I've never understood the appeal of watching movies over and over again except for if the last time you saw the movie, you still had to ask your mom for rides to the mall and made questionable artistic choices with pencil eyeliner. There are a few exceptions to that rule, and what is usually an honor limited to Wes Anderson films and "13 Going on 30" is also bestowed upon "The Devil Wears Prada", which I've seen about as many times as I've contemplated major hair changes this morning, so, like, a lot. There are numerous reasons why this movie graced my top 10 list since the first time I saw it at a seventh grade sleepover. I loved it for providing what (I thought was) a glimpse into the fashion industry world I was so intrigued with, makeover montages, and over-the-knee Chanel boots (this is still true). After further watches, I was drawn to feminist connotations and vague nods to Girl Power with lines such as "If Miranda were a man, the only thing people would talk about is how good she is at her job." and "I'm not your baby."

As a lifelong fashion lover, I've always hated how people view fashion as vapid and pointless and I loved the way that the film seemed to portray fashion and those who are interested as more than that, with Miranda's monologue on the importance of fashion and Andy's initial schooling on the impossibility of distancing herself from fashion (aka the Cerulean Scene).

With my deep adoration for TDWP, you can imagine my excitement when it was playing on tv after returning home from a long shift at work. As is typical, my thoughts on the movie always deepen or evolve slightly with each watch. Afterwards, I was in the mood for some Discourse™ on my newly updated thoughts on the movie. Naturally, I texted my fellow fashion-loving friend Taylor (who conveniently happens to be a film minor) for what I thought was going to be a lighthearted conversation about what we love (Miranda's wide array of fur coats) and hate (how unsupportive Andy's friends and boyfriend are) about the movie. However, Taylor dealt irreparable and much-needed damage to my previous view of the movie.

What I used to think was a film that praised powerful women and rejected the notion that the fashion industry is a more vapid, conventionally beautiful version of Wall Street, I've since been convinced that the few vague nods to these sentiments are unable to redeem the ultimate overall negative portrayal of fashion, people who enjoy it, and female bosses (and women who are, you know, just doing their jobs).

The film fails to glorify powerful working women but instead insists that by doing their jobs (and doing it well) women are power-hungry and bitchy. This is apparent from the first time we meet Emily, where she's painted as a bitch because she's not making a grand effort to be Andy's bff and has little patience for her arrogance and incompetence. While Emily certainly isn't nice, thats not what she's at Runway to do, she's there to do her damn job. Also, the film's suggestion that by going to Paris instead of Emily, Andy was some sort of bad person was equally ridiculous. Not only was it not really Andy's decision as it part of her job and boss's instructions, it was not remotely personal since Emily had literally just been hit by a car and was in no position to go anyway. The suggestion that Miranda was some sort of cruel lady boss for having Andy go instead of Miranda is equally unfair.

While some of Miranda's actions are unfairly portrayed as cold-hearted, whats even worse is the real-life consequences of this. Miranda Priestly is high key inspired by Anna Wintour, Editor-in-Chief of Vogue and "The Bobbed One". To quote even more wisdom dropped by Taylor via text, "its kinda shitty that the whole movie exists to make Anna Wintour seem like a bad person for existing as a female boss."

As much as I love The Infamous Cerulean Scene, the way the film demonizes Emily and Miranda and makes it seem like Andy's personality changed once she started dressing better overshadows the few lines that offer up any potential for painting the fashion industry in anything but a unfairly critical light. What could have been a light hearted portrayal of the competitive nature of the fashion industry turned into an exaggerated and unfair display of cut-throat business ethics and insensitive eating disorder jokes.

The idea that fashion is pointless and those who are interested in it are work-obsessed elitists is perpetuated by Andy's boyfriend, her friends, and herself at the beginning of the movie. While her subsequent character development held great potential for revealing the lunacy and sexism behind her previously held convictions, the way Miranda is portrayed negates any possible redemption from the maybe, like, two redeeming lines.

While I used to revel in the small glimpse of my dream job I got from TDWP, when Taylor asked "why does a movie about the fashion industry hate the fashion industry so much?" I turned to "The September Issue" to inspire my career goals and to rectify the gross portrayal of Anna Wintour and everyone else dedicating themselves to a more stylish world. If anything, TDWP just proves what The Bobbed One has said before:

Even though #yourfaveisproblematic, I have a confession: I'll probably still watch TDWP the next time its on HBO and I'm on the couch and our paths spontaneously cross. I'm not suggesting you should stop liking TDWP, just that it should be no exception to the feminist endeavor of being critical of the media we consume. Its up to you if you decide to still enjoy your problematic faves, because honestly is it even possible to avoid problematic media? While I am still left disappointed in TDWP, it will still hold a place in my heart. I may just get my much-needed dosage of Anna Hathaway makeover montages from "The Princess Diaries," instead.