Wicked: For Good DEEP DIVE | Easter Eggs, Best Moments, Lore, & More! - video Dailymotion

MsMojo

Get ready to defy gravity! Join us as we take a comprehensive look at the magical world of "Wicked: For Good." We’re exploring everything from subtle details you might have missed to the biggest changes from its Broadway origins, and even how it recontextualizes "The Wizard of Oz." Prepare for a spellbinding journey through the Land of Oz, celebrating all the twists, reinventions, and emotional moments that have fans buzzing!

Transcript

00:00:00Welcome to Ms. Mojo, and today we are celebrating all the twists, reinventions, and spell-binding

00:00:09emotional moments in Wicked 2 that have fans buzzing for good. And we're starting with

00:00:15everything that you may have overlooked in the film.

00:00:19You don't want to miss this.

00:00:20Welcome to Ms. Mojo, and today we're looking at details that might have flown over your

00:00:25head in Wicked 2 for good. There will be spoilers for both the film and stage musical.

00:00:30It's her quiet place where she gets to keep little pieces of her that feel like the real Galinda can still exist.

00:00:41Number 10, Water Can Melt Her.

00:00:44Bring me the broom of the Wicked Witch of the West, so I have proof that she's dead.

00:00:52In the Thank Goodness number, rumors about the so-called Wicked Witch of the West spread

00:00:57like wildfire. Of course, there is one thing that can extinguish fire and the witch. Water.

00:01:03At least, that's what Ozians are led to believe. One of the most notable lyrics in the song is

00:01:08that the witch is...

00:01:09In the stage version, this is the first time we hear of this rumor, which Elphaba ultimately uses

00:01:23to her advantage. Wicked for Good introduces this idea even earlier with a subtle detail.

00:01:29We see how propaganda and fake news are being promoted through the press.

00:01:33As one Ozian reads a gossip column, there's a headline reading,

00:01:37Water Can Melt Her.

00:01:38I also let you get wet.

00:01:40Number 9, The Wizard of Lies.

00:01:42A wonderful wizard of Oz.

00:01:46No one believed in you more than I did.

00:01:48Elphaba crashes the yellow brick road's grand unveiling to get the truth out.

00:01:52Since nobody will listen to her directly, she tries to get her message out through skywriting.

00:01:57Using her broomstick, she writes,

00:01:58Our Wizard Lies in the Clouds.

00:02:01This pays homage to a scene in 1939's The Wizard of Oz,

00:02:04when the Wicked Witch writes,

00:02:06Surrender Dorothy over the Emerald City.

00:02:08She's followed us here.

00:02:10Surrender Dorothy.

00:02:12Oh, Dorothy? Who's Dorothy?

00:02:15The wizard will explain it.

00:02:17Not only is it the same method of spreading the word,

00:02:19but the font is similar as well.

00:02:21Elphaba's efforts are in vain,

00:02:23as Madame Morrible uses her powers to manipulate the message into a threat.

00:02:27It's another reminder that weather is Morrible's specialty,

00:02:31with Cloud manipulating just being a warm-up for the twister she'll summon later.

00:02:35Perhaps a change in the weather.

00:02:40Number 8, The Rider's Identity Revealed.

00:02:43The first film opened with several recognizable images,

00:02:58such as the witch's hat, flying monkeys, a rainbow,

00:03:02and four companions walking down the yellow brick road.

00:03:05Yet there was another invisible whose identity eluded most audiences.

00:03:09Elphaba, they're coming for you.

00:03:13Just look at me.

00:03:15Not with your eyes, but theirs.

00:03:18Fleeing from Kiyomoko on horseback is a mysterious hooded figure.

00:03:23Wicked for Good reveals that it was Glinda all along.

00:03:26Here's the plan.

00:03:28I have no plan.

00:03:29Well, I do.

00:03:30Oh, thank Oz.

00:03:31This makes sense, as Glinda would have been recognized if she had traveled via Bubble.

00:03:34Considering how she made fun of her roommate's wardrobe when they were in school,

00:03:39we think it's fitting that Glinda has to dress like Elphaba for this rescue mission.

00:03:43It's one of several signs that Glinda has changed,

00:03:46with the black boots merely being the first step toward goodness.

00:03:49Number 7, Why the Caged Wizard Sings.

00:03:52I could tell him that I've been lying to him till I'm, forgive me, blue in the face.

00:03:58The wizard nearly convinces Elphaba to join him after he releases the flying monkeys.

00:04:02Being his former spy in the sky, though, Chistery knows all of the wizard's lies.

00:04:08He shows Elphaba a room full of caged animals, including a speechless Dr. Dillamond.

00:04:13After Elphaba frees the animals, the wizard gets his comeuppance in a few poetically ironic ways.

00:04:19First, Elphaba presses her broomstick against the wizard's neck.

00:04:22But there's no going back.

00:04:25And we can't move forward, not until everyone knows what I know.

00:04:27And once they know the truth...

00:04:29They're not going to believe it.

00:04:29For a moment, Elphaba takes away the wizard's ability to speak,

00:04:33just as he's done to the numerous oppressed animals.

00:04:36Fierro intervenes before Elphaba can go full wicked,

00:04:39but he does pull a gun on the wizard.

00:04:41The tables are turned as Fierro and Elphaba put the wizard in a giant cage like an animal.

00:04:46No good deed goes unpunished.

00:04:50That's my decree.

00:04:53Number 6, Foreshadowing Box Fate.

00:04:56Because I knew you.

00:04:58What have you done to me?

00:04:59Both Wicked films added a few hints that Bach was bound to become the Tin Man,

00:05:03giving him the surname Woodsman.

00:05:05I know we don't really know each other yet, but I...

00:05:08You know what I believe, Bick?

00:05:11It's Bick.

00:05:11It's Bach.

00:05:13That strangers...

00:05:15are just people I've never met.

00:05:20Bye.

00:05:21In Wicked for Good, we see Bach chopping wood for Nessa's fireplace,

00:05:25explaining how he got the axe.

00:05:28Most notably, Bach brings Nessa a tea set,

00:05:30which is seemingly comprised of the material that will soon make up his heartless body.

00:05:34Whatever you say, Madam Governor.

00:05:37I asked you to call me Nessa.

00:05:39Remember?

00:05:42Bach.

00:05:42Never mind.

00:05:47I'll call you when I'm finished.

00:05:50In the stage version, it's a little unclear why Elphaba went with a Tin Man form to save Bach.

00:05:56We feel like there were a few other spells that could have been used for a shrinking heart.

00:06:00I lost my heart to Glinda the moment I first saw her.

00:06:05Lost your heart?

00:06:07Well, we'll see about that.

00:06:09Here, it's made clearer that Elphaba is improvising with whatever she has on hand.

00:06:14In this case, tin teaware that fuses with Bach's body.

00:06:18Number 5.

00:06:19The significance of Glinda's rainbow.

00:06:21I want to be magical.

00:06:23For real.

00:06:24In a flashback, a young Glinda tries to cast a spell.

00:06:27Once her friends see a rainbow in the distance, they ask if she made it.

00:06:30Glinda doesn't exactly lie, but she isn't entirely honest either,

00:06:35saying that she loves rainbows.

00:06:36While the rainbow is an obvious Oz hallmark,

00:06:55Glinda's phrasing here echoes two lines from the stage show that resurface.

00:06:58When Glinda asks Fierro if marrying her will make him happy, he says he's always happy.

00:07:03When Elphaba receives word of what happened to Fierro,

00:07:07she tells Glinda that they've seen his face for the last time.

00:07:10Much like Glinda's comment about the rainbow,

00:07:12Fierro and Elphaba are technically telling the truth in these instances,

00:07:16but only from a certain point of view.

00:07:18That's the truth.

00:07:20Number 4.

00:07:21Animal Underground Railroad.

00:07:23When you feel you can't fight anymore,

00:07:26just tell yourself,

00:07:28there's no place like home.

00:07:32When you feel it's not worth fighting for,

00:07:36compel yourself,

00:07:38because there's no place like home.

00:07:44Animals serve as an allegory for marginalized groups in the Wicked book,

00:07:47stage musical, and films.

00:07:49You're the reason why people are turning against the animals.

00:07:52It's all because of you.

00:07:54We're doing this to keep people safe.

00:07:57All of Oz will benefit.

00:07:59And you've known all along.

00:08:02Since the day you met me.

00:08:04You will benefit too, Jerry.

00:08:06Wicked for Good brings more real-world subtext

00:08:09as construction begins on the yellow brick road.

00:08:12Although the road is supposed to be a symbol of progress

00:08:14that connects all of Oz,

00:08:16the animals are forced to build it.

00:08:18This is reminiscent of how enslaved African Americans

00:08:20worked on railroads in areas like the South before the Civil War.

00:08:24Little does the wizard know

00:08:25that the animals have formed a tunnel under the yellow brick road.

00:08:29Several animals use the tunnel to go into hiding,

00:08:32hoping to find a new home.

00:08:33It feels like a nod to the Underground Railroad,

00:08:36which is appropriate since Cynthia Erivo also played Harriet Tubman.

00:08:40We need to get back to work bringing slaves to freedom

00:08:42by train or carriage, horseback, on foot if necessary.

00:08:48Number three, Shoes on Fire.

00:08:51Because I knew you...

00:08:53L. Frank Baum's original book is in the public domain,

00:08:56which has allowed many artists to incorporate Oz

00:08:58and its characters into new stories.

00:09:01Dorothy's ruby slippers are specific to the MGM version, however.

00:09:04Then close your eyes and tap your heels together three times.

00:09:11And think to yourself...

00:09:14There's no place like home.

00:09:17There's no place like home.

00:09:21There's no place like home.

00:09:24As such, adaptations like Wicked often settle

00:09:27for the source material's less iconic silver shoes.

00:09:30Wicked provides a sneaky workaround, however.

00:09:32Mother's jeweled shoes.

00:09:38So they can all see how beautiful you are

00:09:41right down to your toes.

00:09:45Thank you so much.

00:09:47I love them.

00:09:48Let me put them with your boxes.

00:09:50Of course.

00:09:51Instead of giving Nessa the ability to walk,

00:09:54Elphaba grants her the power of levitation.

00:09:57The scene otherwise mostly plays out like it does in the stage version,

00:10:00with Nessa saying that it feels like her shoes are on fire.

00:10:03So much so that they begin to glow red.

00:10:06They may be knock-offs,

00:10:07but it's the closest the filmmakers can get to ruby slippers

00:10:10without receiving a cease and desist.

00:10:12The ruby secrets!

00:10:14What have you done with them?

00:10:15Give them back to me or I'll...

00:10:17It's too late!

00:10:18There they are,

00:10:19and there they'll stay.

00:10:24Number 2.

00:10:26Faces Behind the Curtain

00:10:27Goodbye, Dorothy.

00:10:28Bye, Dodo.

00:10:29It's just that one road the whole time.

00:10:31Some characters take center stage,

00:10:33while others hide in plain sight.

00:10:35We may never see her face,

00:10:36but Bethany Weaver landed one of the most popular roles in fiction

00:10:39as Dorothy in Wicked for Good.

00:10:41While Weaver is a newcomer,

00:10:43the sequel also has a few famous names that might have flown past you.

00:10:47The voice of the Cowardly Lion is none other than Coleman Domingo.

00:10:51I try to stay busy.

00:10:52I try to stay busy.

00:10:53The Cowardly Lion, I'm really excited about.

00:10:55Wicked is...

00:10:56The first film was one of my favorites last year.

00:10:59And now I'm just...

00:11:00You know, Cynthia Erivo is a dear friend,

00:11:01and Ariana Grande.

00:11:02And I get to come in with a nice little cameo as the Cowardly Lion.

00:11:05So I'm excited for people to see it.

00:11:07Former stage Elphaba Alice Fern also reprises her role as Glinda's mother.

00:11:11I love you.

00:11:12Just remember, it's not goodbye.

00:11:14It's farewell.

00:11:15We love you.

00:11:15Have all your kisses.

00:11:16And you will write.

00:11:17Yes.

00:11:18I love you.

00:11:18It's that time.

00:11:20Miss you already.

00:11:21Popsicle, board the boat.

00:11:23They are gonna miss me so much.

00:11:25My parents don't even know I left.

00:11:27Number 1.

00:11:30Recreating the poster.

00:11:31But there's no place like home.

00:11:37Elphaba and Glinda may never see each other again,

00:11:39but they're forever intertwined.

00:11:41During the bittersweet finale,

00:11:43we flash back to a happy memory between the two best friends.

00:11:46Is it true you were her friend?

00:11:52Friend?

00:11:53Yes.

00:11:59I mean, I did know her.

00:12:03That is...

00:12:05Our paths did cross.

00:12:18At school.

00:12:19Glinda whispers something in Elphaba's ear,

00:12:21putting a smile on her face.

00:12:23While we don't hear what,

00:12:24long-time Wicked fans will pick up on the message hidden in this closing shot,

00:12:28it's an homage to the original poster for the Wicked stage musical,

00:12:32which stems back to the show's pre-Broadway tryouts in San Francisco.

00:12:36The image of two witches sharing a secret reflects how this is their untold story.

00:12:40What's the full title of the musical title?

00:12:43Wicked, the untold story of the witches of all.

00:12:45Although there isn't a moment in the stage musical that quite resembles the poster,

00:12:49the film has immortalized this shot for good.

00:12:51I know I'm who I am today

00:12:54Because I knew you

00:12:58Think of what we could do

00:13:01Together

00:13:02Did we miss anything you picked up on in Wicked for Good?

00:13:07For many, Wicked for Good is the story they know.

