This article contains spoilers for the movie “Wicked.”
“To be continued.”
“Wicked” ends with these three words, leaving audiences to wait a year for resolution. And with a projected opening weekend domestic box office haul of $120 million, that adds up to quite a bit of patience.
Until then, there’s much to discuss about Universal’s ambitious adaptation of the blockbuster stage show, especially its more narratively daring moments — likely affecting both devout fan and casual “Wizard of Oz” aficionados. So whether you left the theater crying or confused, The Times is here to share some clarity on “Wicked.”
Director Jon M. Chu with Cynthia Erivo and Ariana Grande on the set of “Wicked.”
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(Giles Keyte / Universal Pictures)
Why is ‘Wicked’ split into two movies?
While not uncommon for fantasy flicks and sci-fi entries, it’s never been done before with the film adaptation of a stage musical. And this one in particular — based on Gregory Maguire’s 1995 novel “Wicked: The Life and Times of the Wicked Witch of the West,” which draws from Frank L. Baum’s 1900 fantasy novel “The Wonderful Wizard of Oz” and the 1939 film adaptation — “comes heaped high with a century’s worth of heritage, in the traditions of literature, screen and stage, plus the massive expectations that come with that,” wrote Katie Walsh in her review.
After months of detailed discussions between director Jon M. Chu, composer Stephen Schwartz and book writer Winnie Holzman about potentially sacrificing songs or subplots, “it became very clear that you cannot tell this story in one movie, and if you did, you’d have to literally transform it into something very different, and that’s not something I was interested in doing,” Chu told The Times.
While split at the stage show’s intermission point, “these are two movies with integrity, and they can stand on their own,” said Holzman. And according to producer Marc Platt, each act — and therefore, each film — has a point of view that’s distinct to the witches played by Cynthia Erivo and Ariana Grande.
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“‘Wicked’ is very much about the human experience — having preconceived notions, seeing the world a different way and changing your point of view,” he said. “Yes, this is the story of two girls, but the motor of the first film is really Elphaba’s journey of how she finds her voice to speak truth to power. And the second film is very much Glinda coming to see the world differently and changing in her way. Once we laid it out emotionally and narratively, and committed to it, things really fell in place.”
Ariana Grande is Glinda in “Wicked.”
(Giles Keyte / Universal Pictures)
The movie’s running time is as long as the stage show but only tells half the story. What changes were made from stage to screen?
Recent musical adaptations have included rethought subplots or freshly written songs (sometimes resulting in misguided trims). But longtime “Wicked” fans will notice that the movie doesn’t drastically shoehorn any part of the narrative. Instead, it thoughtfully elaborates on the stage show, which opened on Broadway in 2003.
New scenes better cement some character dynamics, like when Elphaba and Glinda first meet in their shared dorm room. “When we were first writing the show, we wrote 30 versions of that scene before ‘What Is This Feeling?’” said Schwartz. “Ultimately, we just didn’t have the time.”
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The same is true when the two best friends first come face-to-face with the Wonderful Wizard of Oz (Jeff Goldblum). “There’s so much more time that he can take to delicately win them over and bring them into his world, and you get to see the girls get really won over by him,” said Holzman.
The introduction to Elphaba as a child, shunned by other kids and scorned by her father, was also abandoned in the making of the stage show, said Holzman: “To do that onstage is a whole thing, she’d be painted green for a one-minute-long part! But film is the perfect medium to finally do it.”
The movie also features a few slightly sharpened characters — a more independent Nessarose (Marissa Bode), a seemingly more maternal Madame Morrible (Michelle Yeoh) as “the mother Elphaba always wanted and never had,” said Platt — and a lot of new jokes, many of which were improvised by the cast. Plus, an extended “One Short Day” section explains the Wizard’s magical abilities, complete with cameos from original stars Idina Menzel and Kristin Chenoweth, as well as creators Schwartz and Holzman.
“It felt like we let the story and the characters breathe,” said Schwartz, who wrote a new song that didn’t make the cut. That discernment is thanks to Chu, said Platt: “Very frequently, Jon stopped us from changing things or turning them into something else. Because of his love for the material and his great sense of purpose and legacy, he protected us against ourselves.”
