger.
Since its release last summer, the film has grossed $124 million in the U.S. and it went straight to the top of the U.K. box office last weekend.
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In other words Prada--based on the bestselling novel by Lauren Weisberger--unfortunately plays upon the sitcom-y boss-from-hell scenario in which the young flunky manages to one up her superior in some valiant way. There are no surprises save for the fact that its set in the world of high fashion invoking all the fabulousness that entails and incorporates the amazing Streep as Miranda Priestly editor-in-chief of THE fashion magazine Runway. Oozing contempt and demanding perfection Miranda at first terrorizes her new assistant Andy (Anne Hathaway) an impressionable lass who wants to be a serious journalist and has no desire to be a “Clacker.” But that lasts for all of about 10 seconds. Andy is soon wearing those Jimmy Choo stilettos and clacking across the floor with the best of them--and the better she gets at her job the more her personal life falls apart. Naturally Andy wises up and realizes life isn’t about Dolce Gabbana and the rest of the gang. Still maybe she could keep one Prada handbag. You know just to remember the experience. Streep is having a nice little resurgence this year with two spectacular performances. In Robert Altman’s A Prairie Home Companion she plays the sunny yet heartbroken half of a singing sister act--and in Prada she’s Satan incarnate. Quite a switch but in the ever-so-capable hands of the Oscar winner it’s a flawless transition. The best part of Streep’s Miranda is all the things she doesn’t say. It’s the searing looks the languid move of the hand--and the hushed tones. This isn’t Kevin Spacey’s screaming lunatic producer in Swimming with Sharks; this is about the threatening quiet and the sacrifices Miranda makes to be lonely at the top. Hathaway as a lovely Audrey Hepburn look-a-like manages to keep her head above water but still hasn’t quite gotten rid of her Princess Diaries gee whizzed-ness. But there’s potential. In supporting roles Stanley Tucci makes a memorable appearance as Miranda’s right-hand man at the magazine doling out snarky but sage advice to our heroine while Adrian Grenier (HBO’s Entourage) plays nice as Andy’s patient boyfriend. The only other real standout star of Prada is the clothes. And the shoes. Oh and the handbags hats belts scarves and other accessories. Director David Frankel--a HBO flunky himself having directed several episodes of Entourage Sex and the City and even HBO’s hit mini-series Band of Brothers--captures this high-powered world of trend and style succinctly giving all fashionista wannabes everywhere a brief but meaningful inside peek. But the real kudos go out to costume designer Patricia Field (an Emmy winner for her work on Sex and the City) who must have had a lot of fun with Prada. She magically produces designs from Valentino (who also makes a small cameo) Donna Karan Bill Blass Galliano and of course Prada. It must be like a painter being given permission to recreate a Picasso or a Monet. Prada is predictable it’s true--but with Streep’s streaked white Cruella De Vil and all the great fashion it’s worth its weight in Versace.
September 12, 2003 11:43am EST
New grads Paul (Rider Strong) Karen (Jordan Ladd) Jeff (Joey Kern) Marcy (Cerina Vincent) and Bert (James Debello) head off to a cabin in the woods to let off some post-college steam before entering the working world. They are a pretty likeable bunch except for Bert who gets drunk and starts shooting at squirrels with a rifle--and then accidentally shoots a stranger in the woods. Bert keeps mum about the incident until the man projectile vomiting blood and looking like he's been skinned alive shows up at the cabin and tries to take their truck. While trying to stop him Paul unintentionally sets him on fire and the gang watches as he runs ablaze into the woods. What they don't know however is that he had a contagious flesh-eating virus. When his charred body falls into the local water reservoir everyone becomes vulnerable. The first to gulp down a glass of water filled with strange chunky particles is Karen whom they forcibly quarantine in a shed behind the cabin when she begins to show signs of the disease. Before long the fear of contagion turns the remaining four against one another. What's more a local lynch mob has formed in order to track down and kill anyone who may have come in contact with the virus which has apparently threatened this small town before. Cabin Fever is definitely a rollicking ride; it will scare you gross you out and make you laugh.
Like most low-budget horror films Cabin Fever's cast isn't exactly stellar yet the young actors and actresses really elevate the material. The most refreshing thing about the characters is that they react to what is happening to them in a way you and I probably would as opposed to the typical slasher-flick way: Instead of banding together against the common enemy they bicker act like cowards and put themselves first. Strong who last appeared in My Giant but is probably better known as Shawn from the TV series Boy Meets World emerges as a capable lead as Paul the most sensible of the group. Although his character comes across as somewhat brighter and more sensitive than the rest he is still immature enough to try to cop a feel when his love interest Karen is sleeping and feeling under the weather. Karen meanwhile is played by Ladd who has had small roles in several movies including The Specials and Never Been Kissed. Her character is the most compassionate of the gang and Karen reacts more intensely to events than the others. Kern as cocky know-it-all Jeff Vincent as slutty tough chick Marcy and Debello as party boy Bert perfectly round out the diverse cast of characters.
Because of its gruesome subject matter it is difficult to describe such a vile movie as being good or even well made but this one really is. In his feature directorial debut helmer Eli Roth delivers a truly disturbing horror picture. While most pics of this genre tend to look cold and gritty Roth saturates his sets with golden ambient lighting that brightly contrasts the film's dark dismal subject matter. And dismal is putting it mildly: Cabin Fever shows viewers things that most movies don't because they would be considered too disturbing. Case in point: When the intoxicated Bert drives off for help in his pickup and hits a deer the animal doesn't just die on impact but struggles in pain its hind legs flailing through the windshield. Such disturbing imagery escalates by degrees until the very end when the film takes on a weird surreal quality. For example the scenes of Paul being pushed through a hospital on a gurney have a dreamlike feel bound to make moviegoers question if what is happening is real. The film's score also has all sorts of unusual instrumental influences including a Twin Peaks-inspired number when a sheriff comes to investigate the cabin and a Deliverance-type banjo ditty to accompany the locals folk in front of the general store which adds a touch of humor at the most unlikely moment.