The movie based on Lauren Weisberger’s best-selling novel was originally meant as light counter-programming when it opened on June 30, 2006, opposite “Superman Returns.” But Miranda managed to clobber the Man of Steel in the zeitgeist wars.“Prada” went on to gross $326 million worldwide for Fox (a staggering amount for a project that only cost $41 million), and it became a modern-day “Working Girl” for a generation of millennial women—and some men—who could relate to the idea of losing your identity to your job.“Miranda was a witch, and Andy’s motivation was to get her revenge,” Frankel says.“There was a lot of conflict that ended with Miranda being humiliated. My view was that we should be grateful for excellence. ” With this vision in mind, Frankel and Fox executives started looking for a writer to pen a new script from scratch.“There was my ‘goodbye moment,’ and then they doubled the offer.I was 55, and I had just learned, at a very late date, how to deal on my own behalf.” “The Devil Wears Prada” showed Hollywood that it was never wise to underestimate a strong woman’s worth.Unlike the ladies on “Sex and the City” who lounged at lunches and cocktails all day long, the film’s scrappy heroine Andy Sachs couldn’t even take her dad to dinner without her phone buzzing non-stop.
“For a lot of us, it was our first big thing,” Frankel says. It was possible this could be the end of the road for us.” Instead, “The Devil Wears Prada” served as a career launching pad for almost everybody involved. audiences to Emily Blunt and changed the trajectory of Anne Hathaway’s career.“I’m kind of the straight man, the observer,” Hathaway says. It marked the beginning of the democratization of the fashion industry—when the masses started to pay attention to the business of what they wore.In 2004, “Project Runway” became a hit reality show for Bravo, and the outrageous frocks at the MET Gala would soon generate as much buzz as the Oscars red carpet.That required quite a bit of invention and trial and error.