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You’re not a visionary. You’re a vendor,� Miranda Priestly — the fierce director for preeminent fashion magazine “Runway� — sneers to one of her many business adversaries during “The Devil Wears Prada 2.� It’s been 20 years since the original film chronicled aspiring young journalist Andrea’s struggle to meet Miranda’s exacting standards in a cutthroat industry, but the role still fits legendary actress Meryl Streep like a luxurious glove with room to grow. She adds even more dimension to an aging icon caught between art and commerce in an irrevocable media landscape.

In 2006, the biggest problem for Andrea (Anne Hathaway) was a domineering, occasionally callous boss who served as her only foot in the door. In “The Devil Wears Prada 2,� they’re both subject to the whims of company consolidations endangering their trade. If the first movie skewered the gaudy fashion sphere, the second plays more like a eulogy to its institution of cultural journalism. Returning director David Frankel and screenwriter Aline Brosh Mackenna waited decades for a story worth telling, and it’s a surprisingly bittersweet ode to the last remaining stewards of artistry and inspiration between the pages.