00:13:11But it's not quite how they remember it.

00:13:13Let's break down now the movie's biggest differences from its Broadway counterpart.

00:13:25Welcome to Ms. Mojo.

00:13:29And today, we're looking at ways that Wicked for Good differs from the second act of its stage counterpart.

00:13:34There will be spoilers on both fronts.

00:13:36I have been changed for good.

00:13:46Number 10. More of Dorothy

00:13:48Monkeys! Find that Dorothy!

00:13:52Although Act 2 catches up to The Wizard of Oz, those events are pushed to the sidelines.

00:13:57Dorothy is an unseen figure, a silhouette shot being the most we ever get on stage.

00:14:02Wicked for Good remains focused on Elphaba and Glinda's story, but Dorothy does have more of a presence this time.

00:14:08Goodbye, Dorothy.

00:14:09Bye, Dodo.

00:14:10It's just that one road the whole time.

00:14:12Newcomer Bethany Weaver, who comes from a musical and dance background, steps into the role of Dorothy.

00:14:17While we still don't get a good look at her face, there are several shots from behind and from afar as Dorothy walks down the yellow brick road, meets the wizard, and is captured by the Wicked Witch's flying monkeys.

00:14:29I swear it never ends with that girl.

00:14:32We're still not entirely sure how she got home in this version, however.

00:14:35Number 9. It Takes Three to Be Wonderful

00:14:38Wonderful! They'll call you wonderful!

00:14:44Come and be wonderful!

00:14:47Trust me, it's fun!

00:14:48In the stage musical, Wonderful is shared between the wizard and Elphaba.

00:14:52The wizard makes one last plea for Elphaba to join him, almost convincing her that they can still do wonderful things together.

00:14:58They call me one, so I am one, in fact, it's so much who I am, it's part of my name.

00:15:12Elphaba doesn't just give up the chance to be celebrated throughout Oz, but also being with a father figure, in more ways than either realizes.

00:15:20Instead of a duet, the film ups the emotional stakes by bringing Glinda into the number.

00:15:25She's a welcome addition for a few reasons.

00:15:27They call him wonderful.

00:15:32So I am wonderful.

00:15:34He is so wonderful.

00:15:36Outside of For Good, Glinda and Elphaba aren't given many musical moments together in Act 2 of the show.

00:15:42Glinda's presence reinforces just how much Elphaba is sacrificing.

00:15:46Not just the wizard, not just Oz, but her best friend.

00:15:50Think of what we could do.

00:15:52Together.

00:15:53The first film featured a scene in which the wizard showcases his plan to construct a road that will lead all Ozians to him.

00:16:06He hasn't quite settled on a color, but Glinda favors yellow.

00:16:09The yellow, really?

00:16:10The wizard's vision for the Oz of tomorrow comes at the expense of the animal's rights.

00:16:24In Wicked For Good, enslaved animals are forced to lay bricks.

00:16:27While the stage musical revealed how animals are being oppressed and silenced, this film goes a step further, with them being used for free labor.

00:16:35This eerily mirrors how enslaved human beings have been used to build entire nations throughout history.

00:16:40It also still serves as an allegory for animal cruelty, as it's not far from how some are treated in reality.

00:16:57Number 7. Elphaba as a Vigilante

00:17:01The stage version suggests that Elphaba is doing what she can to help the animals and push back against the wizard.

00:17:12In Wicked For Good, we actually get to see this.

00:17:15I mean, who could?

00:17:17You know who could.

00:17:18We both know who could and who has.

00:17:21And I have to find her, because if someone else gets there first, she...

00:17:24Yeah, I'm worried for her too.

00:17:26I miss her.

00:17:28Can't you see? She doesn't want to be found.

00:17:31During the construction of the Yellow Brick Road, Elphaba swoops in, battling the guards mistreating the animals.

00:17:37She also attempts to expose the wizard's lies as Ozians gather to commemorate the newly established road.

00:17:42Beyond standing up against the establishment, we see Elphaba interact with the animals that she has dedicated her life to protecting.

00:17:49It's a very lonely road to have moral courage, and we get to see that in Elphaba, fighting for justice.

00:17:57Despite this, not every animal trusts Elphaba.

00:18:00given some of the things she's done in the past, even the ones who do would rather flee than fight,

00:18:05making it truly feel like it's Elphaba against Oz.

00:18:08No good deed goes unpunished.

00:18:12No act of charity goes unresented.

00:18:16Number 6.

00:18:18Bok trying to break free.

00:18:19Whatever you say, Madam Governor.

00:18:21I asked you to call me Nessa.

00:18:24Remember?

00:18:27Bok.

00:18:30Unlike the stage version, Elphaba already knows that their father is dead when she returns to Nessa,

00:18:35who has become the governor of Munchkinland.

00:18:38Act 2 of the stage show finds Bok reluctantly serving Nessa,

00:18:41who has forced the Munchkins to remain in their homeland,

00:18:43all in the name of unrequited love.

00:18:46Nessa?

00:18:46Yes?

00:18:47Uh, Nessa, surely now I'll matter less to you,

00:18:52and you won't mind my leaving here tonight.

00:18:56Wicked for Good provides more context,

00:18:59showing Bok's initial attempt to leave Nessa.

00:19:01Bok is ready to move on, but Nessa remains stuck in the past.

00:19:05Although Bok always carried a torch for Glinda,

00:19:08you get the sense that he at least cared about Nessa as a friend.

00:19:11Whatever affection he might have had for her is gone upon arriving at the train station,

00:19:15learning that Munchkins are forbidden to leave without Nessa's permission.

00:19:19Number 5.

00:19:20More of the Animals

00:19:21To fly!

00:19:25Wicked for Good gives more attention to the animals,

00:19:28who plan to flee Oz to the land beyond.

00:19:30Among them is Elphaba's former nanny, Dulcebear.

00:19:33Although Elphaba urges them to stay and fight,

00:19:36the cowardly lion argues against this.

00:19:38In his eyes, Elphaba didn't rescue him as a cub,

00:19:41but rather released him into an unfamiliar habitat.

00:19:44I didn't mean to scare you.

00:19:48Why is it you're always causing some sort of commotion?

00:19:51I don't cause commotions, I am one.

00:19:53That doesn't stop Elphaba from setting a room full of caged animals free.

00:19:58Seeing Dr. Dillamond imprisoned and unable to speak

00:20:00convinces Elphaba that she can never join the wizard.

00:20:03While that last part is in the stage musical,

00:20:05it's never made clear what exactly happened to Dillamond.

00:20:09The film provides more closure,

00:20:10seeing him return to the classroom

00:20:12as animals across Oz are given their rights back.

00:20:15Number 4.

00:20:16A Not-So-Wonderful Wedding

00:20:18Glinda tells Elphaba that she's marrying Fierro

00:20:27before even he knows.

00:20:29Fierro and I are getting married.

00:20:31Oh!

00:20:33He asked you already?

00:20:35Oh, he doesn't know yet.

00:20:36In fact, most of Oz hears the happy news

00:20:38before Fierro has any idea.

00:20:41Fierro agrees to go through with the wedding,

00:20:43although his heart belongs to another.

00:20:45Somehow I've fallen under your cell.

00:20:51Glinda and Fierro's wedding day never comes in the stage show.

00:20:55In Wicked for Good, they almost meet at the end of the altar.

00:20:58Glinda is trying on her wedding dress

00:20:59when Elphaba returns to the Emerald City.

00:21:02She puts a pin in her pending nuptials

00:21:03to convince Elphaba to join the wizard.

00:21:06Glinda takes off after seemingly getting through to her friend.

00:21:09As animals come crashing through the ceremony, though,

00:21:11Glinda's big day gets trampled over

00:21:13and the heartbreak is just beginning.

00:21:16There's a girl I know

00:21:19He loves her so

00:21:24While there was no undoing Nessa's tragic fate,

00:21:34the filmmakers made some progressive changes.

00:21:37Upon reuniting on stage,

00:21:38Elphaba enchants Nessa's shoes so she can walk.

00:21:41What have you done to my shoes?

00:21:45The PWD community helped Stephen Schwartz

00:21:57and Winnie Holtzman to see

00:21:58that this might have inadvertently sent the message

00:22:00that Nessa's problems would be

00:22:02quote,

00:22:02solved if she could just walk.

00:22:04To emphasize that was never their intention,

00:22:06the filmmakers strive to do right by Nessa.

00:22:09Casting Marissa Bodie,

00:22:10who uses a wheelchair in real life,

00:22:12was a great start.

00:22:13The fact that they're casting a disabled actor in Wicked,

00:22:17I think is so important.

00:22:18Being in a wheelchair,

00:22:19we can do anything.

00:22:20I'm so ready to fly.

00:22:22Rather than use her magic to make Nessa walk,

00:22:25Elphaba gives her the chance to fly.

00:22:27Even with magic,

00:22:28Nessa's problems won't go away.

00:22:30I'd always been unsure I could,

00:22:34but finally from these powers...

00:22:38Despite levitating,

00:22:39she continues her descent into darkness,

00:22:42becoming the Wicked Witch of the East.

00:22:44The Wicked Witch of the East.

00:22:48Number two,

00:22:50New Songs.

00:22:51Being a two-part cinematic experience,

00:23:11we were bound to get a few new tunes.

00:23:13The opening number is expanded upon,

00:23:15while Nessa is given a brief song

00:23:17that stresses why she's called

00:23:18the Wicked Witch of the East.

00:23:20If I can just make them believe in the truth,

00:23:23that all that he says is a lie.

00:23:26Elphaba's No Place Like Home

00:23:28serves as a rallying cry

00:23:29to fight for the place you hold dear,

00:23:31even if it's far from perfect.

00:23:33Why do I love this place

00:23:34that's never loved me?

00:23:38The song's name alludes to

00:23:40one of Elphaba's lines in the show,

00:23:41which in turn was a nod to Dorothy's iconic line.

00:23:44The girl in the bubble

00:23:45sees Glinda confront her life of luxury,

00:23:48realizing the bubble must pop

00:23:49for the greater good.

00:23:51For the girl in the bubble

00:23:54I'd like to try to be

00:23:56Glinda the good.

00:23:58If not for this new song,

00:23:59the I'm Not That Girl reprise

00:24:01would have been Glinda's only solo in this film.

00:24:03Don't wish.

00:24:06Don't start.

00:24:08Glinda is perhaps given the most development

00:24:23in Wicked for Good.

00:24:25Since childhood,

00:24:26she wanted to be magical,

00:24:27but it appears the closest she'll ever get

00:24:29is a mechanical bubble

00:24:30and a wand that's just for show.

00:24:32As Elphaba and Fierro venture beyond Oz,

00:24:35Glinda makes good on what her friend

00:24:37would have wanted,

00:24:38reintegrating the animals back into Oz.

00:24:40With this act of leadership,

00:24:41the Grimmery opens for Glinda.

00:24:43This change establishes that the Grimmery

00:24:45didn't respond to Elphaba

00:24:47simply because she had power since birth.

00:24:49It was because Elphaba

00:24:50has always possessed a good heart.

00:24:52Before knowing Elphaba,

00:24:54Glinda didn't truly understand

00:24:55the meaning of the word good.

00:24:56It is my heart's desire

00:24:58to become a sorceress.

00:24:59Thank you for having faith in me.

00:25:02Actually, I have no faith in you.

00:25:06This is your roommate's idea,

00:25:08not mine.

00:25:09Now that she does,

00:25:10she's ready to carry on

00:25:11what Elphaba started

00:25:12with the Grimmery's help.

00:25:14Do you think these changes

00:25:15were for the better?

00:25:18After watching Wicked for Good,

00:25:20The Wizard of Oz hits

00:25:21a little differently.

00:25:23Here's everything you'll notice

00:25:24when viewing the classic

00:25:26with fresh eyes.

00:25:28Haven't you heard?

00:25:31I'm a Wicked Witch of the West.

00:25:33Welcome to Ms. Mojo.

00:25:35And today,

00:25:36we're counting down our picks

00:25:37for the moments in Wicked for Good

00:25:39that made us pause at ClockTick

00:25:40and think back to how it all ties

00:25:42into The Wizard of Oz.

00:25:43Of course, this means

00:25:44we will be discussing plot points

00:25:46from the whole story.

00:25:47So this is your spoiler warning.

00:25:51I swear it never ends with that girl.

00:25:54Number 10.

00:25:55Could Dorothy hear Elphaba

00:25:57and Glinda singing for good?

00:25:59You may have seen all those TikToks

00:26:00of people reimagining for good

00:26:02from Dorothy's perspective.

00:26:03I ask forgiveness

00:26:05for the things I've done you blame me for.

00:26:09Like, like, and me, uh.

00:26:11But then I guess

00:26:12we know there's blame to shame.

00:26:15Not for me.

00:26:17They're funny, true,

00:26:18but also they do kind of have a point.

00:26:21Glinda literally came to beg Elphaba

00:26:23to let Dorothy go,

00:26:24but then gets sidetracked

00:26:25when she realizes this is goodbye.

00:26:27Elphaba,

00:26:28they're coming for you.

00:26:30So if you think about it,

00:26:38Dorothy is trapped in some basement,

00:26:40probably listening to every word

00:26:41that's being sung.

00:26:43What could possibly be going

00:26:44through her mind?

00:26:45Or maybe she was too distressed

00:26:47to pay attention.

00:26:48Either way,

00:26:48we're guessing it didn't leave

00:26:49much of a handprint on her heart

00:26:51because she still went ahead

00:26:52and threw that bucket of water.

00:27:01Number 9

00:27:02Hey, Madame Morrible,

00:27:04are you a good witch

00:27:05or a bad witch?

