Wicked: For Good revisits Oz with a tone far removed from the fairytale charm of its 2024 predecessor. Directed by Jon M. Chu and adapted from the second act of the beloved musical, the film picks up the fractured story of Elphaba (Cynthia Erivo) and Glinda (Ariana Grande) as fate draws them apart.
Erivo and Grande ground the film in a tragic intimacy. Elphaba has become a hunted exile, labeled the “Wicked Witch of the West,” while Glinda rises as the public symbol of “goodness” under the rule of The Wizard of Oz (Jeff Goldblum), basking in wealth and notoriety as drama unfolds across Emerald City. Their bond, shaped by an earlier innocence, is tested; Elphaba fights for the oppressed animals of Oz, while Glinda navigates comfort, betrayal, and complicity.
The sequel draws less spectacle than the original, focusing more on atmosphere. Production design by Nathan Crowley and costumes by Paul Tazewell maintain the ornate grandeur expected of Oz, yet steer the visuals to a darker, more oppressive light. The cinematography by Alice Brooks often framed wide halls and opulent ballrooms against the looming shadow of fear and propaganda. Within this setting, musical numbers shift tonally to be more subtle and somber than the first film’s grand, upbeat numbers, which may jar some who expect a straightforward musical fantasy. The song “No Good Deed” is layered with this dramatic weight, while Glinda’s newly written solo “The Girl in the Bubble” offers a surprisingly fragile introspection to a character once defined by bright pink cheer.
While ambitious, the plotline had much ground to cover: political intrigue, social injustice, evolving relationships, and new songs. The result is a narrative that drags at times, with some arcs feeling underdeveloped or overwhelmed by the weight of the many themes and symbolism. Characters like Madam Morrible (Michelle Yeoh) and Fiyero (Jonathan Bailey) serve more as emblematic pillars over grounded, fully-developed humans. A notable choice is the decision never to show Dorothy’s face, allowing her presence to permeate the narrative without overshadowing the main characters’ emotional journeys, emphasizing the story’s focus on personal consequence.
Still, when the film allows the emotional core of grief, regret, friendship, and conviction to remain front and center, it is striking. The final confrontation between Elphaba and Glinda, distraught with raw sorrow and difficult truths, works precisely as the stakes feel earned. The world-building, costuming, and musical heart fuse into a conclusion that doesn’t offer an easy redemption or fairytale ending, but rather, complexity: messy justice, painful truths, and being forced to embrace deceit in the name of survival.
For all its flaws, Wicked: For Good is an ambitious, somber, and thought-provoking entry in cinematic musicals. The film demands more than musical spectacle, and instead prompts the audience to sit with the consequences and consider the cost of power, friendship, and compromise. In doing so, it provides a concluding vision of Oz that is intimate and mature, granting the city a thoughtful and profound summation.