Cynthia Erivo and Ariana Grande with director Jon M. Chu on the set of “Wicked.”
(Giles Keyte / Universal Pictures)
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What did that silent ‘Dancing Through Life’ section mean?
One expanded sequence is “Dancing Through Life” — specifically, the section at the Ozdust Ballroom. Elphaba arrives alone, outfitted in the pointy black hat that Glinda has tricked her into wearing, and gets teased by all her classmates as she has been since arriving at Shiz University. Nevertheless, Elphaba begins to dance, executing every move as a woman boldly and unashamedly herself, even if it means remaining as lonely as ever.
Onstage, these dance moves are played for laughs, but “Cynthia came in and said, ‘I’m not a joke,’” Chu recalled of his early discussions with Erivo. “In the stage show, the audience has the same perspective as all the Ozians, but because of all the tools of cinema, we can flip it so the movie is from Elphaba’s perspective. Finding that really locked it in for me.”
Onscreen, the moment is deeply moving, with the sound of laughter muffled and the camera zooming in on Elphaba’s tears. Glinda, already feeling bad about the hat prank and ready to repay Elphaba for putting in a good word about her with the powerful Madame Morrible, joins her on the dance floor, echoing her movements with tears in her eyes as well. With this unspoken apology, the scene marks the beginning of their friendship.
“We’re in a massive musical, and Jon has the bravery to take sound out completely,” said cinematographer Alice Brooks of the scene. “The heart of the movie is in these very static, still and silent moments, where these two women have nonverbal communication with each other.”
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It’s a moment that means a lot to Chu, who watched the stage show during its pre-Broadway run in San Francisco in 2003, and it’s safe to say it left a handprint on his heart. “I remember sitting in that theater and feeling like it was made for me,” he said. “Every word speaks to something so much deeper than just a song you hear and know the words to. Making this movie, I wanted people to feel what I felt in that seat.”
Cynthia Erivo plays Elphaba in “Wicked.”
(Giles Keyte / Universal Pictures)
What happened during that ‘Defying Gravity’ scene?
The entire film builds up to Elphaba’s signature song, which gloriously closes the first act onstage with the newly named “Wicked Witch” flying for the first time. “It doesn’t actually plug all the holes that you need, but we’re rooting for the whole movie for her to do it,” said Chu of the beloved number. “But when we storyboarded it, what we found was, she didn’t earn this flight.”
Therefore, “Defying Gravity” is presented in sections onscreen. After a fiery, action-packed sequence in which flying monkeys chase after Glinda and Elphaba, the two find themselves at a crossroads: Glinda wants to please Madame Morrible and the renowned Wizard — even if they do want to cast powerful spells to ostracize the talking animals of Oz — while Elphaba would rather flee the scene than align with these lying leaders.
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Elphaba asks her best friend to come with her, but Glinda silently decides not to, instead handing her a black cape to stay warm. Though they’re splitting up, there’s no bitterness between them: “I hope it brings you bliss, I really hope you get it and you don’t live to regret it,” they sing to each other. “I hope you’re happy in the end, I hope you’re happy, my friend.”
Bewitched broom in hand, Elphaba then tries to fly, but instead starts falling straight toward the ground. “When she jumps out that window, she thinks she’s ready, but she’s not,” explained Chu. “She doesn’t know why she’s doing it. Is this just because she’s angry? Or is it just for vengeance?”
Elphaba then sees the younger version of herself (Karis Musongole) in the Emerald City castle’s reflection. “I’ve known Jon for 25 years, and thematically, there’s always a connection with your younger self that he’s so passionate about,” said Brooks. “He desperately wants to know what your younger self would say to you.”
As they’re both in freefall, young Elphaba reaches out to the adult witch, who reaches back. “It’s that arc of connecting to this person you’ve always been, and discovering that the power and strength you’ve been looking for has always been inside of you,” said Brooks of the dialogue-free moment.
“She grabs that broomstick, flies up and sings, ‘It’s me’ because she’s realized she’s doing it to heal herself and save herself,” added Chu. Elphaba then delivers the final declaration of the song, not just to Glinda and all the Ozians who are now hunting her down, as done onstage, but also to Madame Morrible and the Wizard, who colluded to deceive her.