00:27:06When you live in a bubble,

00:27:08your thinking is likely

00:27:09to be a little black and white.

00:27:10Like Glinda,

00:27:11who has at some point in her life

00:27:13learned that only bad witches are ugly.

00:27:15Are you a good witch

00:27:16or a bad witch?

00:27:18If we were Dorothy,

00:27:19we'd be insulted

00:27:20if she'd even have to ask.

00:27:21Anyway, if anything,

00:27:23this sounds like she's just parroting

00:27:24some vile propaganda

00:27:26that's been spun

00:27:26to take down her friend.

00:27:28Her green skin

00:27:29is but an outward manifestorium

00:27:33of a twisted nature.

00:27:36However,

00:27:37we then also have to wonder

00:27:38if this is why

00:27:39she took far too long

00:27:40to question Madame Morrible's motives.

00:27:42Did she think no one that beautiful

00:27:43could possibly be bad?

00:27:45Instead,

00:27:46she learns the hard way

00:27:47that true beauty

00:27:48or ugliness

00:27:48lives on the inside.

00:27:50Wait.

00:27:56And shut your mouth!

00:27:59Number 8.

00:28:00Why does Glinda send Dorothy

00:28:01to the Emerald City?

00:28:03The wizard is all smoke and mirrors

00:28:04and Glinda knows that.

00:28:06So when she sent Dorothy

00:28:07and her little dog

00:28:08Dodo, is it?

00:28:09down the yellow brick road,

00:28:11what was she thinking?

00:28:12I'm a public figure now.

00:28:13People expect me to fly.

00:28:15Be encouraging.

00:28:17She knew he had no real power

00:28:18to help Dorothy.

00:28:19So was it just to get Dorothy

00:28:21out of the way?

00:28:22Was she concerned

00:28:23about a munchkin uprising?

00:28:24And we will glorify your name.

00:28:28You'll be a bust.

00:28:30You'll be a bust.

00:28:31In the hall of fame.

00:28:33Or maybe she was hoping,

00:28:35as a traveler himself,

00:28:36the wizard might actually

00:28:37surprise them all

00:28:38by being helpful for once?

00:28:40We guess it wouldn't have been

00:28:41very good for her image

00:28:42to simply say,

00:28:43sorry kid,

00:28:44can't help ya,

00:28:44and then float away

00:28:45in her bubble.

00:28:46She could have at least

00:28:47offered a shortcut.

00:28:48Goodbye Dorothy.

00:28:49Goodbye Dodo.

00:28:50It's just that one road

00:28:51the whole time.

00:28:52Number 7.

00:28:53Fly, fly, fly.

00:28:56Although Wicked

00:28:56isn't technically part

00:28:57of the Wizard of Oz canon,

00:28:59this is the point

00:28:59where both paths

00:29:00on the yellow brick road

00:29:01come back together.

00:29:02Before Elphaba had a name,

00:29:04we knew her simply

00:29:05as the Wicked Witch of the West.

00:29:07So it makes sense

00:29:07that the film tips

00:29:08its pointed hat

00:29:09to the 1939 version.

00:29:11Like Elphaba's cackle,

00:29:12which is clearly an homage

00:29:14to Margaret Hamilton's performance.

00:29:16Please.

00:29:17Where'd you get that?

00:29:21Also, when she frees

00:29:22the winged monkeys,

00:29:23she repeatedly tells them

00:29:24to fly.

00:29:25To fly!

00:29:27Echoing the line

00:29:28long tied to their send-off

00:29:30in The Wizard of Oz,

00:29:31it's a clever repurposing

00:29:32of a classic quote,

00:29:34reshaped to fit

00:29:35the Elphaba we meet

00:29:35in this story.

00:29:37Now fly!

00:29:38Fly!

00:29:41Number 6.

00:29:42How did the lion

00:29:43learn to speak?

00:29:45When we first meet the lion,

00:29:46he's just a frightened

00:29:47little cub,

00:29:48who we're told is caged

00:29:49so that he'll never

00:29:50learn to speak.

00:29:51One benefit of caging

00:29:52an animal this young

00:29:53is that in all likelihood

00:29:54he'll never learn to speak.

00:29:58Elphaba and Fierro

00:29:59break him out,

00:30:00and now, years later,

00:30:01he's back and quite articulate.

00:30:04So we have to wonder

00:30:04where he picked up speech,

00:30:06especially in a world

00:30:07where animals were being

00:30:08terrorized into silence.

00:30:09I haven't any courage at all.

00:30:11I even scared myself.

00:30:15Look at the cycles

00:30:17under my eyes.

00:30:18I haven't slept in weeks.

00:30:20Why don't you try

00:30:21counting sheep?

00:30:22That doesn't do any good.

00:30:23I'm afraid of them.

00:30:25Had he been lurking

00:30:26in the shadows,

00:30:27listening and learning?

00:30:29Considering his cowardice,

00:30:30we're guessing he wasn't

00:30:31exactly out there

00:30:32mixing and mingling.

00:30:33His grudge against Elphaba

00:30:34adds an interesting wrinkle,

00:30:36but he seems to miss the fact

00:30:38that without her,

00:30:39he wouldn't even have

00:30:40the voice he's using

00:30:41to gripe.

00:30:42You see,

00:30:42the lion also

00:30:43has a grievance to repay.

00:30:46If she'd let him

00:30:46fight his own battles

00:30:47when he was young,

00:30:48he wouldn't be a coward today!

00:30:55Number 5.

00:30:57How long had the Tin Man

00:30:58been rusting?

00:30:59In The Wizard of Oz,

00:31:00the Tin Man tells Dorothy

00:31:01he'd been rusted solid

00:31:03for about a year

00:31:03after getting caught

00:31:04in the rain.

00:31:05About a year ago,

00:31:06I was chopping that tree

00:31:08when suddenly

00:31:09it began to rain.

00:31:10And right in the middle

00:31:11of a chop,

00:31:13I rusted solid.

00:31:15And I've been that way

00:31:16ever since.

00:31:17Perhaps it only felt

00:31:18that long because,

00:31:19through the wicked lens,

00:31:20that timeline

00:31:21makes little sense.

00:31:23Bok escapes Nessa

00:31:24right after his transformation.

00:31:26And the next time

00:31:26we see her,

00:31:27she's out in the storm

00:31:28searching for him.

00:31:29Though we doubt

00:31:30she's been looking

00:31:31for an entire year.

00:31:32What have you done to me?

00:31:33Because...

00:31:34If she thought

00:31:35she was crushed

00:31:35by Bok abandoning her,

00:31:37she didn't yet grasp

00:31:38the meaning of the word.

00:31:39We also doubt Dorothy

00:31:40and the Scarecrow

00:31:41spent a year

00:31:42skipping down

00:31:43the yellow brick road

00:31:43before meeting the Tin Man.

00:31:45We were just wondering

00:31:46why you couldn't

00:31:46come with us

00:31:47to the Emerald City

00:31:48to ask the Wizard of Oz

00:31:49for a heart.

00:31:50Well, suppose the Wizard

00:31:51wouldn't give me one

00:31:52when we got there.

00:31:53Oh, but he will.

00:31:55He must.

00:31:56We've come such

00:31:57a long way already.

00:32:00Number 4.

00:32:01How did Glinda

00:32:01take Nessa's shoes

00:32:03without magic?

00:32:04For most of For Good,

00:32:05it's made quite clear

00:32:06to us that any power

00:32:07Glinda appears to have

00:32:08is just an illusion.

00:32:09Does that do

00:32:10what I think it does?

00:32:13No.

00:32:16No way.

00:32:19I'm obsesculated.

00:32:20We're really digging

00:32:21our heels in on this one,

00:32:22but how exactly

00:32:23did she get

00:32:24Nessa's shoes

00:32:24on Dorothy's feet?

00:32:26For one thing,

00:32:26Elphaba only recently

00:32:27enchanted them,

00:32:28so Glinda couldn't

00:32:29have even known

00:32:30of their magical qualities yet.

00:32:32Even in The Wizard of Oz,

00:32:33she seems to learn

00:32:34of their powers

00:32:35in real time.

00:32:36Give me back

00:32:37my slippers.

00:32:38I am the only one

00:32:39that knows how to use them.

00:32:40They're no use to you.

00:32:41Give them back to me.

00:32:43Give them back.

00:32:44Keep tight inside of them.

00:32:45Their magic must be

00:32:46very powerful,

00:32:47or she wouldn't want

00:32:48them so badly.

00:32:49You might think

00:32:49maybe the shoes

00:32:50chose Dorothy,

00:32:51but again,

00:32:52they were enchanted

00:32:53by Elphaba.

00:32:54So why would they

00:32:55choose the girl

00:32:56who just bumped off

00:32:56their previous wearer,

00:32:58a.k.a. her sister?

00:32:59But just try

00:33:00to stay out of my way.

00:33:02Just try.

00:33:03I'll get you,

00:33:04my pretty,

00:33:05and your little dog, too.

00:33:07Number 3.

00:33:08Did the Wicked Witch

00:33:09truly melt?

00:33:10We promise you

00:33:11we're not trying

00:33:12to rewrite cinema history.

00:33:13Even so,

00:33:14considering the twist

00:33:15not so ending

00:33:16to Elphaba's story,

00:33:17it does make you look

00:33:18at the original melting scene

00:33:20a little differently.

00:33:21Please, somebody

00:33:22go and melt her!

00:33:24I can't just

00:33:26start my grinning

00:33:27pretending to go

00:33:28along with all this.

00:33:29For starters,

00:33:30why would there be

00:33:31a fully loaded

00:33:32bucket of water

00:33:32in the witch's castle

00:33:33to begin with?

00:33:35Carelessness

00:33:35or malice?

00:33:36Who knows?

00:33:37Secondly,

00:33:38have you ever

00:33:38truly paid attention

00:33:39to the witch's swan song?

00:33:41I'm melting!

00:33:42I'm melting!

00:33:43Oh, what a world!

00:33:45What a world!

00:33:46Who would have thought

00:33:47a good little girl like you

00:33:48could destroy

00:33:49my beautiful wickedness?

00:33:51That's a little

00:33:52on the dramatic side,

00:33:53don't you think?

00:33:54Almost as if

00:33:55she's putting on

00:33:55a performance

00:33:56for the benefit

00:33:57of an audience, right?

00:33:58What a world!

00:33:59What a world!

00:34:00Would it be

00:34:00if this whole dramatic exit

00:34:02were also just for show?

00:34:04I'm going!

00:34:05Oh!

00:34:07Oh!

00:34:13Number 2.

00:34:15Why was Fierro

00:34:16hanging about with Dorothy?

00:34:17We get why the movie

00:34:18kept Dorothy

00:34:19mostly in the background,

00:34:20but as fans,

00:34:21we really wish

00:34:22they'd cleared up

00:34:23a few things

00:34:23about her new alliances.

00:34:25You're the best friends

00:34:25anybody ever had.

00:34:28And it's funny,

00:34:29but I feel as if

00:34:30I've known you

00:34:31all the time.

00:34:32But I couldn't have,

00:34:33could I?

00:34:34Like,

00:34:34did Fierro and Bach

00:34:36seriously not recognize

00:34:37each other's voices?

00:34:38Or maybe Fierro

00:34:39did clock Bach,

00:34:40but kept quiet,

00:34:41since Bach

00:34:42is definitely not

00:34:43Team Elphaba.

00:34:44Also,

00:34:45why is Fierro

00:34:45tagging along

00:34:46with the kid

00:34:46wearing Nessa's

00:34:47stolen shoes,

00:34:48who's literally

00:34:49been sent to kill

00:34:50Elphaba

00:34:50and take her broom?

00:34:52Bring me the broom

00:34:53of the Wicked Witch

00:34:54of the West.

00:34:56Did he think

00:34:56staying close

00:34:57would help him reach her?

00:34:58If so,

00:34:59that's quite a risk.

00:35:00We would have loved

00:35:01a little more insight

00:35:02into what was going

00:35:03through that straw-filled

00:35:04head of his.

00:35:05In my head,

00:35:06I'd be scratching

00:35:07while my thoughts

00:35:07were busy hatching

00:35:09if I only had a brain.

00:35:11Before we unveil

00:35:11our top pick,

00:35:12here are a few

00:35:13honorable mentions.

00:35:15The Poppies.

00:35:16Interesting,

00:35:17the wizard should

00:35:17adorn himself

00:35:18with Poppies

00:35:19when he has

00:35:19most of Oz

00:35:20fast asleep.

00:35:21With poison in it,

00:35:23but attractive

00:35:24to the eye

00:35:25and soothing

00:35:27the smell.

00:35:31Poppies.

00:35:33Poppies.

00:35:35Poppies will

00:35:36put them to sleep.

00:35:39Our Wizard Lies.

00:35:40We guess that

00:35:41surrender Dorothy

00:35:42skywriting

00:35:42wasn't her first attempt.

00:35:44Who's her?

00:35:45Who's her?

00:35:46It's the witch.

00:35:47She's followed us here.

00:35:49Surrender Dorothy.

00:35:52The Lullaby League.

00:35:54Does anyone else

00:35:54think the dancers

00:35:55during Thank Goodness

00:35:56are giving the Lullaby League?

00:35:58And in the name

00:35:59of the Lullaby League,

00:36:02we wish to welcome you

00:36:04to Munchkin Land.

00:36:07Where are those

00:36:08mean talking trees?

00:36:09It would give a whole

00:36:10new meaning to

00:36:11character growth.

00:36:12Right.

00:36:13Bye, Elphaba.

