It’s a challenging period working in Hollywood. That is, of course in the case of an executive responsible for rebooting previously successful films and television shows. For those in that category the business is flourishing almost every pop-culture icon that was popular in the 90s has recently been revived from Gilmore Girls to Sex and the City to The L Word . It’s normal that a sequel to a small 2006 film with the title The Devil Wears Prada is being planned at Disney.

The storyline is said to be based on Meryl Streep’s Miranda Priestly, legendary editor of Runway magazine and how she “navigates her career amid the decline of traditional magazine publishing and faces off against Blunt’s character, now a high-powered executive for a luxury group with advertising dollars that Priestly desperately needs.” What is this a film about the fact that there is no money left in print or digital media? This sounds like something I could actually get lost in!

Although I’ve enjoyed the many hangover Sunday morning re-watches from The Devil wears Prada throughout the decades, I’m forced to admit that I haven’t seen the majority of my experiences working for Vogue or any other media for women I’ve been employed by. In general, this is an excellent thing, but I’m going to deny that I would love it if the idea of simply “popping into the closet” and stepping out with Manolos with every hue of the rainbow was real. (Don’t let me cry but I’ve never bought candles in 5 years.)

But I find comfort in the handful of television and movies which do capture at a minimum some of the fashion-girl experience. If the execs at Disney are aware that this is good for their business, they’ll re-watch these and note:

I don’t do as dramatic stunts than I’d like but I have to acknowledge that the rom-com’s representation of media that is predominantly female as a warm and cozy nest that allows gay and lesbians who want to express their most creative thoughts is a great one (if it’s not during the 90s). I am a huge fan eating salads and talking to my coworkers about breakups. Is there anything else I can say?

One thing I really like the most about this series is that it’s committed to capturing the vast amount of sexual toys at no cost which health professionals are provided with. Other highlights include the tale of the principal protagonist Jane and her fellow cast members having their own closet of clothes to hold emergency meetings (you know you’re not alone to aren’t happy with the idea) and the fact that they’re trying to switch hands randomly to “Steinem” to “Safford” in the second season, and no one has ever acknowledged the switch. Are we living in a society where Gloria Steinem owned a media empire? Did she ever be dismissed in this episode?

Imagine if I went to the Vogue pitching session and completely changed what the magazine’s content was like Jenna Rink, the principal character Jenna Rink does at Poise–seemingly at a spur of the moment, and without considering the demographics of the target audience or how the change would impact her staff who typically was signed up in a magazine for women of all ages but not a magazine for teens in the middle of school. It’s not my favorite huge fan but this plot element has always annoyed me the scene where everyone is having a blast during Fashion shows are always a big hit because, according to my experiences, fashion-conscious individuals are known to have a party, especially when there are drinks or other apps that are passing by.

Hannah Horvath’s excitement is unbridled when she learns the fact that her Conde Nast advertorial job includes many free food items (including lox! I’m tempted to weep! ) may be the most authentic depiction I’ve seen of journalism that was digital after the times.

The words from Carrie Bradshaw (and myself after each holiday cafeteria gathering), “I’m drunk at Vogue! “