Meryl Streep Amazed by Lady Gaga in The Devil Wears Prada 2 – Exclusive Report
When Meryl Streep described her experience working with Lady Gaga on the set of The Devil Wears Prada 2 as “astonishing,” it wasn’t just Hollywood gossip—it was a cultural moment that echoed far beyond the soundstages of Pinewood Studios. The veteran actress, returning to her iconic role as Miranda Priestly two decades after the original film, found herself genuinely moved by the pop star’s impromptu, unrehearsed performance of an original song written for the sequel. Streep’s praise—calling Gaga “what a musician, what an artist”—carried weight not just since of her stature, but because it highlighted something rare in today’s franchise-driven cinema: authentic, in-the-moment artistic collaboration. For audiences across the country, this wasn’t just about a movie sequel; it was a reminder of what happens when seasoned professionals meet fearless creativity without a safety net.
That resonance hit especially hard in cities where the arts aren’t just entertainment but economic engines—places like Chicago, Illinois. In a city that birthed Second City, nurtured the Steppenwolf Theatre Company, and hosts one of the largest Broadway-in-Chicago seasons outside of New York, the idea of an artist walking onto a set and creating something powerful from nothing but instinct feels deeply familiar. Chicago’s theater district, stretching from Randolph Street to Lake Michigan along the Loop, thrives on precisely this kind of spontaneity—the midnight rehearsal at the Goodman Theatre, the improv set that changes nightly at the Annoyance, the storefront production in Pilsen that reworks its script based on audience reaction. When Streep marveled at Gaga’s ability to “do it numerous times in different ways” with “not much rehearsal anything,” she was describing a process that Chicago artists know intimately: the discipline of preparation meeting the courage to abandon the script when the moment demands it.
The sequel’s release also rekindles conversations about the film’s original cultural footprint—how The Devil Wears Prada didn’t just satirize the fashion industry but gave audiences a lexicon for workplace aspiration and anxiety. Lines like “That’s all” and the cerulean sweater monologue entered the cultural bloodstream, studied in business schools and quoted in break rooms from the Merchandise Mart to the tech hubs of the West Loop. Now, with Streep, Hathaway, and Blunt returning, and Gaga bringing her own brand of theatrical intensity to the project, the film becomes more than nostalgia—it’s a case study in intergenerational artistic dialogue. In Chicago, where institutions like the School of the Art Institute of Chicago (SAIC) and Columbia College Chicago train thousands of artists each year in disciplines ranging from fashion design to performance art, this kind of cross-pollination isn’t theoretical. It’s the model: a pop star stepping into a dramatic role not as a stunt, but as a collaborator who respects the craft enough to show up, listen, and create in real time.
Beyond the studio lot, the film’s themes touch on something Chicagoans feel acutely: the tension between legacy and reinvention. Streep’s admission that she “thought I was retired” and never imagined returning to the role at 76 mirrors a broader narrative in the city’s workforce—of professionals redefining what retirement means, of baby boomers staying active in mentorship roles, of industries evolving while holding onto core values. Just as Miranda Priestly evolves in the sequel—showing “more freedom” in her fierceness—Chicago’s own legacy institutions are adapting. The Chicago Cultural Center, once known primarily for its Beaux-Arts architecture and free exhibitions, now hosts digital art festivals and youth-led performance series. The historic Marshall Field’s building on State Street, now Macy’s, continues to innovate while preserving its iconic clock and atrium—proof that respect for tradition doesn’t preclude innovation.
Given my background in media analysis and cultural storytelling, if this trend of spontaneous, artist-driven collaboration impacts you in Chicago—whether you’re a performer, a designer, a filmmaker, or someone navigating a creative career shift—here are the three types of local professionals you need to know:
- Interdisciplinary Arts Collaborators: Look for practitioners who fluidly move between disciplines—say, a choreographer who works with fashion designers, or a sound artist who scores live theater. The best don’t just dabble; they have deep roots in one field and respectful fluency in another. Check if they’ve participated in programs like the Chicago Artists Coalition’s HATCH program or the MacArthur Foundation-supported Arts + Public Life initiative, which prioritize boundary-pushing, community-engaged operate.
- Creative Career Transition Coaches: Seek professionals who specialize in helping artists and mid-career creatives pivot—whether from corporate to stage, or from one art form to another. Effective coaches understand both the emotional landscape of reinvention and the practical realities of Chicago’s gig economy. They should be familiar with local resources like the Actors’ Equity Association Chicago office, the Freelancers Union’s Illinois chapter, or the career transition workshops offered at the Chicago Public Library’s YOUmedia centers.
- Arts-Focused Business Advisors: These are accountants, lawyers, or consultants who specialize in the creative economy—understanding residuals, union agreements (like IATSE or SAG-AFTRA), and the nuances of royalties for original work. In Chicago, look for those affiliated with organizations like the Lawyers’ Committee for Better Housing’s arts preservation arm, or who regularly present at events hosted by the Illinois Arts Council Agency or the Creative Entrepreneurship Initiative at World Business Chicago.
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