00:36:14Love you.

00:36:14from the shoulder.

00:36:15Yeah.

00:36:17You just always look

00:36:18just a joy.

00:36:19So good.

00:36:20Joyful.

00:36:20Number one.

00:36:22Why didn't Glinda

00:36:22just send Dorothy

00:36:23home to begin with?

00:36:25For decades,

00:36:26fans have pondered

00:36:27this question

00:36:27and even offered

00:36:28satirical answers.

00:36:30You've always had

00:36:31the power to go back

00:36:31to Kansas.

00:36:33Excuse me?

00:36:34Why didn't you

00:36:36tell her before?

00:36:37Because she wouldn't

00:36:39have believed me.

00:36:40Are you out of

00:36:40your f***ing mind?

00:36:42You came down

00:36:43with a big bubble.

00:36:44I would have believed

00:36:45anything that you said.

00:36:46However,

00:36:47it's possible that

00:36:48for good may have

00:36:49just given us

00:36:49the best response

00:36:50we could have asked for.

00:36:52As one social media

00:36:53theory suggests,

00:36:54when Glinda first

00:36:55meets Dorothy,

00:36:56she genuinely

00:36:57is unable to help

00:36:58because, well,

00:36:59she has no real magic.

00:37:00You can wave

00:37:03that wand all you want

00:37:04but you have

00:37:04no real power.

00:37:07However,

00:37:08by the time

00:37:08they reunite

00:37:09at the end,

00:37:10she now has

00:37:11the grimmery

00:37:11and as we see,

00:37:13it's her desire

00:37:13to genuinely do good

00:37:15that finally makes

00:37:16it open up for her.

00:37:17So, she can now

00:37:18send Dorothy home.

00:37:19As for the tapping

00:37:20of the heels

00:37:21and chanting,

00:37:22well,

00:37:22she does love

00:37:23a spectacle.

00:37:24Then close your eyes

00:37:26and tap your heels

00:37:27together three times.

00:37:30and think to yourself,

00:37:33there's no place

00:37:35like home.

00:37:37Is there anything else

00:37:38about Wicked for Good

00:37:39that made you rethink

00:37:40The Wizard of Oz?

00:37:42Get the tissues ready

00:37:43because here comes

00:37:45Wicked for Good's

00:37:46biggest emotional peaks.

00:37:49Just look at me.

00:37:51Not with your eyes.

00:37:54With theirs.

00:37:55Welcome to Ms. Mojo.

00:37:57And today,

00:37:57we're counting down

00:37:58our picks for the moments

00:37:59in Wicked for Good

00:38:00that had us

00:38:00weeping buckets.

00:38:02We will be discussing

00:38:03plot points,

00:38:04including changes

00:38:04from the stage show,

00:38:06so this is your

00:38:06spoiler warning.

00:38:16Number 10.

00:38:17The Girl in the Bubble.

00:38:18Following the March

00:38:19of the Witch Hunters,

00:38:20Glinda is finally forced

00:38:21to truly look at herself

00:38:23in the mirror.

00:38:23Is Good just a title

00:38:35she wears as an accessory,

00:38:37like her bubble?

00:38:38Or is it something

00:38:39she actually wants to be?

00:38:41The way the scene

00:38:41is shot is gorgeous,

00:38:43with the audience

00:38:44repeatedly glimpsing

00:38:45Glinda through her reflection,

00:38:47mirroring her performance

00:38:47of goodness for her

00:38:48adoring public

00:38:49and her true self,

00:38:50which feels almost lost

00:38:52in this house of mirrors.

00:38:53Technically,

00:38:54it was just such

00:38:55a massive assignment

00:38:57from making sure

00:38:58each step that I took

00:39:00matched on either side

00:39:01of the filming

00:39:02and then emotionally

00:39:02it had to line up

00:39:03and vocally it had to line up.

00:39:05Still, we see

00:39:05she's always held on

00:39:06to some of who she was,

00:39:08even if it's hidden away.

00:39:09Ariana Grande sings it

00:39:11with such sincerity

00:39:12that you can't help

00:39:12but feel moved.

00:39:24Number 9.

00:39:26Elphaba finds Dr. Dillamond.

00:39:28After Glinda and the wizard

00:39:29almost convince Elphaba

00:39:30to join them

00:39:31in being wonderful,

00:39:33Chistery points her

00:39:33toward a secret passage

00:39:35where the wizard

00:39:35has been keeping animals

00:39:36in cages.

00:39:37Elphaba had a premonition

00:39:39of this in part one,

00:39:40but that doesn't

00:39:41soften the blow.

00:39:42She spots her old professor

00:39:55among the imprisoned animals

00:39:56and learns he's lost

00:39:57his ability to speak,

00:39:59despite his promise

00:40:00to never stop speaking out.

00:40:09It's heartbreaking

00:40:10to see Dr. Dillamond

00:40:11stripped of everything

00:40:12that made him who he was.

00:40:14Seeing her former mentor

00:40:15this way breaks Elphaba,

00:40:17sharpening her resolve

00:40:18against the wizard.

00:40:19We might have known

00:40:20it was coming,

00:40:21but that didn't stop it

00:40:22from hurting us, too.

00:40:23It's you.

00:40:26You're behind all of this.

00:40:27Number 8.

00:40:28The wizard always wanted

00:40:29to be a father.

00:40:31Perhaps the one thing

00:40:32the wizard ever said

00:40:33that might hold any truth

00:40:34is that he always wanted

00:40:35to be a father.

00:40:36I am a sentimental man

00:40:38who always longed

00:40:41to be a father.

00:40:44And the only reason

00:40:45we believe that

00:40:46is his reaction

00:40:47when he learns

00:40:47that Chance had been

00:40:48in front of him all along,

00:40:50and he had doused it

00:40:51with a bucket of water.

00:40:52Turns out that drinking

00:40:53green elixirs

00:40:54results in green babies.

00:40:55You can almost see

00:41:10every reckless decision

00:41:11he ever made.

00:41:12Fueled by greed

00:41:13and ambition,

00:41:14flash before his eyes

00:41:15as he considers

00:41:16the ultimate cost

00:41:17of it all.

00:41:18The wizard is hardly

00:41:19a sympathetic character,

00:41:20but in this moment,

00:41:21his grief feels very real.

00:41:23You know,

00:41:24we could be like a family.

00:41:26You know,

00:41:26I've never really

00:41:27had a family.

00:41:28Lucky you.

00:41:29That's why I've wanted

00:41:30to give the citizens

00:41:30of Oz everything.

00:41:33Number 7.

00:41:34No place like home.

00:41:36Many of us can relate

00:41:37to not feeling

00:41:37like we belong somewhere

00:41:38that should feel like home,

00:41:40but perhaps no one

00:41:41knows that ache

00:41:42like Elphaba

00:41:42and the animals,

00:41:44who now feel

00:41:44they have no choice

00:41:45but to flee Oz.

00:41:46Why do I love this place

00:41:48that's never loved me?

00:41:53But there's no

00:41:55no place like home.

00:42:00Dulce Bear,

00:42:00perhaps the only one

00:42:01who ever made Elphaba

00:42:02feel like she belongs,

00:42:04is among them,

00:42:05a heartbreaking reminder

00:42:06of everything she's lost.

00:42:08It's all right,

00:42:09little one.

00:42:10Shh.

00:42:12Look after you.

00:42:14In this song

00:42:14about belonging,

00:42:15Elphaba questions

00:42:16why she's fighting

00:42:17so hard for a place

00:42:18that has always

00:42:19othered her.

00:42:20No place like home

00:42:21becomes a powerful call

00:42:22to fight for a world

00:42:23we can all live in.

00:42:25Cynthia Erivo shared

00:42:26that everyone

00:42:26was in tears filming it.

00:42:28And honestly,

00:42:29us too.

00:42:30It's them

00:42:31we'll be defeating

00:42:32if we keep on repeating.

00:42:36There's no place like home.

00:42:41Number 6.

00:42:42I'm Not That Girl

00:42:43Reprise.

00:42:44Fiero and Elphaba

00:42:44are reunited

00:42:45after an animal stampede

00:42:47crashes his

00:42:47and Glinda's wedding.

00:42:49After some tension,

00:42:50Elphaba learns that,

00:42:51thankfully,

00:42:52Fiero isn't as easily

00:42:54brainwashed

00:42:54as the rest of Oz.

00:42:56For a while there,

00:42:56I thought you changed.

00:42:59I have changed.

00:43:00When Glinda walks in,

00:43:01she's dealt

00:43:02a devastating blow.

00:43:04What she believed

00:43:05would be the happiest

00:43:05day of her life

00:43:06becomes one of her worst.

00:43:08She realizes

00:43:08she never truly

00:43:09had Fiero's heart

00:43:10and now believes

00:43:11the two people

00:43:12she loves most

00:43:13have betrayed her.

00:43:15Don't wish.

00:43:17Don't start.

00:43:22Wishingly

00:43:23warms the heart.

00:43:27As she walks

00:43:27through the setting

00:43:28that should have marked

00:43:29the start of her

00:43:29happily ever after,

00:43:31Glinda's heartache

00:43:32feels so authentic

00:43:33that we have to believe

00:43:34Grande was pulling

00:43:35from something very real

00:43:36and very painful

00:43:37and we feel it all.

00:43:38I'm not

00:43:40that

00:43:42girl

00:43:44number five,

00:43:53the face-off

00:43:54in Munchkinland.

00:43:55This time,

00:43:56it's Elphaba's turn

00:43:57to feel betrayed,

00:43:58thinking Glinda

00:43:59orchestrated Nessa's death

00:44:00to capture her.

00:44:01I'm a public figure now.

00:44:03People expect me to fly.

00:44:04Be encouraging.

00:44:06Fortunately,

00:44:07Fiero shows up

00:44:08just in time,

00:44:09demanding they let

00:44:10the green girl go

00:44:11by threatening Glinda's life.

00:44:13She's devastated,

00:44:14of course,

00:44:14but trusts he would

00:44:15never actually hurt her,

00:44:17proving it by moving

00:44:18so that the barrel

00:44:18of his gun

00:44:19is aimed at her face.

00:44:21You can't resist this.

00:44:22Who could?

00:44:23You know who could.

00:44:25It's almost like

00:44:26she's testing

00:44:26whether his love

00:44:27for Elphaba

00:44:28is more real

00:44:28than the love

00:44:29he ever claimed

00:44:30to have for her.

00:44:31For Glinda,

00:44:32this is a brutal

00:44:33reality check,

00:44:34shattering the illusion

00:44:35of whatever she believed

00:44:36she and Fiero shared.

00:44:38Even so,

00:44:39she clearly hasn't

00:44:40stopped caring for him.

00:44:41There's a girl I know

00:44:46He loves her

00:44:49so

00:44:50Number 4

00:44:52No Good Deed

00:44:54We all had high hopes

00:44:55for this showstopper

00:44:56and wow,

00:44:57did Erivo deliver.

00:44:59No Good Deed

00:45:12picks up right after

00:45:13the scene we just discussed,

00:45:15with Elphaba thinking

00:45:16about how her attempts

00:45:17to do good

00:45:17somehow ended up

00:45:19hurting the people

00:45:19she cares about.

00:45:20We know that's

00:45:21not totally true,

00:45:23but the emotion

00:45:23in every lyric

00:45:24gave us chills

00:45:25from the first

00:45:26Elphaba

00:45:26Naman Naman

00:45:27to the very

00:45:27last note.

00:45:29Nobody

00:45:29goes on the land

00:45:34Between the flashbacks

00:45:42and shots of Fiero

00:45:43in the field,

00:45:44the words hit

00:45:44even harder.

00:45:45She sings

00:45:46with so much power,

00:45:47hurt,

00:45:48and frustration

00:45:49that if she'd been

00:45:49in the room,

00:45:50we would have given

00:45:51her a standing ovation

00:45:52to rival the total

00:45:53movie run time.

00:45:54Since I can succeed

00:45:56Fiero saving you

00:45:58I promise

00:45:59No Good Deed

00:46:00Will I attempt

00:46:01to do again

00:46:03Ever again

00:46:05Number 3

00:46:07As Long As You're Mine

00:46:09On stage,

00:46:10this is probably

00:46:11the show's

00:46:11steamiest moment,

00:46:13but in the movie,

00:46:14they slow things down,

00:46:15with Elphaba

00:46:16still needing

00:46:16a little time

00:46:17to let her guard down.

00:46:18Kiss me too fiercely

00:46:23Hold me too tight

00:46:25I need help

00:46:27believing

00:46:28You're with me

00:46:31tonight

00:46:32Apparently,

00:46:36Jonathan Bailey

00:46:36improvised that moment

00:46:37where he takes off

00:46:38her cape to show her

00:46:39she's safe with him.

00:46:41The whole scene

00:46:41becomes this slow,

00:46:43careful peeling back

00:46:44of emotional layers,

00:46:45letting the audience

00:46:46really feel

00:46:47Elphaba's hesitation,

00:46:49her longing,

00:46:50and finally

00:46:50her euphoria.

00:46:51Come be how

00:46:52you want to

00:46:54And see how

00:46:57bright we shine

00:46:59Since she says

00:47:00she can't believe

00:47:01Fiero chose her,

00:47:02it makes sense

00:47:03that she needs time

00:47:04to let that sink in.

00:47:05The levitation

00:47:06is a sign

00:47:06that Elphi

00:47:07has finally accepted

00:47:08the joy of being

00:47:09truly seen and loved.

00:47:10And it's beautiful.

