Stanley Tucci has revealed that he decided to return for The Devil Wears Prada 2 because the sequel tackles the harsh reality of how AI and smartphones are threatening the survival of traditional journalism.
Reprising his role as Nigel, the sharp-tongued art director at Runway magazine, Tucci explained that he was drawn to a script that moved beyond “pretty costumes” to explore a substantial story about the vanishing need for in-depth content.
The actor noted that Nigel’s career has seen very little movement in the twenty years since the first film, as he remains fiercely devoted to maintaining quality in a rapidly changing digital landscape.
The sequel, which arrived in cinemas on 1st May, finds Nigel still working alongside Meryl Streep’s formidable Miranda Priestly.
Despite the stinging betrayal he suffered at her hands in the original 2003 movie, Tucci says the pair have managed to maintain what he describes as a “perfect symbiotic relationship.”
For the actor, the appeal of playing Nigel again lay in the character’s unwavering belief that the quality of one’s work is paramount, regardless of the modern obstacles stacked against magazines and newspapers.
Tucci shared with The Hollywood Reporter that it was important to him that the project felt purposeful, echoing Meryl Streep’s own sentiments about only returning for a meaningful story.
He appreciated that the film addresses the modern struggle of the industry rather than just being a frivolous fashion show.
Beyond the serious themes, Tucci admitted that he was eager to revisit Nigel’s subtle way of navigating the world, noting that the character plays things close to his chest and possesses a unique “peripheral vision” that makes him exceptional at his job.
Of course, the chance to deliver Nigel’s signature wit was also a major draw.
Tucci confessed that getting back into the character’s fashionable shoes and delivering those “snarky and kind of mean funny lines” was simply a lot of fun.
As Nigel navigates his relationships with Miranda and Anne Hathaway’s Andy Sachs two decades later, the film serves as a timely warning about the state of modern media while keeping the charm that made the original a classic.
