The magical land of Oz has been a vital part of my life since I was in diapers. My mom used to sing me to sleep as a newborn with smooth croonings of “Somewhere Over the Rainbow.” When I was old enough to watch, The Wizard of Oz was on a permanent loop in my living room. In 2006, seeing Wicked on a Broadway stage with my dad and sister reawakened my love for the property. Now in 2025, director John M. Chu has closed out Oz’s latest chapter, a riveting, nostalgic, deeply emotional adaptation of Wicked’s act II, expanded and peppered with love. Even if my mom couldn’t be here physically to hold my hand as the tears slid down my face during “For Good,” she would have been so proud of what this creative team was able to bring to life. A perfect bookend to Wicked’s Oscar-winning musical masterpiece, Wicked: For Good cements this cinematic two-for-one as a true legend worthy of rejoicifying.
Five years after the show-stopping “Defying Gravity” shook the land of Oz to its core, a whole hell of a lot has changed. The Wizard (Jeff Goldblum, Jurassic Park, The Fly) and Madame Morrible (Michelle Yeoh, Everything Everywhere All At Once, Crazy Rich Asians) have declared the Wicked Witch of the West to be the ultimate enemy. They have appointed Fiyero (Jonathan Bailey, Bridgerton, Fellow Travelers) as Captain of the Wizard’s Royal Guard, tasked with finding and bringing Elphaba (Cynthia Erivo, Widows, Bad Times at the El Royale) to justice. Glinda (Ariana Grande, Scream Queens, Don’t Look Up) is enjoying all the perks of the side she chose, including her new method of transportation in, essentially, a giant bubble. Nessa (newcomer Marissa Bode) has taken over her father’s position as governor of Munchinkinland with Boq (Ethan Slater, The SpongeBob Musical)) by her side… sort of. Elphaba, meanwhile, remains on the run with The Grimmerie, an ancient book of magical spells that only she can read.
In an enthralling opening scene, Elphaba swoops in to interrupt the laying of bricks that are paving the Wizard’s grandiose yellow brick road. As we get reacquainted to each of the major players through “Every Day More Wicked,” the sweeping visuals show off bits of the film’s delicious production design. Even without such extravagant costuming and sets, the acting alone is up for the seemingly insurmountable task of Wicked’s back half. There’s plenty of narrative heavy lifting and major events that occur within, more than justifying the decision to split this into two halves. However, make no mistake, Wicked: For Good and Wicked are indeed two halves of the same story. This is not a sequel, just the concluding—and very worthy—ending to a rousing tale of friendship, animal love, and twisted manipulations from a domineering fascist regime. Musical numbers this time are far more intimate, leading to surprising moments of beauty.
Stepping away from Shiz University was always going to be a bold risk, but it does follow the exact structure of the Broadway show in that manner. We get to see more of Oz as a whole—the people, the horrible cycle of blaming animals for everyday problems, and even crumbs of Dorothy’s story running in tandem to that of our leads. Chu and screenwriters Winnie Holzman and Dana Fox wisely choose to show minimal Dorothy when they could’ve taken a different route entirely. The familiar girl in the gingham dress can remain just as mystical as she was when Judy Garland brought her to life back in 1939. This is basically the same way Dorothy is utilized in the stage show—Chu and company opt to expand the depth of characterization given to Glinda and Elphaba instead with two shiny new music numbers.
Of these tunes, “The Girl in the Bubble” stands out, given Glinda’s extended role in the spotlight. Where the show’s act II maintained its Elphaba-heavy narrative, the wiggle room of extra runtime allows further texture to be given to their core friendship—and even a flashback to an absolutely adorable young Glinda. All the new material gives Grande plenty to do. At the very least, Grande should nab an Oscar nomination; in a just world, her win would already be gift-wrapped with the proper level of congratulotions. The strength of the core friendship between Elphaba and Glinda makes the centerpiece final number, “For Good,” that much more powerful. For her half of this duo, Erivo is again a complete powerhouse. Her “No Good Deed” made me want to get up from my seat and applaud. This is speaking nothing of her “As Long As You’re Mine” duet with Fiyero. The newly crowned People’s Sexiest Man Alive, Bailey taps into his natural charisma whilst the darkness of For Good allows him to toy with different shades of Fiyero. The love triangle between these three characters always entertains, and provides great fodder for conflicts both internal and external.
As an avid Wicked fan, Wicked: For Good delivered everything I could possibly want, and more. It accomplishes a stunning feat in actually improving upon act II, ensuring each wonderfully rich musical moment soars. Even Goldblum’s “Wonderful” underlines his impeccable casting as Oz’s biggest swindler. As it speeds towards a flawless climax, For Good delivers jaw-dropping twists and fresh takes on Oz iconography. We had better see this non-sequel nab plenty of Oscar nominations. Wickedness and goodness are as timeless as that place somewhere over the rainbow. There’s really no place like home. How can a play over two decades old still manage to speak to a generational love of all things Wizard of Oz? By embracing their adoration for Wicked and discovering that magical sweet spot of emotionality along the way, Chu and his filmmaking team have entered Wicked into the Ozian Hall of Fame.
The Wizard will grant your heart’s desire in Wicked: For Good, now playing in theatres worldwide.