00:47:12As long as

00:47:13You're mine

00:47:17Number 2

00:47:22The Finale

00:47:23We thought we'd

00:47:24single-handedly

00:47:25cause a global

00:47:26tissue shortage

00:47:27watching the finale.

00:47:28Seeing Glinda

00:47:28fulfill Elphaba's

00:47:29heart's desire

00:47:30was beautifully

00:47:31satisfying.

00:47:32My heart's desire

00:47:33is for you

00:47:33to help the animals.

00:47:35Something bad

00:47:36is happening to them

00:47:36and they need you.

00:47:37Then seeing familiar

00:47:38faces from

00:47:39The Sugar Glider

00:47:40to Dr. Dillamond

00:47:41broke us.

00:47:41Then there was Glinda

00:47:43walking up the stairs

00:47:44with the Grimmery

00:47:45to the same place

00:47:45where she and Elphaba

00:47:46made their choices

00:47:47all that time ago.

00:47:49I've heard it said

00:47:50that people come

00:47:52into our lives

00:47:54for a reason.

00:47:57Seeing the Grimmery

00:47:57open for her

00:47:58after she vowed

00:47:59to truly live up

00:48:00to the name Good

00:48:01was the next moment

00:48:02that took us down.

00:48:03I'd like to try

00:48:04to be Glinda

00:48:05the Good.

00:48:07Finally,

00:48:07that closing shot

00:48:08recreating the show

00:48:09poster

00:48:10was the final straw.

00:48:12Sorry, Fierro.

00:48:13It was a good thing

00:48:14the movie ended there

00:48:15because we probably

00:48:16couldn't see or hear

00:48:17anything more

00:48:18after that anyway.

00:48:30Number 1.

00:48:31For Good

00:48:32It's no secret

00:48:33that our leading ladies

00:48:34formed a tight bond

00:48:35behind the scenes.

00:48:36When they sing

00:48:44what's already

00:48:44the emotional heart

00:48:45of the soundtrack

00:48:46it really feels

00:48:47like Cynthia and Ari

00:48:48are sharing the moment

00:48:49just as much

00:48:50as Elphaba and Glinda.

00:48:51They filmed

00:48:52multiple versions

00:48:53and John M. Chu

00:48:54ended up choosing

00:48:55the quietest

00:48:55most honest one

00:48:56stripping away

00:48:57all the bells

00:48:58and whistles

00:48:58so the audience

00:48:59can experience

00:49:00every emotion

00:49:01with them.

00:49:11And just when

00:49:12we thought

00:49:13we might never recover

00:49:14we get that final

00:49:15heartbreaking

00:49:16I love you

00:49:16as they become

00:49:17separated by the door.

00:49:18A moment

00:49:19they apparently

00:49:19improvised.

00:49:21It's a farewell

00:49:21that's sure

00:49:22to stay with

00:49:22the audience

00:49:23for good.

00:49:24I have been changed

00:49:27for good.

00:49:29which Wicked

00:49:30for Good

00:49:30moment

00:49:30will stay

00:49:31with you

00:49:31like a handprint

00:49:32on your heart?

00:49:34Okay

00:49:35as we saw

00:49:35earlier

00:49:36Wicked

00:49:36for Good

00:49:37forged

00:49:37its own path

00:49:38with many

00:49:39revisions.

00:49:40Well

00:49:40here now

00:49:41are five

00:49:42that soared

00:49:42and five

00:49:43changes

00:49:44that sparked

00:49:45debate.

00:49:51Welcome

00:49:51to Ms. Mojo

00:49:53and today

00:49:53we're counting

00:49:54down our picks

00:49:55for the stage

00:49:55to screen

00:49:56alterations

00:49:56from the second

00:49:57act of Wicked

00:49:58that were

00:49:58changed

00:49:59for the better

00:49:59and the ones

00:50:00that weren't

00:50:01as celebrated

00:50:01throughout all

00:50:02of Oz

00:50:02by longtime

00:50:03fans.

00:50:04Spoilers ahead.

00:50:05For a while

00:50:05there I thought

00:50:06you changed.

00:50:08I have changed.

00:50:10Number five

00:50:11Changed

00:50:12for the better

00:50:13The Politics

00:50:13of Munchkinland

00:50:14If we follow

00:50:15the yellow brick road

00:50:16back to where

00:50:17it began

00:50:17the Oz story

00:50:18has always carried

00:50:19a political pulse.

00:50:21The stage show

00:50:21brushes past

00:50:22how iron-fisted

00:50:23Nessa's rule

00:50:24over Munchkinland

00:50:24really is

00:50:25with Bach

00:50:26briefly explaining

00:50:27she took away

00:50:28most of the

00:50:28already limited

00:50:29rights the Munchkins

00:50:30had.

00:50:30Perhaps a friendly

00:50:31game of cards

00:50:32once I'm done

00:50:33working?

00:50:34Whatever you say

00:50:35Madam Governor.

00:50:36The movie takes

00:50:37a different approach

00:50:38with Bach

00:50:38witnessing Munchkins

00:50:39and animals

00:50:40being blocked

00:50:41from traveling

00:50:41without permits.

00:50:42It really brings

00:50:43the whole political

00:50:44climate into

00:50:45sharper focus

00:50:46with corrupt

00:50:47leaders targeting

00:50:47certain groups

00:50:48as they cling

00:50:49to their power.

00:50:50And back

00:50:50where I come

00:50:51from

00:50:51everybody knows

00:50:52that the best

00:50:53way to bring

00:50:54folks together

00:50:55is to give

00:50:57them a real

00:50:58good enemy.

00:51:00It also

00:51:00directly ties

00:51:01into the

00:51:01real world

00:51:02persecution

00:51:03Wicked has

00:51:03always alluded

00:51:04to.

00:51:05Something that

00:51:05sadly still

00:51:06feels painfully

00:51:07familiar today.

00:51:08The concept

00:51:09of a regime

00:51:11clinging to

00:51:12power by way

00:51:13of this cult

00:51:15of personality

00:51:15and we see

00:51:16an awful lot

00:51:17of how they

00:51:18use propaganda

00:51:19as a tool

00:51:20to do that

00:51:20and fear

00:51:21mongering

00:51:21and scapegoating.

00:51:23Number 5

00:51:24Controversial

00:51:25The Lion's

00:51:25Expanded Role

00:51:26In the stage

00:51:27show

00:51:28the cowardly

00:51:28lion is

00:51:29basically an

00:51:29off-screen

00:51:30presence

00:51:30other than

00:51:31a tale

00:51:31we see

00:51:32during

00:51:32March of

00:51:33the Witch

00:51:33Hunters.

00:51:33The lion

00:51:34also has

00:51:35a grievance

00:51:36to repay

00:51:36If she let

00:51:37him fight

00:51:38his own

00:51:38battles

00:51:38when he

00:51:39was young

00:51:39he wouldn't

00:51:40be a coward

00:51:41today!

00:51:45In the film

00:51:45we not only

00:51:46get to see

00:51:47him but hear

00:51:48him as well.

00:51:49As Elphaba

00:51:49tries to

00:51:50convince the

00:51:50animals to

00:51:51stay and

00:51:51fight for

00:51:52the Oz

00:51:52they want

00:51:53to live

00:51:53in,

00:51:54he finds

00:51:54enough courage

00:51:55to tell

00:51:55them all

00:51:55that Elphaba's

00:51:56not to be

00:51:57trusted.

00:51:57After all,

00:51:58she did

00:51:58cubnap him,

00:51:59right?

00:52:00Tell them

00:52:00what she

00:52:00did to

00:52:00you!

00:52:02How you

00:52:02were just

00:52:03a cub!

00:52:04And she

00:52:05cubnapped

00:52:06you!

00:52:06As the

00:52:07wizard says,

00:52:08it's all in

00:52:08which label

00:52:09is able to

00:52:10persist.

00:52:10However,

00:52:11that's it

00:52:11for the lion.

00:52:12Maybe after

00:52:13the fanfare

00:52:14over Coleman

00:52:14Domingo's

00:52:15casting,

00:52:16we were

00:52:16expecting

00:52:16more?

00:52:17And I get

00:52:18to come in

00:52:18with a nice

00:52:19little cameo

00:52:20lion,

00:52:20so I'm

00:52:21excited for

00:52:21people to

00:52:21see it.

00:52:26According to

00:52:27composer

00:52:27Stephen Schwartz,

00:52:28the creative

00:52:29team realized

00:52:29for a movie

00:52:30that,

00:52:30at its

00:52:31heart,

00:52:31is supposed

00:52:31to be

00:52:32about

00:52:32Elphaba

00:52:32and

00:52:33Glinda's

00:52:33friendship,

00:52:34the two

00:52:34of them

00:52:34barely spend

00:52:35any real

00:52:36time together.

00:52:37In the

00:52:37second act

00:52:37of the

00:52:38show,

00:52:39Glinda

00:52:39and Elphaba

00:52:40actually

00:52:40don't

00:52:41meet up

00:52:42again

00:52:42until

00:52:43very late

00:52:44in that

00:52:45second act.

00:52:45They also

00:52:46figured that

00:52:46adding Glinda

00:52:47to this

00:52:47number would

00:52:48make her

00:52:48way more

00:52:49complicit

00:52:49in the

00:52:50wizard's

00:52:50whole

00:52:50operation

00:52:51and give

00:52:52her a

00:52:52fuller

00:52:52arc

00:52:53overall.

00:53:02For us,

00:53:05it also

00:53:05made sense

00:53:06that an

00:53:06old friend

00:53:07might talk

00:53:07Elphaba

00:53:08around more

00:53:08easily than

00:53:09the wizard,

00:53:10whom she

00:53:10clearly doesn't

00:53:11trust.

00:53:12With Glinda,

00:53:13she has years

00:53:13of history,

00:53:14which gives

00:53:15her more

00:53:15pull,

00:53:16especially when

00:53:16she reminds

00:53:17her of those

00:53:17more wonderful

00:53:18times they once

00:53:19shared.

00:53:26Number four,

00:53:28controversial,

00:53:29lyric changes

00:53:30to wonderful.

00:53:31While Glinda

00:53:31being added

00:53:32was actually

00:53:32kind of

00:53:33wonderful,

00:53:34the new

00:53:34lyrics and

00:53:34that whole

00:53:35intro,

00:53:36not so much.

00:53:36Take it

00:53:37from a

00:53:37wise old

00:53:38carny.

00:53:39Once folks

00:53:40buy into

00:53:41your blarney.

00:53:43This song's

00:53:43whole point is

00:53:44the wizard

00:53:45pulling back

00:53:45his emerald

00:53:46curtain and

00:53:46being real

00:53:47with Elphaba

00:53:48for once.

00:53:48We already

00:53:49said that

00:53:49she's not

00:53:50easily swayed,

00:53:51but it's

00:53:51his realness

00:53:52here that

00:53:52almost gets

00:53:53her.

00:53:53It feels

00:53:55wonderful,

00:53:56they think

00:53:57I'm

00:53:57wonderful,

00:53:59and look

00:54:00who's

00:54:00wonderful,

00:54:02this corn

00:54:02fed egg.

00:54:04In the new

00:54:04version,

00:54:04though,

00:54:05it feels

00:54:05more like

00:54:05it's about

00:54:06his smoke

00:54:06and mirrors

00:54:07act and

00:54:07carnival

00:54:08past.

00:54:08Come on,

00:54:09would Elphaba

00:54:09really go for

00:54:10that?

00:54:11Fans

00:54:11weren't

00:54:11happy that

00:54:12some of

00:54:12the lyrics

00:54:13they loved

00:54:13got swapped

00:54:14for weaker

00:54:14ones,

00:54:15which kind

00:54:16of watered

00:54:16down Elphaba's

00:54:17temptation

00:54:17and her

00:54:18main conflict

00:54:19in that

00:54:19moment.

00:54:20Is one

00:54:20an invader

00:54:21or noble

00:54:23crusader?

00:54:24It's all

00:54:25in which

00:54:26label is

00:54:27able to

00:54:28persist.

00:54:29Number three,

00:54:30changed for the

00:54:31better,

00:54:31the Wicked Witch

00:54:32of the East.

00:54:33There were

00:54:33several changes

00:54:34to this number,

00:54:35from Elphaba's

00:54:36entrance to her

00:54:37prior knowledge

00:54:37of their dad's

00:54:38passing,

00:54:39the slower

00:54:39melody,

00:54:40and some

00:54:40lyric changes.

00:54:41A while back,

00:54:53we learned

00:54:53that,

00:54:54unlike in

00:54:54the stage

00:54:55version,

00:54:55Nessa wouldn't

00:54:56gain the ability

00:54:57to walk in

00:54:58the movie,

00:54:58remedying the

00:54:59show's more

00:54:59ableist approach.

00:55:01Instead,

00:55:01we get this

00:55:02really lovely

00:55:02moment where

00:55:03Elphaba helps

00:55:04her sister relive

00:55:05the feeling she

00:55:05had that night

00:55:06at the

00:55:06Oz Dust

00:55:07ballroom.

00:55:19What unfolds

00:55:20shifts the

00:55:21focus away

00:55:21from her

00:55:21wheelchair as

00:55:22a so-called

00:55:23limitation,

00:55:24and toward her

00:55:25unrequited love

00:55:25for Bach.

00:55:26His transformation

00:55:27is even more

00:55:28shocking than

00:55:28the stage version.

00:55:30It's this

00:55:30generation's

00:55:31winged monkey

00:55:31nightmare fuel

00:55:32for sure.

00:55:34Number three,

00:55:35controversial,

00:55:36The New Songs.

00:55:37With the film

00:55:38now split into

00:55:38two parts,

00:55:39there's more

00:55:40time to delve

00:55:40into what

00:55:41our two leads

00:55:42are feeling.

