Devil Wears Prada easter eggs are woven through the new sequel, The Devil Wears Prada 2, which has grossed approximately $1.5 million in Hong Kong, a person with direct knowledge of the figures said.
The film opens with deliberate visual callbacks to the 2006 original, and the production stacks small, recognizable moments so that longtime fans notice the parallels on first viewing.
Classic mirror toothbrush shot
Devil Wears Prada easter eggs begin in the opening scene, where Andrea Sachs, played by Anne Hathaway, brushes her teeth in front of a mirror. The image echoes the original film, but this time the character uses an electric toothbrush instead of a manual brush, a visual shorthand for 20 years of change in routine and small technology upgrades, shown on screen.
Sky blue sweater returns
In the finale Andrea walks back into the Runway office from a public fountain and is wearing a sky blue sweater vest, a deliberate alteration of the sky blue sweater she wore in the first film. On screen the moment answers the original scene when Andrea discarded her phone in a Paris fountain, and it closes the circle on that earlier choice.
Blue belt callback
When Andrea passes a market stall on her way to an awards venue she sees a vendor showing two blue belts to a customer. That on screen moment recalls a scene from the first film when Miranda Priestly, played by Meryl Streep, and her team deliberated between two belts, and the repeat functions as a quiet, audience friendly echo.
Familiar line about the job
On Andrea’s second day at Runway the new second assistant Charlie says, “A million girls would kill for this job,” a line that Andrea recognizes from her first interview in the original film. On screen it functions as an audible bridge between the two stories.
Miranda hangs her own coat
Andrea watches Miranda hang her coat herself, and when Andrea asks assistant Jin Chow why, Jin explains there was a complaint and Miranda can no longer toss coats to her team. The moment answers the original film habit of Miranda throwing a coat to her second assistant, and it signals how workplace norms have shifted in their world.
Miranda’s lip curl of disapproval
Miranda visits a designer showroom where a model wears an extreme, butterfly topped creation. Miranda’s signature lip curl registers immediate disapproval, and the designer silently understands to redo the entire line. That facial beat was present in the first film and is used here as a recognizable shorthand for Miranda’s absolute authority.
Employee cafeteria, start with the soup
At the staff cafeteria Andrea and Nigel ladle soup first, a direct visual repetition of the first film where Andrea spills soup on the sky blue sweater. On screen the moment deliberately recalls that earlier wardrobe crisis and keeps the sweater motif alive.
Wardrobe borrowing scene upgraded
Andrea is invited to Miranda’s seaside home for the weekend and borrows resort clothing from Nigel. The Runway wardrobe appears upgraded, organized more like a boutique than a storage room. The scene reproduces the original film’s borrow the clothes moment, and the most striking dress shown in the film is credited in the on screen wardrobe notes to Gabriela Hearst’s 2025 spring summer collection.
No. 6 nickname
On Andrea’s first day Nigel calls her No. 6, a small private callback to the first film when Andrea referred to her size six clothing. The throwaway moment works as a connective detail for long time viewers.
Car confession
After they resolve a crisis, Miranda and Andrea have a candid talk in a car. Miranda tells Andrea that some of her efforts to engineer a takeover were ultimately self motivated, which mirrors a similar closing exchange in the original film where Miranda both thanks Andrea and calls out her self interest.
Shared carbs line
In the final scenes Andrea takes Emily to dinner, and when a basket of bread arrives Emily reaches in and Andrea reacts with pleasant shock. Emily responds plainly, “Shared carbs have no calories.” The line is a deliberate, comedic reflect of Emily’s blunt declaration in the first film, when she told Andrea, “I mean, you eat carbs, for Christ’s sake.”
Fans spotting these moments will find the film stacked with other small callbacks, from wardrobe beats to throwaway lines, and the recurrence of specific props and gestures makes the sequel into a conversation with its predecessor.
For casual viewers the movie functions as a contemporary fashion comedy drama, and for longtime fans the recurrence of motifs like the sky blue sweater and Miranda’s lip curl rewards close attention.