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L to R: Jeff Goldblum is The Wizard of Oz and Michelle Yeoh is Madam Morrible in WICKED, directed by Jon M. Chu
(Giles Keyte / Universal Pictures)
So what does the ending mean for the second ‘Wicked’ movie?
“Part 2” is scheduled for release Nov. 21, 2025, and a yearlong intermission between films is fitting — the second movie, like the second act of the stage show, will probably begin with a time jump. Consider how “Part 1’s” last scene checks on the other characters: Fiyero appearing concerned by Elphaba’s categorization as “evil” by authorities and leaping into action, or Madame Morrible finally embracing Glinda, who’s tried to be in the professor’s good graces but was constantly eclipsed by Elphaba’s potential.
One thing you can count on is for “Wicked” to confront the Dorothy of it all. (And her little dog too.)
For his part, Chu, who filmed both parts of “Wicked” concurrently, is deep in the process of finalizing the edit on “Part 2.” “Last year, I cut both so that I could finish movie one to understand it,” he said. “I let it go and, just recently, opened it up again.”
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By this time next year, fans will likely be able to refresh their memories with back-to-back screenings of both parts in theaters. “I have done it,” said Chu of his own “Wicked” marathon. “It is so fun, it is great. I’m excited for everyone to do it.”
Bounding into cinemas just in time for spring, the latest Pixar animation is a pleasingly charming tale of man vs nature, with a bit of crazy robot tech thrown in.
The star of Hoppers is Mabel Tanaka (voiced by Piper Curda), a young animal-lover leading a one-girl protest over a freeway being built through the tranquil countryside near her hometown of Beaverton.
Because the freeway is the pet project of the town’s popular mayor, Jerry (Jon Hamm), who is vying for re-election, Mabel’s protests fall on deaf ears.
Everything changes when she stumbles upon top-secret research by her biology professor, Dr Sam Fairfax (Kathy Najimy), that allows for the human consciousness to be linked to robotic animals. This lets users get up close and personal with other species.
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“This is like Avatar,” Mabel coos, and, in truth, it is. Plugged into a headset, Mabel is reborn inside a robotic beaver. She plans to recruit a real beaver to help populate the glade, which is set to be destroyed by Jerry’s proposed road.
In the summer of 1991, Nirvana filmed the music video for “Smells Like Teen Spirit” on a Culver City sound stage. Kurt Cobain strummed the grunge anthem’s iconic four-chord opening riff on a 1969 Fender Mustang, Lake Placid Blue with a signature racing stripe.
Nearly 35 years later, the six-string relic hung on a gallery wall at Christie’s in Beverly Hills as part of a display of late billionaire businessman Jim Irsay’s world-renowned guitar collection, which heads to auction at Christie’s, New York, beginning Tuesday. Each piece in the Beverly Hills gallery, illuminated by an arched spotlight and flanked by a label chronicling its history, carried the aura of a Renaissance painting.
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Irsay’s billion-dollar guitar arsenal, crowned “The Greatest Guitar Collection on Earth” by Guitar World magazine, is the focal point of the Christie’s auction, which has split approximately 400 objects — about half of which are guitars — into four segments: the “Hall of Fame” group of anchor items, the “Icons of Pop Culture” class of miscellaneous memorabilia, the “Icons of Music” mixed batch of electric and acoustic guitars and an online segment that compiles the remainder of Irsay’s collection. The online sale, featuring various autographed items, smaller instruments and historical documents, features the items at the lowest price points.
A portion of auction proceeds will be donated to charities that Irsay supported during his lifetime.
The instruments of famous musicians have long been coveted collector’s items. But in the case of the Jim Irsay Collection, the handcrafted six-strings have acquired a more ephemeral quality in the eyes of their admirers.
Amelia Walker, the specialist head of private and iconic collections at Christie’s, said at the recent highlight exhibition in L.A. that the auction represents “a real moment where these [objects] are being elevated beyond what we traditionally call memorabilia” into artistic masterpieces.