00:55:42Broadway,

00:55:43Broadway beat,

00:55:46Broadway beat,

00:55:48Broadway beat.

00:55:50For Elphaba,

00:55:50No Place Like Home

00:55:51is her plea

00:55:52to the animals

00:55:53not to leave,

00:55:54while reflecting

00:55:54on her own

00:55:55experiences in Oz.

00:55:57Some fans loved

00:55:57the emotional depth,

00:55:59but others felt

00:55:59it dragged the story

00:56:00and disrupted

00:56:01the pacing.

00:56:02When you feel

00:56:03it's not worth

00:56:04fighting for,

00:56:05compel yourself

00:56:07because there's

00:56:08no place

00:56:09like home.

00:56:12The Girl in the Bubble

00:56:13is when Glinda

00:56:13finally faces

00:56:14the consequences

00:56:15of her choices.

00:56:16Again,

00:56:17for some,

00:56:17this felt like

00:56:18filler and just

00:56:19a little meh.

00:56:20They also found

00:56:21the timing odd,

00:56:22although that's

00:56:23since been explained

00:56:23by the movie's editor.

00:56:25Both songs are staged

00:56:26and performed beautifully,

00:56:28but we wonder

00:56:28if we'd miss them

00:56:29if they weren't there.

00:56:30Isn't it high time

00:56:34for her bubble

00:56:36to pop?

00:56:39Number 2.

00:56:40Changed for the Better

00:56:41The Animals Get

00:56:43More Screen Time

00:56:43One of the best

00:56:44changes in this film

00:56:45is how the animals

00:56:46become more active

00:56:47participants in the story.

00:56:48It's a very lonely

00:56:49road to have

00:56:51moral courage,

00:56:52and we get to see

00:56:53that in Elphaba

00:56:54fighting for justice.

00:56:56On stage,

00:56:57we mostly hear

00:56:58about her mission,

00:56:59but the movie

00:56:59lets us see it.

00:57:01She reunites

00:57:01with Dulcibear,

00:57:02who is among

00:57:03the animals fleeing Oz,

00:57:04and we've already

00:57:05discussed the lion's

00:57:06bigger role.

00:57:07It also raises

00:57:08the emotional stakes

00:57:09by revealing a chamber

00:57:10full of caged animals,

00:57:11where Elphaba finds

00:57:12her former professor,

00:57:13now stripped of speech.

00:57:15It all ties perfectly

00:57:16into her motivation

00:57:17in for good,

00:57:18because we really see

00:57:19what she's fighting for.

00:57:20She's actually

00:57:21embracing the magic

00:57:23that she has

00:57:23and figuring out

00:57:25how to use that

00:57:25to do good

00:57:26the way she needs to.

00:57:27By deepening

00:57:29her connections

00:57:29with the animals,

00:57:31the film makes

00:57:31her mission

00:57:32feel more immediate

00:57:32and their suffering

00:57:34far more urgent.

00:57:35But think how

00:57:36you will grieve

00:57:37for all you leave behind.

00:57:40Oz belongs

00:57:41to you too.

00:57:47Number 2.

00:57:48Controversial.

00:57:49Losing the transition

00:57:50after I'm Not That Girl

00:57:51reprise.

00:57:52One of the most

00:57:53iconic musical moments

00:57:54in Act 2 of Wicked

00:57:55is that seamless transition

00:57:57from the I'm Not That Girl

00:57:58reprise to

00:57:59As Long As You're Mine.

00:58:01I'm not that girl.

00:58:14Glinda's heartbreak,

00:58:15cutting right into

00:58:16Elphaba and Fierro's

00:58:17love story,

00:58:18works beautifully

00:58:19on every level.

00:58:20But the film

00:58:21slows this down,

00:58:22giving the audience

00:58:23more time to sit

00:58:24in Glinda's grief

00:58:25and builds

00:58:25more slowly

00:58:26toward the love duet.

00:58:44The original version

00:58:45underscores Glinda's loss

00:58:46in the most painful

00:58:47way possible.

00:58:48Her dream is ending

00:58:50just as her friend's

00:58:51true happiness

00:58:51is beginning

00:58:52and the audience

00:58:53is forced to feel

00:58:54both sides

00:58:54intensely and instantaneously.

00:58:57Sadly,

00:58:57we're kinda robbed

00:58:58of that

00:58:59without that

00:58:59immediate transition.

00:59:00I'm not that girl.

00:59:14Number 1.

00:59:16Changed for the better.

00:59:17The ending.

00:59:18From For Good

00:59:19to that final shot

00:59:20might just be

00:59:22the strongest part

00:59:23of the movie.

00:59:31Glinda finally gets

00:59:32a clear redemption arc,

00:59:34taking charge

00:59:34and using her new position

00:59:36to truly make good

00:59:37in Oz.

00:59:38We were so happy

00:59:39we could melt

00:59:40when she followed through

00:59:41on Elphie's wish

00:59:41and welcomed all

00:59:42Ozians back into society.

00:59:44We can't let good

00:59:45be just a word.

00:59:48It has to mean something.

00:59:49Seeing Dr. Dillamond

00:59:50back in his classroom

00:59:51brought tears to our eyes.

00:59:53The movie keeps

00:59:54the musical's

00:59:54bittersweet ending

00:59:55but adds a magical

00:59:56final moment,

00:59:58the grimmery opening

00:59:59for Glinda.

00:59:59Some believe

01:00:00it's a sign from Elphaba

01:00:01but we think it opens

01:00:03because Glinda

01:00:03is finally living

01:00:04up to her title,

01:00:06Glinda the Good.

01:00:07I'd like to try

01:00:07to be Glinda the Good.

01:00:10Number 1.

01:00:11Controversial.

01:00:12A new take on

01:00:13As Long As You're Mine.

01:00:14No, not because

01:00:15of that cardigan.

01:00:16On stage,

01:00:17Elphaba and Fierro

01:00:18can't keep their hands

01:00:19off each other.

01:00:20As long as you're mine

01:00:23I'll wake up my night

01:00:26And make up all my time

01:00:32In the movie,

01:00:33it's a slower development

01:00:35with Elphaba starting

01:00:36at a distance

01:00:37and the two working

01:00:38their way toward

01:00:38that moment of levitation.

01:00:40The reason is sweet.

01:00:41Elphaba can't believe

01:00:43Fierro chose her

01:00:44and after years

01:00:45of guarding herself

01:00:46she can't let her

01:00:47walls down instantly.

01:00:48I need help believing

01:00:50You're with me tonight

01:00:55Fierro has to prove

01:00:58she's safe

01:00:59and that it's real.

01:01:00Since the film

01:01:00can't exactly pause

01:01:02every viewing

01:01:02to explain that

01:01:03these changes

01:01:04were kinda confusing.

01:01:06It's also possible

01:01:06it was edited

01:01:07to fit its PG rating.

01:01:09So does that mean

01:01:10there's a steamier

01:01:11uncut version somewhere?

01:01:13What is it?

01:01:16For the first time

01:01:17I feel

01:01:17wicked.

01:01:20What changes

01:01:20were you thrillified by

01:01:22and which did you find

01:01:23most scandalacious?

01:01:24We are going to end

01:01:27things today

01:01:27by peeling back

01:01:28the curtain

01:01:29and looking at

01:01:30behind the scenes

01:01:31stories about

01:01:32the making

01:01:32of Wicked for Good.

01:01:35You know

01:01:35when we were talking

01:01:36about just Wicked

01:01:37part one

01:01:38we couldn't talk

01:01:39about the full breath

01:01:40and meat

01:01:41of what this story

01:01:42actually is.

01:01:43Welcome to

01:01:44Ms. Mojo

01:01:45and today

01:01:46we're counting down

01:01:47our picks

01:01:47for the most

01:01:47thrillifying

01:01:48behind the scenes

01:01:49tidbits from

01:01:50Wicked for Good.

01:01:50I'm sorry

01:01:52all my contact

01:01:53came out.

01:01:54It was a really

01:01:55cherished moment.

01:01:56I loved scaring you.

01:01:59Number 10

01:01:59The Right Kind

01:02:00of Yellow

01:02:01As we saw

01:02:02in part one

01:02:03finding a color

01:02:04that

01:02:04It just says

01:02:05road to me

01:02:05is incredibly important.

01:02:07What we didn't

01:02:08get to see however

01:02:09was how they

01:02:10perfected the shade

01:02:11of yellow

01:02:11that screams

01:02:12road the loudest.

01:02:13According to

01:02:14John M. Chu

01:02:14when we first

01:02:15saw his yellow

01:02:16brick road

01:02:16it didn't seem

01:02:17yellow enough.

01:02:18Just because

01:02:19you see one thing

01:02:19with your eyes

01:02:20doesn't mean

01:02:21the camera

01:02:21captures it

01:02:22the same way.

01:02:23The yellow

01:02:23brick road

01:02:24is one of

01:02:24the most

01:02:25indelible visuals

01:02:26in movie history

01:02:26so it had

01:02:27to be perfect.

01:02:29I did not

01:02:29understand

01:02:30emotionally

01:02:31how it would

01:02:31feel until

01:02:32you have

01:02:32the yellow

01:02:32brick road

01:02:33in front of you

01:02:33and you're like

01:02:34oh shit

01:02:35we're making

01:02:36Oz

01:02:38that was like

01:02:39a surreal

01:02:40moment.

01:02:42The team

01:02:42ended up

01:02:43working to

01:02:43the wire

01:02:44to ensure

01:02:44the brightness

01:02:45popped on

01:02:45screen

01:02:46just as it

01:02:46had all

01:02:47those years

01:02:47ago.

01:02:49One thing

01:02:55you may not

01:02:56know about

01:02:56Michelle Yeoh

01:02:57is that she

01:02:58comes from

01:02:58a dance

01:02:59background.

01:03:06This turned

01:03:07out to be

01:03:07quite helpful

01:03:08when she was

01:03:08trying to

01:03:09find her

01:03:09character's

01:03:10movements

01:03:10and how

01:03:11to convey

01:03:11so many

01:03:12layers of

01:03:12depth

01:03:13through

01:03:13hand gestures.

01:03:14She

01:03:14collaborated

01:03:15with

01:03:15choreographer

01:03:16Christopher Scott

01:03:17to come up

01:03:17with the

01:03:17movements

01:03:18Madame Morrible

01:03:18would conjure

01:03:19up when

01:03:19summoning

01:03:20a certain

01:03:20something.

01:03:21She would

01:03:21just start

01:03:22to move

01:03:22with the

01:03:23influences

01:03:24from Tai Chi

01:03:25and from

01:03:25Kung Fu

01:03:26and martial arts

01:03:27and through

01:03:28that and

01:03:29then I do

01:03:29like a lot

01:03:30of finger

01:03:30tightening

01:03:30and hand

01:03:31stuff and

01:03:31so I

01:03:31would just

01:03:32we had

01:03:32never said

01:03:33it verbally

01:03:33but it

01:03:33was like

01:03:33she would

01:03:34go into

01:03:34that world

01:03:35and I

01:03:35would like

01:03:35work with

01:03:36her there

01:03:36and I

01:03:36would be

01:03:36like

01:03:37and then

01:03:37like

01:03:37little

01:03:37things

01:03:37like

01:03:38oh I

01:03:38like

01:03:38that.

01:03:39They

01:03:39worked

01:03:39together

01:03:39on even

01:03:40the smallest

01:03:40styling

01:03:41to come up

01:03:41with these

01:03:42gestures

01:03:48grand

01:03:48swishy

01:03:49sleeves

01:03:49that you

01:03:50just

01:03:50want to

01:03:50swoop

01:03:51around.

01:03:51Of course

01:03:52Paul had

01:03:53designed

01:03:53the most

01:03:53amazing

01:03:54dress

01:03:54that I

01:03:55need

01:03:55these

01:03:55long

01:03:56you know

01:03:58sleeves

01:03:58that I

01:03:59could

01:03:59flick

01:03:59in the

01:04:00air

01:04:00which I

01:04:01did

01:04:01and

01:04:02the

01:04:03effect

01:04:03was

01:04:03spectacular.

01:04:05Number

01:04:058.

01:04:06The

01:04:06makeup

01:04:07process.

01:04:08How much

01:04:08time do

01:04:08you spend

01:04:09on your

01:04:09makeup

01:04:09routine?

01:04:10Granted

01:04:11probably

01:04:11few of

01:04:12us

01:04:12get

01:04:12fully

01:04:12greenified

01:04:13as

01:04:13part

01:04:13of the

01:04:14process

01:04:14but

01:04:15by the

01:04:15sounds

01:04:15of it

01:04:16Cynthia

01:04:16Erivo's

01:04:17daily

01:04:18like an

01:04:18endurance

01:04:19test.

01:04:19Every

01:04:20day

01:04:20was a

01:04:212 hour

01:04:2245

01:04:22minute

01:04:23to

01:04:233 hour

01:04:24makeup

01:04:25session

01:04:25and then

01:04:26it was

01:04:26an hour

01:04:27hour and

01:04:27a half

01:04:27derig

01:04:28session

01:04:28a derig

01:04:29is when

01:04:29everything

01:04:29comes off.

01:04:30It would

01:04:31take around

01:04:313 hours

01:04:32to get her

01:04:32ready

01:04:33and then

01:04:33about an

01:04:33hour and

01:04:34a half

01:04:34to get

01:04:35it all

01:04:35off

01:04:35at the

01:04:36end

01:04:36of the

01:04:36day.

