When a film returns, so does a generation

I remember watching “The Devil Wears Prada” in 2006 at a newly opened theater inside a shopping mall in Sinchon, Seoul. At the time, the building itself felt like a symbol of something new. It was sleek, bright and full of anticipation. Going there was not simply about watching a Hollywood film. It felt like stepping into a future that had just arrived. That building still stands today, but it no longer feels the same. Revisiting “The Devil Wears Prada” nearly two decades later produces a similar sentiment. The film has not changed. We have. When the film was first released, many viewers understood it as a story of personal growth. The character of Andy Sachs represented the young professional: uncertain, overwhelmed, intelligent and determined to preserve her sense of self. Her decision to walk away from the world of Runway magazine, symbolized by throwing away her phone, felt like an act of liberation. She seemed to choose personal integrity over professional pressure. Miranda Priestly, by contrast, was often viewed as the embodiment of an unforgiving workplace.She represented a profes

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