Miranda Priestly of ‘The Devil Wears Prada’ boasts some of the most savage lines in cinematic history. Here are our favorites.
Meryl Streep’s Miranda Priestly in 2006’s The Devil Wears Prada has gone on to become a cultural icon. Inspired by Vogue Editor-in-Chief Anna Wintour, the character is a powerful fashionista with countless opinions, a cutting wit, high standards, and zero patience for the slightest ineptitude. Her character is savage and ruthless. She is dismissive and condescending. Superior and sarcastic. Forceful and fearless. With one raised eyebrow and a pursed lip, she can send an entire corporate team into a frenzy. She boasts some of the most memorable lines in The Devil Wears Prada, so let’s reminisce for the film’s 17th anniversary on June 30, 2023.
“Is there some reason that my coffee isn’t here? Has she died or something?”
Miranda expects all those who work for her to meet, if not exceed, her expectations. No matter how trivial a task may seem, if you’re hired to do it, you must do it to the best of your ability. When her coffee isn’t at her desk on time, she asks this question for she cannot fathom any other justifiable excuse. And for Miranda, such a death would not be tragic, but a mere inconvenience. Such a hiccup could throw off her entire day. Unless you’re laying in a gutter with your limbs splayed out, you better get Miranda her “no-foam skimmed latte with an extra shot and three drip coffees with room for milk.”
“By all means, move at a glacial pace. You know how that thrills me.”
Patience may be a virtue for everyday people, but not for the Editor-in-Chief of Runway. Move faster. Think quicker. Act immediately. Miranda has no time to wait on others to meander their way across the floor to deliver assets. Those heels better be click-clacking faster than horse hooves galloping all the way across the majestic marbled floor.
“Please bore someone else with your…questions.”
Miranda requests 10-15 skirts from Calvin Klein, and Andy asks the most logical follow-up question as the demand is a bit vague. Yet, Miranda is too busy to relay details someone lower on the ladder can communicate. She’s already moved on to the next task, and your question is a distraction. Your train should already be leaving the station. Andy can find Emily or Nigel or someone else to get the details. Miranda is there to give the orders — not the intricacies.
“Florals? For Spring? Groundbreaking.”
All those who work for Miranda want to impress her. They yearn to contribute an idea that will elicit that little head not of approval, for Miranda never vocalizes satisfaction. Good work is expected. Genius is not impressive in this field; it’s required. When Jocelyn suggests “florals” for an April issue, Miranda shoots her down with judgemental disdain. How dare she be so predictable. So typical. So uninspired. Her choice to speak such nonsense merely sucks precious air out of the room. Miranda’s response is filled with sarcasm and disappointment, and Jocelyn will likely be afraid to voice her visions for months.
“There you are, Emily. How many times do I have to scream your name?”
The fact that Miranda says this to Andy does not give Andy any impunity. She is still in the wrong. She should know Emily means Andy to Miranda. Miranda cannot be bothered to remember her name. Andy is no more than an assistant. A pawn in her game of fashion and fanfare. Miranda will remember Andy’s name once she’s earned the respect to warrant the tiniest sector in Miranda’s heavily-occupied mind.
“Did you fall down and smack your little head on the pavement?
When Miranda tells Andy she needs the latest Harry Potter book for the twins, Andy says she will run to Barnes & Noble to pick up the last-released novel. Oh, how idiotic in her naivete. Miranda wants the unpublished manuscript. The twins yearn to read the book that has yet to be released — a manuscript with so much security protecting its secrets that acquisition is virtually an impossible feat. Miranda utters this line, shocked that Andy would think she desires a novel any Joe Schmo could get their hands on.
“Someone must be getting out. Call Donatella. Get her jet. Call everybody else that we know that has a jet – Irv? Call every – this is your responsibi – THIS IS YOUR JOB! Get. Me. HOME!”
Miranda needs a flight home. There’s only one problem: all flights are canceled as a vicious storm rages on outside. However, Miranda does not take no for an answer. The masses face hurdles she can jump. This is a problem that enough phone calls should be able to fix. This moment also sees Miranda raise her voice — a rarity for the calm and collected leader — cuing Andy into just how important this is for her.
Miranda: “You have no sense of fashion.”
Andy: “I think that depends on…”
Miranda: “No, No, that was not a question.”
Miranda is not one to shy away from an objective comment. An insult to others that, to her, is no more than a declaration of the obvious. While some would say that style is subjective (as Andy is about to hint), Miranda knows better. Style and taste are not up to interpretation. She runs Runway. She knows best. Andy should take it from her and find a pair of heels and a dress that’s on trend.
“Details of your incompetence do not interest me.”
Emily confirmed an appointment for Miranda with Simone, but something has since gone wrong. When Emily begins to explain the situation, noting that she has fulfilled the requirements of her role, Miranda cuts her off with this biting remark. To Miranda, no matter who may be in the wrong, her staff is at fault. Her staff should know better. Be better. Do not provide excuses. Fix the issue before Miranda must step in and do it herself.
Miranda says these two words a few times throughout the film. She finishes conversations (or should we say one-way interactions?) not with an expression of gratitude but with a dismissal. She releases you to the wolves — each person under her is no more than a marionette that she puppeteers to fulfill her every whim. “That’s all” may only be two words long, but the phrase underscores Miranda’s air of superiority and no-nonsense disposition. “Good luck,” “See you later,” or “Thank you” are not in her lexicon. Too friendly. Too suggestive of equality. Miranda is not one to eschew indications of corporate hierarchy in favor of friendly bogus.