"Oh my God. Has it been 14 years since [The Devil Wears Prada]?” The High Note's director Nisha Ganatra wondered aloud during a recent phone interview with Refinery29. 

When the trailer for Late Night came out in March 2019, I was among many calling it the next Devil Wears Prada. But after seeing The High Note, I realise that’s not quite the case. Ganatra isn’t so much throwing back to that genre as she is pushing it forward. The troubles women face in the workplace have evolved since 2004, as has storytelling itself. Ganatra’s work reflects those changes, asking new questions and exploring different relationships and dynamics. 

“The Devil Wears Prada did such a great job with the nightmare boss/put-upon assistant dynamic that I don’t think any of us were interested in revisiting that,” Ganatra continued. “It was interesting to find a different take on [that] trope. What was refreshing to me was to think how you do cross a line between, Are we friends? Are we not friends? But once in a while there’s this intimacy [between boss and assistant], and that’s confusing and hard. It’s a way to explore mentorship among women, which we’re kind of new to as a generation, and how we negotiate the boundaries of being mentors.”

“With Late Night, I wanted more women to get into late-night comedy writing,” she said. [With The High Note], I want to encourage a young generation of women to become music producers. I read this statistic that there are only [seven] women in the history of the Grammys who have been nominated for Producer of the Year. Now, we just need more movies with a female president.”

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