“They deserve the kind of the pedestal that we give to art as well,” Walker said. “Because they are not only works of art in terms of their creation, but what they have created, what their owners have created with them — it’s the purest form of art.”
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Cobain’s Fender was only one of the music history treasures nestled in Christie’s gallery. A few paces away, Jerry Garcia’s “Budman” amplifier, once part of the Grateful Dead’s three-story high “Wall of Sound,” perched atop a podium. Just past it lay the Beatles logo drum head (estimated between $1 million and $2 million) used for the band’s debut appearance on “The Ed Sullivan Show,” which garnered a historic 73 million viewers and catalyzed the British Invasion. Pencil lines were still visible beneath the logo’s signature “drop T.”
Pencil lines are still visible on the drum head Ringo Starr played during the Beatles’ debut appearance on “The Ed Sullivan Show.”
(Christie’s Images LTD, 2026)
It is exceptionally rare for even one such artifact to go to market, let alone a billion-dollar group of them at once, Walker said. But a public sale enabling many to participate and demonstrate the “true market value” of these objects is what Irsay would have wanted, she added.
Dropping tens of millions of dollars on pop culture memorabilia may seem an odd hobby for an NFL general manager, yet Irsay viewed collecting much like he viewed leading the Indianapolis Colts.
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Irsay, the youngest NFL general manager in history, said in a 2014 Colts Media interview that watching and emulating the legendary NFL owners who came before him “really taught me to be a steward.”
“Ownership is a great responsibility. You can’t buy respect,” he said. “Respect only comes from you being a steward.”
The first major acquisition in Irsay’s collection came in 2001, with his $2.4-million purchase of the original 120-foot scroll for Jack Kerouac’s 1957 novel, “On the Road.” He loved the book and wanted to preserve it, Walker said. But he also frequently lent it out, just like he regularly toured his guitar collection beginning 20 years later.
Jim Irsay purchased the original 120-foot scroll manuscript of Jack Kerouac’s “On the Road” for $2.4 million in 2001.
(Christie’s Images)
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“He said publicly, ‘I’m not the owner of these things. I’m just that current custodian looking after them for future generations,’ ” Walker said. “And I think that’s what true collectors always say.”
At its L.A. highlight exhibition, Irsay’s collection held an air of synchronicity. Paul McCartney’s handwritten lyrics for “Hey Jude” hung just a few steps from a promotional poster — the only one in existence — for the 1959 concert Buddy Holly, Ritchie Valens and J.P. “The Big Bopper” Richardson were en route to perform when their plane crashed. The tragedy spurred Don McLean to write “American Pie,” about “the day the music died.”
Later, the Beatles’ 1966 song “Paperback Writer” played over the speakers near-parallel to the guitars the song was written on.
Irsay’s collection also contains a bit of whimsy, with gems like a prop golden ticket from 1971’s “Willy Wonka & the Chocolate Factory” — estimated between $60,000 and $120,000 — and reading, “In your wildest dreams you could not imagine the marvelous surprises that await you!”
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Another fan-favorite is the “Wilson” volleyball from 2000’s “Cast Away,” starring Tom Hanks, estimated between $60,000 and $80,000, Gibson said.
Historically, such objects were often preserved by accident. But as the memorabilia market has ballooned over the last decade or so, Gibson said, “a lot of artists are much more careful about making sure that things don’t get into the wrong hands. After rehearsals, they tidy up after themselves.”
If anything proves the market value of seemingly worthless ephemera, Walker added, it’s fans clawing for printed set lists at the end of a concert.
“They’re desperate for that connection. This is what it’s all about,” the specialist said. It’s what drove Irsay as well, she said: “He wanted to have a connection with these great artists of his generation and also the generation above him. And he wanted to share them with people.”
In Irsay’s home, his favorite guitars weren’t hung like classic paintings. Instead, they were strewn about the rooms he frequented, available for him to play whenever the urge struck him.
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Thanks to tune-up efforts from Walker, many of the guitars headed to auction are fully operational in the hopes that their buyers can do the same.
“They’re working instruments. They need to be looked after, to be played,” Walker said. And even though they make for great gallery art, “they’re not just for hanging on the wall.”