01:04:37Oh

01:04:37and

01:04:37did we

01:04:37mention

01:04:38that this

01:04:38was over

01:04:38a long

01:04:39period?

01:04:40So

01:04:40from

01:04:41day

01:04:41one

01:04:42to

01:04:42day

01:04:43I

01:04:44don't

01:04:44even

01:04:44know

01:04:45yeah

01:04:45200

01:04:47and something

01:04:47yeah

01:04:48I was

01:04:49it was

01:04:50every day

01:04:51three hours

01:04:52in a chair

01:04:52sometimes

01:04:53more

01:04:53every day

01:04:54was an

01:04:55early day

01:04:55every day

01:04:56started

01:04:56between

01:04:57I think

01:04:58my pickup

01:04:58was sometimes

01:04:594 a.m

01:05:005 a.m

01:05:01very often

01:05:02starting at

01:05:02times that

01:05:03most of us

01:05:03are still

01:05:04fast asleep

01:05:05there's no

01:05:06denying

01:05:06Arivo looks

01:05:07phenomenal

01:05:07but knowing

01:05:08she basically

01:05:09sacrificed

01:05:09sleep to

01:05:10give us

01:05:10that makes

01:05:11us love

01:05:11her even

01:05:12more

01:05:12it takes

01:05:14a second

01:05:14to wind

01:05:15down

01:05:15I

01:05:15would

01:05:15always

01:05:16shower

01:05:16because

01:05:16the

01:05:16green

01:05:17gets

01:05:17everywhere

01:05:18yeah

01:05:18so

01:05:19by the

01:05:19time

01:05:19I

01:05:20get

01:05:20to

01:05:20bed

01:05:20it's

01:05:20like

01:05:2112

01:05:21and

01:05:21I'm

01:05:21up

01:05:22at

01:05:223 a.m

01:05:22number

01:05:237

01:05:23John M.

