The devil dresses Prada 2: are the photos from the set by ruining us the surprise?

The doubt came to the fourth image stolen from the New York set of the Devil wears Prada 2: but isn’t it that all these photos are ruining us the surprise?

At the beginning those shots were a bit like finding old friends: reviewing Andy, Miranda and Nigel In action after years of waiting he gave a shiver of pop joy. It was the preview of a return to a world that we loved, a small revival, the right dose of nostalgia. Now, however, the feed has turned into a spoiler marathon: Andy who for the first time wears Prada, Nigel always a slave of Miranda, Emily instead who has broken the chains and is in his new era Empowered. Of course, it remains that from the photos we do not get the dialogues – and fortunately – but the risk of the magic is lost. If we have already seen everything before going to the room, what remains then?

It will not be a coincidence, for example, that Paolo Sorrentino He did not want to reveal half a line of the plot of his new film that will lead to Venice exhibition, Grace. Everything will be done in the room, in the old way. Because perhaps the idea of democratizing curiosity, of consuming every scene with likes of likes and spoilers is not always good for the Hype, as they say today: in some cases the deprime. And so, there is a risk of a flattening of the cinematographic experience: everything becomes already known, already commented, already decrypted.

Of course, the fault is not of the images itself, but of the compulsive way in which today we feed on advances. The surprise effect, which was once a promise, today is a conquest: you have to protect it, shield it, filter, deactivate hashtags and change keyword as in a secret mission.

It will not be a coincidence, for example, that Paolo Sorrentino He did not want to reveal half a line of the plot of his new film that will lead to Venice exhibitionGrace. Everything will be done in the room, in the old way. Because perhaps the idea of democratizing curiosity, of consuming every scene with likes of likes and spoilers is not always good for the Hype, as they say today: in some cases the deprime. And so, there is a risk of a flattening of the cinematographic experience: everything becomes already known, already commented, already decrypted.

Others, on the other hand, make the opposite, revealing everything before even the CIAK. But in the constant overexposure of everything – from the sets to the scripts, passing through the color of the protagonist’s socks – the thing that was once called awaits is lost. And that today, however, it burns with a scroll.

I have a friend who is so terrified of the spoilers who does not even read the synopsis of the films he goes to see. It is one who managed to sit in the room to see Oppenheimer Without knowing in the least what the story was: world record, probably. But maybe he has no wrong. Because part of the charm of a film lies precisely in not knowing, in letting yourself be surprised by a gesture, by an expression, by a twist. It is there that authentic involvement is born, that common wonder of a room overflowing with strangers who have become accomplices. Other than scroll of the feed.

And then, with all the good we want to Andy, Miranda and that stylish and cruel cerulean universe, perhaps the most intelligent move is to close the Instagram app.

That’s all.