Entertainment
All of your questions about the 'Wicked' movie, answered
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.”
(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.
“‘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.”
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)
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.”
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.
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.
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.”
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.”
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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