01:05:24Chu's

01:05:24mood board

01:05:25we'll cover

01:05:26how both

01:05:26parts of the

01:05:27movie were

01:05:27filmed

01:05:28later

01:05:28for now

01:05:28let's

01:05:29look at

01:05:29how

01:05:29Chu

01:05:29set

01:05:30the

01:05:30tone

01:05:30for

01:05:30each

01:05:31scene

01:05:31there

01:05:32was

01:05:33an

01:05:33opportunity

01:05:33to

01:05:33expand

01:05:34Wicked

01:05:34from

01:05:35the

01:05:35stage

01:05:35so

01:05:36we

01:05:36could

01:05:36expand

01:05:36that

01:05:36world

01:05:37and expand

01:05:38the emotions

01:05:38of it

01:05:39for one

01:05:39thing

01:05:40since the

01:05:40movie was

01:05:41shot out

01:05:41of sequence

01:05:42it was

01:05:42important

01:05:42to make

01:05:43sure

01:05:43everyone

01:05:43was on

01:05:44the same

01:05:44page

01:05:44in terms

01:05:45of the

01:05:45emotions

01:05:46they wanted

01:05:46to convey

01:05:47so he

01:05:47created

01:05:48an emotional

01:05:48buzzword

01:05:49for each

01:05:49scene

01:05:50to give

01:05:50everyone

01:05:50from actors

01:05:51to designers

01:05:52to editors

01:05:53a mood

01:05:53to work

01:05:54with

01:05:54it actually

01:05:55was extremely

01:05:56technical feat

01:05:57to go back

01:05:58and forth

01:05:58and we all

01:05:59had to be

01:05:59in complete

01:06:00cohesion

01:06:01and understanding

01:06:02of where we

01:06:03were in the

01:06:03story

01:06:04emotionally

01:06:04and I

01:06:05had to have

01:06:05really

01:06:06have a lot

01:06:07of clarity

01:06:08of what we

01:06:09were trying

01:06:09to say

01:06:10while part

01:06:10one had

01:06:11lots of

01:06:11big flashy

01:06:12moments

01:06:13for good

01:06:14has a more

01:06:14intimate feel

01:06:15which he

01:06:16created by

01:06:16getting his

01:06:17creative team

01:06:17quote out

01:06:18of the way

01:06:18so the

01:06:19scenes felt

01:06:19more honest

01:06:20in a movie

01:06:22you can be

01:06:23two inches

01:06:23from her face

01:06:24oh yeah

01:06:25you can be

01:06:2510,000 feet

01:06:26above that

01:06:27moment

01:06:27that's

01:06:29exciting

01:06:29number six

01:06:30where have

01:06:31we seen

01:06:31those sets

01:06:32before

01:06:32in for good

01:06:33there are

01:06:34some fun

01:06:34callbacks

01:06:35to part

01:06:35one tucked

01:06:35into the

01:06:36production

01:06:36design

01:06:37is the

01:06:38book place

01:06:40there's a

01:06:42collection

01:06:42of rare

01:06:44books

01:06:44around here

01:06:44somewhere

01:06:45and some

01:06:46medium rare

01:06:46as well

01:06:47a few sets

01:06:48return in

01:06:48updated forms

01:06:49including the

01:06:50governor's mansion

01:06:51where small

01:06:52details from

01:06:53Shiz's library

01:06:53and Madame

01:06:54Morrible's

01:06:54quarters can be

01:06:55spotted

01:06:55the emerald city

01:06:56gets a redesign

01:06:57too

01:06:58so it reflects

01:06:59the trio

01:06:59now running

01:07:00things

01:07:00the wizard

01:07:01Madame

01:07:01Morrible

01:07:02and Glinda

01:07:03it's more

01:07:03important

01:07:04than ever

01:07:04that you

01:07:06lift

01:07:07everyone's

01:07:08spirits

01:07:08as only

01:07:12you can

01:07:13even the

01:07:14train

01:07:14that first

01:07:15brought the

01:07:15leading ladies

01:07:16into the

01:07:16emerald city

01:07:17shows up

01:07:17again

01:07:18now fully

01:07:19Glinda-fied

01:07:19we have no

01:07:20doubt there's

01:07:21more to look

01:07:21out for

01:07:22too

01:07:22all of it

01:07:23adds these

01:07:23nice touches

01:07:24that make

01:07:24the movies

01:07:25feel connected

01:07:25and it's

01:07:26genuinely

01:07:27satisfying

01:07:27to catch

01:07:28them all

01:07:28you don't

01:07:29want to

01:07:29miss

01:07:29this

01:07:29number

01:07:30five

01:07:31the

01:07:31wonderful

01:07:31wizard

01:07:32of

01:07:32the

01:07:32wardrobe

01:07:33paul

01:07:33taswell

01:07:34sorry

01:07:34that's

01:07:35oscar

01:07:35winner

01:07:36paul

01:07:36taswell's

01:07:37costumes

01:07:37in part

01:07:38one

01:07:38are

01:07:38outstanding

01:07:39and he's

01:07:40back

01:07:40working his

01:07:41magic

01:07:41again

01:07:41on for

01:07:42good

01:07:42there's

01:07:43an

01:07:43emotional

01:07:43arc

01:07:44that's

01:07:44created

01:07:45by the

01:07:45choices

01:07:46that i'm

01:07:46making

01:07:46as far

01:07:47as the

01:07:47clothes

01:07:47are

01:07:47concerned

01:07:48they're

01:07:48different

01:07:48reflections

01:07:49of who

01:07:49these

01:07:50women

01:07:50are

01:07:50and what

01:07:51their

01:07:51style

01:07:51is

01:07:52and as

01:07:52we

01:07:53move

01:07:53through

01:07:54their

01:07:54year

01:07:54they're

01:07:58just by

01:07:59looking at

01:07:59what

01:07:59they

01:07:59wear

01:08:00from

01:08:00the

01:08:00wizard's

01:08:01showman

01:08:01look

01:08:01to

01:08:01madame

01:08:02horrible's

01:08:02lightning-esque

01:08:03embellishments

01:08:04to

01:08:04glinda's

01:08:05wedding

01:08:05and bubble

01:08:05dresses

01:08:06but pay

01:08:07close

01:08:07attention

01:08:07to

01:08:08alphaba's

01:08:08outfit

01:08:09you've

01:08:09seen

01:08:09it

01:08:09before

01:08:10kinda

01:08:11everything

01:08:11that she

01:08:12chooses

01:08:13to wear

01:08:13is very

01:08:13intentional

01:08:14it

01:08:15supports

01:08:16where she

01:08:17is

01:08:17emotionally

01:08:17and within

01:08:18her

01:08:19character

01:08:19taswell

01:08:20has

01:08:20brilliantly

01:08:21incorporated

01:08:22looks

01:08:22from her

01:08:22past

01:08:23to show

01:08:23her

01:08:23metamorphosis

01:08:24and how

01:08:24she's

01:08:25embraced

01:08:25the person

01:08:25she's

01:08:26become

01:08:26although

01:08:27fiero

01:08:27certainly

01:08:28left

01:08:28his

01:08:28mark

01:08:28too

01:08:29erivo

01:08:29also

01:08:30used

01:08:30specific

01:08:31perfumes

01:08:31to

01:08:32ignite

01:08:32the

01:08:32emotions

01:08:33each

01:08:33scene

01:08:33demanded

01:08:34perfumes

01:08:34so

01:08:34there's

01:08:35a

01:08:35scent

01:08:35that's

01:08:35specific

01:08:36to

01:08:36alphaba

01:08:36at the

01:08:37very

01:08:37beginning

01:08:37then

01:08:38there's

01:08:38a

01:08:38scent

01:08:38for

01:08:38alphaba

01:08:39at the

01:08:39end

01:08:40of

01:08:41the

01:08:41first

01:08:41film

01:08:42and

01:08:42then

01:08:42there's

01:08:42a

01:08:43scent

01:08:43for

01:08:43alphaba

01:08:43in

01:08:44the

01:08:44second

01:08:44movie

01:08:44anyway

01:08:45if

01:08:45taswell

01:08:46doesn't

01:08:46get

01:08:46another

01:08:46oscar

01:08:47we'll

01:08:48eat

01:08:48alphaba's

01:08:48hat

01:08:48number

01:08:494

01:08:50writing

01:08:50the

01:08:50new

01:08:51songs

01:08:51it

01:08:52sounds

01:08:52like

01:08:52the

01:08:52two

01:08:52new

01:08:53songs

01:08:53no

01:08:54place

01:08:54like

01:08:54home

01:08:54and

01:08:54the

01:08:55girl

01:08:55in

01:08:55the

01:08:55bubble

01:08:55were

01:08:56real

01:08:56team

01:08:56efforts

01:08:57not

01:08:57just

01:08:58with

01:08:58their

01:08:58performers

01:08:58but

01:08:59with

01:08:59Chu

01:08:59himself

01:09:00just

01:09:11like

01:09:12he

01:09:12did

01:09:12with

01:09:12much

01:09:12of

01:09:13Stephen

01:09:13Schwartz

01:09:13and

01:09:13Winnie

01:09:14Holtzman's

01:09:14material

01:09:15Chu

01:09:15seemed

01:09:15to

01:09:16push

01:09:16the

01:09:16composer

01:09:16to

01:09:17dig

01:09:17deeper

01:09:17into

01:09:17what

01:09:17the

01:09:18songs

01:09:18were

01:09:18trying

01:09:18to

01:09:19say

01:09:19Schwartz

01:09:33would

01:09:33send

01:09:33musical

01:09:34voice

01:09:34notes

01:09:35and

01:09:35Chu

01:09:35would

01:09:35come

01:09:35back

01:09:36with

01:09:36questions

01:09:36like

01:09:36where

01:09:37are

01:09:37you

01:09:37going

01:09:37with

01:09:38that

01:09:38or

01:09:38what

01:09:39about

01:09:39this

01:09:39together

01:09:40they

01:09:40worked

01:09:40through

01:09:41all

01:09:41the

01:09:41what

01:09:41ifs

01:09:41to

01:09:42create

01:09:42two

01:09:42songs

01:09:43that

01:09:43pull

01:09:43the

01:09:43audience

01:09:43into

01:09:44Elphaba

01:09:44and

01:09:44Glinda's

01:09:45minds

01:09:45and

01:09:46give

01:09:46even

01:09:46more

01:09:46insight

01:09:47into

01:09:47their

01:09:47psyche

01:09:48than

01:09:48the

01:09:48stage

01:09:48runtime

01:09:49could

01:09:49ever

01:09:49allow

01:09:50we

01:09:50could

01:09:52go

01:09:52into

01:09:52more

01:09:52depth

01:09:53with

01:09:54the

01:09:55characters

01:09:56at

01:09:56certain

01:09:56points

01:09:57in

01:09:57the

01:09:57story

01:09:57and

01:09:58there

01:09:58were

01:09:59a

01:09:59couple

01:09:59of

01:09:59places

01:10:00that

01:10:00felt

01:10:01like

01:10:01they

01:10:02needed

01:10:02to

01:10:03sing

01:10:05we

01:10:06we

01:10:06would

01:10:06we

01:10:06would

01:10:06be

01:10:06remiss

01:10:06not

01:10:07to

01:10:07mention

01:10:07the

01:10:07intricate

01:10:08choreography

01:10:08that

01:10:09helped

01:10:09bring

01:10:09those

01:10:09emotional

01:10:10beats

01:10:10to

01:10:10the

01:10:10audience

01:10:11in

01:10:11those

01:10:11moments

01:10:12she

01:10:12was

01:10:12using

01:10:12her

01:10:13daughter's

01:10:13like

01:10:14little

01:10:14toy

01:10:14dolls

01:10:15and

01:10:15her

01:10:15iPhone

01:10:16to

01:10:16choreograph

01:10:16the

01:10:17camera

01:10:17movement

01:10:17in

01:10:17and out

01:10:18so

01:10:18technically

01:10:19it

01:10:19was

01:10:19just

01:10:19such

01:10:20a

01:10:20massive

01:10:21assignment

01:10:21from

01:10:22making sure

01:10:23each step

01:10:24that I took

01:10:25matched

01:10:25on either

01:10:25side

01:10:26of the

01:10:26filming

01:10:27and then

01:10:27emotionally

01:10:27it had

01:10:28to line

01:10:28up

01:10:28and vocally

01:10:29it had

01:10:29to line

01:10:29up

01:10:30and

01:10:30everyone

01:10:31had

01:10:31to

01:10:31kind

01:10:31of

01:10:31be

01:10:32very

01:10:32in

01:10:32sync

01:10:32number

01:10:33three

01:10:33Ariana Grande

01:10:34loses

01:10:35a

01:10:35contact

01:10:36if you've

01:10:37seen

01:10:37the show

01:10:37you'll know

01:10:38there's a scene

01:10:38toward the

01:10:39end

01:10:39where

01:10:39Glinda

01:10:40has

01:10:40a

01:10:40revelation

01:10:40which

01:10:41Madame

01:10:41Morrible

01:10:42quickly

01:10:42and fiercely

01:10:43shuts

01:10:43down

01:10:44Chu

01:10:44apparently

01:10:45told

01:10:45Michelle

01:10:45Yeoh

01:10:46to

01:10:46unleash

01:10:46her

01:10:46biggest

01:10:47scariest

01:10:47inner

01:10:48witch

01:10:48for

01:10:48this

01:10:48moment

01:10:49in

01:10:49fact

01:10:50he

01:10:50literally

01:10:50told

01:10:51her

01:10:51to

01:10:51quote

01:10:51scare

01:10:52the

01:10:52hell

01:10:52out

01:10:52of

01:10:52her

01:10:52co-star

01:10:53and she

01:11:04did

01:11:04maybe

01:11:05a little

01:11:05too

01:11:05well

01:11:06in an

01:11:06outtake

01:11:07from the

01:11:07scene

01:11:07Ariana Grande

01:11:08actually

01:11:09breaks

01:11:09character

01:11:10because

01:11:10Yeoh's

01:11:10commitment

01:11:11scared

01:11:11the

01:11:11contact

01:11:12lens

01:11:12right

01:11:12out

01:11:13of

01:11:13her

01:11:13she

01:11:14was

01:11:14so

01:11:14scared

01:11:15a

01:11:16contact

01:11:16lens

01:11:17popped

01:11:17out

01:11:18my

01:11:19contact

01:11:20you

01:11:20don't

01:11:26worry

01:11:26Grande

01:11:27holds

01:11:27no

01:11:27grudge

01:11:28Glinda

01:11:28on

01:11:28the

01:11:29other

01:11:29hand

01:11:29well

01:11:30you'll

01:11:30just

01:11:30have

01:11:31to

01:11:31wait

01:11:31and

01:11:31see

01:11:31so

01:11:32I

01:11:32just

01:11:32turned

01:11:33and

01:11:33ran

01:11:34at

01:11:34her

01:11:34literally

01:11:35like

01:11:35this

01:11:37point

01:11:37in

01:11:37my

01:11:37life

01:11:38as

01:11:41great

01:11:41as

01:11:42it

01:11:42would

01:11:42be

01:11:42if

01:11:42every

01:11:43shooting

01:11:43day

01:11:43went

01:11:43perfectly

01:11:44according

01:11:44to

01:11:45schedule

01:11:45working

01:11:46with

01:11:46the

01:11:46elements

01:11:46especially

01:11:47in

01:11:47the

01:11:48UK

01:11:48means

01:11:49plan

01:11:49A

01:11:49sometimes

01:11:50gets

01:11:50rain

01:11:50checked

01:11:51for

01:11:51plan

01:11:51B

01:11:51we

01:11:52actually

01:11:52shot

01:11:52for

01:11:53good

01:11:53on

01:11:53a

01:11:53weather

01:11:53cover

01:11:53day

01:11:54which

01:11:54meant

01:11:55that

01:11:55we

01:11:55were

01:11:55supposed

01:11:56to be

01:11:56shooting

01:11:56outside

01:11:57at

01:11:57Munchkin

01:11:57Land

01:11:58but it

01:11:58was

01:11:58raining

01:11:58so we

01:11:59decided

01:11:59to come

01:11:59inside

01:12:00and do

01:12:00for

01:12:00good

01:12:00so it

01:12:00was

01:12:01a

01:12:01surprise

01:12:01that

01:12:02was

01:12:02actually

01:12:02the

01:12:03case

01:12:03for

01:12:03capturing

01:12:03the

01:12:03song's

01:12:04title

01:12:04number

01:12:04for

01:12:05good

01:12:05given

01:12:12how the

01:12:13song

01:12:13has

01:12:13the

01:12:14tendency

01:12:14to

01:12:14stay

01:12:14like

01:12:15a

01:12:15handprint

01:12:15on

01:12:15even

01:12:15the

01:12:16iciest

01:12:16hearts

01:12:20much

01:12:20time

01:12:21to

01:12:21overthink

01:12:21it

01:12:22because

01:12:22we

01:12:22kind

01:12:23of

01:12:23were

01:12:23just

01:12:23thrown

01:12:23into

01:12:24it

01:12:24just

01:12:24had

01:12:25to

01:12:25show up

01:12:25yeah

01:12:25so there

01:12:26was no

01:12:26sort of

01:12:27anticipatory

01:12:27sort of

01:12:28like oh

01:12:28we're gonna

01:12:29be doing

01:12:29on this

01:12:29day

01:12:29we just

01:12:30sort of

01:12:30well

01:12:30it's

01:12:31the

01:12:31weather

01:12:31cover

01:12:31day

01:12:31this

01:12:32is

01:12:32what

01:12:32it

01:12:32is

01:12:32let's

01:12:33be

01:12:33where

01:12:34we

01:12:34are

01:12:34it

01:12:34wasn't

01:12:35like

01:12:35it

01:12:35was

01:12:35a

01:12:35one

01:12:35day

01:12:35shoot

01:12:36either

01:12:36the

01:12:37leading

01:12:37lady

01:12:37shared

01:12:37that

01:12:38they

01:12:38filmed

01:12:38multiple

01:12:39versions

01:12:39only

01:12:40for

01:12:40Chu

01:12:40to

01:12:40choose

01:12:41the

01:12:41most

01:12:41stripped

01:12:42back

01:12:42quietly

01:12:43devastating

01:12:43take

01:12:44of

01:12:44them

01:12:44all

01:12:44I

01:12:45just

01:12:45love

01:12:45that

01:12:45John

01:12:45went

01:12:46with

01:12:46the

01:12:46simplest

01:12:47and

01:12:47quietest

01:12:48and

01:12:48most

01:12:48honest

01:12:48version

01:12:49even

01:12:49though

01:12:49he

01:12:49covered

01:12:50it

01:12:50so

01:12:50many

01:12:50different

01:12:50ways

01:12:50it

01:12:50just

01:12:50speaks

01:12:51to

01:12:51how

01:12:51incredible

01:12:52he is

01:12:52as a

01:12:53director

01:12:53just

01:12:53kind

01:12:54of

01:12:54stinging

01:12:55to the

01:12:55heart

01:12:55before

01:12:57we

01:12:57unveil

01:12:57our

01:12:57top

01:12:58pick

01:12:58here

01:12:58are

01:12:59a

01:12:59few

01:12:59honorable

01:12:59mentions

01:13:00Jeff

01:13:01Goldblum

01:13:01goes

01:13:01veggie

01:13:02the

01:13:02oppression

01:13:10casting

01:13:12Coleman

01:13:12Domingo

01:13:13when

01:13:14John

01:13:14M.

01:13:14Chew

01:13:14slides

01:13:15into

01:13:15your

01:13:15DMs

01:13:15to

01:13:15ask

01:13:16you

01:13:16to

01:13:16be

01:13:16in

01:13:16the

01:13:16movie

01:13:17you

01:13:17don't

01:13:17say

01:13:18no

01:13:18sangria

01:13:27hour

01:13:27the

01:13:28cast

01:13:28apparently

01:13:28set up

01:13:29a

01:13:29secret

01:13:29sangria

01:13:30hour

01:13:30to

01:13:30help

01:13:31them

01:13:31cool

01:13:31off

01:13:31on

01:13:31a

01:13:32particularly

01:13:32warm

01:13:32day

01:13:33and

01:13:33before

01:13:33we

01:13:34could

01:13:34blink

01:13:34someone

01:13:34came

01:13:35around

01:13:35the

01:13:35corner

01:13:35and

01:13:35was

01:13:36like

01:13:36I've

01:13:36got

01:13:36a

01:13:36bowl

01:13:37of

01:13:37sangria

01:13:38here

01:13:38and

01:13:39some

01:13:39cups

01:13:39of

01:13:39last

01:13:39and

01:13:40if

01:13:40you

01:13:40want

01:13:40one

01:13:40I

01:13:40was

01:13:40like

01:13:40yes

01:13:41yes

01:13:42please

01:13:43number

01:13:44one

01:13:45both

01:13:45movies

01:13:46were

01:13:46shot

01:13:46at

01:13:46once

01:13:47you

01:13:47might

01:13:48have

01:13:48had

01:13:48to

01:13:48wait

01:13:48a

01:13:48whole

01:13:48year

01:13:49to

01:13:49see

01:13:49the

01:13:49story

01:13:49reach

01:13:50its

01:13:50grand

01:13:50conclusion

01:13:51but

01:13:51Chu

01:13:51chose

01:13:52to

01:13:52shoot

01:13:52it

01:13:52all

01:13:52at

01:13:53once

01:13:53to

01:13:53get

01:13:53the

01:13:53bigger

01:13:53picture

01:13:54control

01:13:55the

01:13:55pacing

01:13:55and

01:13:56make

01:13:56sure

01:13:56they

01:13:56were

01:13:56delivering

01:13:57a

01:13:57fully

01:13:57fleshed

01:13:58out

01:13:58story

01:13:58however

01:13:59that

01:13:59doesn't

01:14:00mean

01:14:00it

01:14:00was

01:14:00all

01:14:00shot

01:14:01linearly

01:14:01bouncing

01:14:05back

01:14:06and

01:14:06forth

01:14:06between

01:14:06like

01:14:06dancing

01:14:07at

01:14:07shiz

01:14:08and

01:14:08death

01:14:09as

01:14:09Chu

01:14:09shared

01:14:10they

01:14:10went

01:14:10from

01:14:10the

01:14:11fun

01:14:11highs

01:14:11of

01:14:11popular

01:14:12to

01:14:12the

01:14:12emotional

01:14:13depths

01:14:13of

01:14:13for

01:14:14good

01:14:14practically

01:14:14back

01:14:15to

01:14:15back

01:14:15and

01:14:16that

01:14:16we

01:14:17were

01:14:17shooting

01:14:17at

01:14:17the

01:14:18same

01:14:18time

01:14:18so

01:14:18one

01:14:19day

01:14:19we'd

01:14:19be

01:14:19shooting

01:14:19popular

01:14:20and

01:14:21like

01:14:21two

01:14:21days

01:14:21later

01:14:21we'd

01:14:21be

01:14:22shooting

01:14:22pieces

01:14:23of

01:14:23for

01:14:23good

01:14:23or

01:14:24moments

01:14:25where

01:14:25they're

01:14:25way

01:14:25more

01:14:26mature

01:14:26so

01:14:26meanwhile

01:14:27Bronwyn

01:14:27James

01:14:28shared

01:14:28that

01:14:28she

01:14:28only

01:14:28knew

01:14:29where

01:14:29they

01:14:29were

01:14:29in

01:14:30the

01:14:30wicked

01:14:30timeline

01:14:30once

01:14:31she'd

01:14:31put

01:14:31on

01:14:31her

01:14:31costume

01:14:32for

01:14:32the

01:14:32day

01:14:32it was

01:14:33very

01:14:33much

01:14:33like

01:14:34I'm

01:14:34just

01:14:35gonna

01:14:35go

01:14:35in

01:14:35and

01:14:36like

01:14:36I'll

01:14:36know

01:14:37what

01:14:37I'm

01:14:37doing

01:14:37by

01:14:37whatever

01:14:38costume

01:14:38I've

01:14:38got

01:14:39well

01:14:40at

01:14:40least

01:14:40we

01:14:40don't

01:14:40have

01:14:41to

01:14:41wait

01:14:41long

01:14:41to

01:14:41see

01:14:41if

01:14:42these

01:14:42decisions

01:14:42impacted

01:14:43the

01:14:43story

01:14:43for

01:14:44the

01:14:44better

01:14:44which

01:14:50behind

01:14:50the

01:14:50scene

01:14:51story

01:14:51has

01:14:51you

01:14:51most

01:14:52excited

01:14:52for

01:14:52wicked

01:14:52for

01:14:53good

01:14:53that's

01:14:55gonna

01:14:55do

01:14:55it

01:14:56for

01:14:56this

01:14:56enchanting

01:14:57look

01:14:57at

01:14:57wicked

01:14:58for

01:14:58good

01:14:58hope

01:14:59you

01:14:59enjoyed

01:14:59yourself

01:15:00I've

01:15:00been

01:15:00Matt

01:15:01for

01:15:01Ms.

01:15:01Mojo

01:15:02and I'll

01:15:02see you

01:15:03next

01:15:03time

Wicked: For Good DEEP DIVE | Easter Eggs, Best Moments, Lore, & More!

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