“Trying to find your niche as a movie star isn’t easy,” said Frank Scheck in The Hollywood Reporter. Take Glen Powell. A year ago, the Twisters and Anyone but You star was being talked about as possibly the next Tom Cruise. But he “stumbled badly” when he tried to play a macho action hero in November’s remake of The Running Man, and he’s now turned in a second straight box office flop. He took a risk with How to Make a Killing, playing a guy cheated by fate who we’re supposed to root for as he begins murdering off the seven rich relatives standing between him and an enormous inheritance. But c’mon. “Powell is charming, but he’s not that charming.”
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The movie “needed to pick a side,” said Jacob Oller in AV Club. It could have been “a clownish class comedy” or “bitter sociopathic satire,” but it winds up being neither, and “at the center of it all is Powell, making the same face for an hour and 45 minutes, too unflappable to root for, too smug to magnetize as an inhuman American Psycho.” I’m not ready to give up on him, said Nick Schager in the Daily Beast. To me, he and co-star Margaret Qualley, who plays the femme fatale who eggs on the killing spree, come across as “such alluringly nasty delights” that this reworking of the 1949 black comedy Kind Hearts and Coronets “ survives its potentially lethal missteps and works on its own limited terms.” Though its teeth aren’t as sharp as they should be, “it’s smart and spiky enough to leave a pleasurably painful mark.”
‘Pillion’
Directed by Harry Lighton (Not rated)
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★★★★
While this gay BDSM rom-com from a rookie director “might sound niche,” said Amy Nicholson in the Los Angeles Times, “free yourself to see it and you’ll discover it’s a universal romance.” Former Harry Potter side figure Harry Melling stars as a shy singleton who’s figuring out what he wants in a relationship when he happens into a submissive-dominant entanglement with a tall, handsome biker played by Alexander Skarsgard. Soon, Melling’s Colin is obeying his lover’s every order, including by shaving himself bald and sleeping like a dog on the floor. But the “kinky-funny” screenplay, which won a prize at Cannes, makes sure we see that Colin is not stuck but growing.
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While the movie’s sex scenes are “refreshingly graphic,” they’re “never used or shock value,” said Odie Henderson in The Boston Globe. “The real shock comes from how emotionally involved the characters become within the construct of their kink.” And when Colin brings his new lover home to meet the parents, Skarsgard and Lesley Sharp, as Colin’s suburban London mom, do memorable work because “neither of them approaches the scene in a way you’d expect.” Until the ending, which “feels a little neat,” said Zachary Barnes in The Wall Street Journal, the movie “proceeds with an assurance of tone that’s especially impressive for a first-time filmmaker handling material like this.” Harry Lighton’s debut “could have been simply shocking, revving its engine in sexed-up style. Instead, Pillion purrs.”
‘Midwinter Break’
Directed by Polly Findlay (PG-13)
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★★
Lesley Manville and Ciarán Hinds “would be appealing to watch just fumbling for their reading glasses,” said Natalia Winkelman in The New York Times. Unfortunately, this “staid” drama about an aging Irish couple puts that claim to the test. A “slow-moving film with a sappy score and mellow mood,” Midwinter Break opens with Manville’s Stella surprising Hinds’ Gerry by arranging a spur-of-the-moment trip to Amsterdam. Alas, “precious little conflict occurs until long afterward.”
But while Polly Findlay’s adaptation of a Bernard MacLaverty novel is a “delicate” film, said Lindsey Bahr in the Associated Press, its impact can be profound “if you can get on its level.” Stella, a devout Catholic, has an ulterior motive for dragging Gerry abroad, and when she nervously proposes how she’d like to live more purposefully in retirement, “it feels earth-shattering.” This is a couple accustomed to leaving much unsaid, including how the violence of the Troubles led them to flee Belfast years earlier for Scotland. Manville and Hinds give the movie everything they’ve got, said Caryn James in The Hollywood Reporter. In a scene in which Stella pours out her heart to a stranger, “Manville delivers one of her most magnificent performances, which is saying a lot.” Alas, the script lets them down, “not because it needs more action but because this ordinary couple’s problems seem so unsurprising, their inner lives so veiled.”