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newsletter issue 167

newsletter issue 167

JULY 02, 2025

JULY 02, 2025

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Gird your loins because one of the most iconic romcoms is getting a sequel, and all the original characters are reprising their roles. Anne Hathaway, Meryl Streep and Emily Blunt, plus Stanley Tucci, have started filming for The Devil Wears Prada 2. Reportedly, the sequel is about Miranda Priestly facing the decline of publishing (sigh) and facing off against high-powered executive Emily, who now works for a luxury group that has advertising dollars that Priestly needs. But there’s a long wait in store for fans—the film releases in 2026. Also releasing in January 2026 is the film adaption of Emily Henry’s People We Meet on Vacation. (If you haven’t read the book, now’s the time.)


For the more impatient romcom fans, Netflix film My Oxford Year, starring Sofia Carson and Corey Mylchreest, is coming out on August 1. It’s about an American girl falling for that lovely Brit accent (hello, King George), and basically it’s giving major Wild Child vibes but for grownups. While you wait, enjoy these stories on The Nod.

Gird your loins because one of the most iconic romcoms is getting a sequel, and all the original characters are reprising their roles. Anne Hathaway, Meryl Streep and Emily Blunt, plus Stanley Tucci, have started filming for The Devil Wears Prada 2. Reportedly, the sequel is about Miranda Priestly facing the decline of publishing (sigh) and facing off against high-powered executive Emily, who now works for a luxury group that has advertising dollars that Priestly needs. But there’s a long wait in store for fans—the film releases in 2026. Also releasing in January 2026 is the film adaption of Emily Henry’s People We Meet on Vacation. (If you haven’t read the book, now’s the time.)


For the more impatient romcom fans, Netflix film My Oxford Year, starring Sofia Carson and Corey Mylchreest, is coming out on August 1. It’s about an American girl falling for that lovely Brit accent (hello, King George), and basically it’s giving major Wild Child vibes but for grownups. While you wait, enjoy these stories on The Nod.

 

Ruhi Gilder, Audience Growth Analyst

Ruhi Gilder, Audience Growth Analyst

 

 

Entertainment

Entertainment

‘F1: The Movie’ leaves women at the back of the grid

‘F1: The Movie’ leaves women at the back of the grid

In a sport racing toward progress, the Brad Pitt starrer hits the brakes with clumsy character arcs, tired love-interest tropes, and barely a woman in control

In a sport racing toward progress, the Brad Pitt starrer hits the brakes with clumsy character arcs, tired love-interest tropes, and barely a woman in control

F1 Movie, The Nod Mag

Chocolatiering_Manam Chocolate

Food

Food

The chocolates Delhi’s BMW crowd is lining up for

The chocolates Delhi’s BMW crowd is lining up for

Chocolate flowing through overhead pipes, nibbles you can’t stop snacking on and a cake named after a car—here’s what to expect from Manam’s Willy Wonka-esque Delhi outpost

Chocolate flowing through overhead pipes, nibbles you can’t stop snacking on and a cake named after a car—here’s what to expect from Manam’s Willy Wonka-esque Delhi outpost

Gretchen Rubin by jishnu bandhopadyay

Relationships

Relationships

That boring life (non-)update? Share it now, says Gretchen Rubin

That boring life (non-)update? Share it now, says Gretchen Rubin

The bestselling author and happiness guru makes a case for prioritising relationships with your loved ones as the simplest, shortest route to bliss

The bestselling author and happiness guru makes a case for prioritising relationships with your loved ones as the simplest, shortest route to bliss


 

Arts

Arts

Why is there a rickshaw loaded with tiffin boxes at London’s Kensington Gardens?

Why is there a rickshaw loaded with tiffin boxes at London’s Kensington Gardens?

The Serpentine Summer Party 2025 put the focus Subodh Gupta’s work, opening a cross-continental dialogue that sees Indian art not as a theme but as a given

The Serpentine Summer Party 2025 put the focus Subodh Gupta’s work, opening a cross-continental dialogue that sees Indian art not as a theme but as a given

 

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