Latest news with #Wicked:TheLifeandTimesoftheWickedWitchoftheWest
Yahoo
4 days ago
- Entertainment
- Yahoo
Wicked: For Good Trailer Sees Ariana Grande and Cynthia Erivo Return to Oz
Ariana Grande and Cynthia Erivo return to Oz in the first trailer for . Wicked: For Good is the forthcoming sequel to 2024's Wicked. Releasing in United States theaters this coming November, the movie sees Grande reprise her role as Glinda and Erivo return as Elphaba. Check out the Wicked: For Good trailer below (watch more trailers and clips): Following the events of the first Wicked movie, the Wicked: For Good trailer sees Glinda and Elphaba on opposing sides as Oz has now decided they hate the Wicked Witch of the West. This puts Glinda in an awkward position as she's now becoming more involved with Oz's politics while also having allegiance to her friend. Along with Grande and Erivo, the cast of Wicked: For Good includes Jonathan Bailey as Fiyero Tigelaar, Ethan Slater as Boq Woodsman, Marissa Bode as Nessarose Thropp, Michelle Yeoh as Madame Morrible, Jeff Goldblum as The Wonderful Wizard of Oz, and Bowen Yang as Pfannee. Wicked: For Good adapts the second act of the popular 2003 stage musical by Stephen Schwartz and Winnie Holzman. The musical, itself, is a loose adaptation of Gregory Maguire's 1995 novel Wicked: The Life and Times of the Wicked Witch of the West, which in turn is based on L. Frank Baum's The Wonderful Wizard of Oz book, which was adapted into the infamous 1939 movie with Judy Garland. Jon M. Chu returns to direct Wicked: For Good. Prior to working on the Wicked movies, Chu made 2008's Step Up 2: The Streets, 2010's Step Up 3D, 2013's G.I. Joe: Retaliation, 2015's Jem and the Holograms, 2016's Now You See Me 2, 2018's Crazy Rich Asians, and 2021's In the Heights. Wicked: For Good will be released in United States theaters on November 21, 2025, from Universal Pictures. Wicked, meanwhile, is currently available to stream on Peacock. The post Wicked: For Good Trailer Sees Ariana Grande and Cynthia Erivo Return to Oz appeared first on - Movie Trailers, TV & Streaming News, and More.
Yahoo
14-02-2025
- Entertainment
- Yahoo
'He Really Did That': People Can't Cope With The Author Of 'Wicked's' Seriously Brutal Reason For Giving Elphaba The Last Name 'Thropp'
It's fair to say that Wicked has been having a bit of a moment in recent months, entirely thanks to the movie adaptation that was released back in November, starring Ariana Grande and Cynthia Erivo. Prior to the film, the story was perhaps best known for its stage show, which you may be surprised to learn isn't its actual origin. In fact, Wicked's roots actually trace back to a 1995 novel by Gregory Maguire called Wicked: The Life and Times of the Wicked Witch of the West, which was, in turn, inspired by the 1900 L. Frank Baum book, The Wonderful Wizard of Oz, and its famous 1939 film adaptation. Just eight years after Maguire's book was released, his now-iconic story about Glinda and Elphaba made its transition to the stage, debuting in San Francisco in 2003. Idina Menzel and Kristin Chenoweth famously originated the lead roles in the show, and they continued to lead the cast when Wicked transferred to New York City's iconic Broadway later that same year. And while Idina, Cynthia, Kristin, and Ariana undeniably know almost everything there is to know about the beloved characters that they've brought to life on both stage and screen, nobody knows more than the man who first developed these characters way back in the '90s. Luckily for us, Gregory took part in a "Writing Wicked" panel at BroadwayCon on Sunday, where he generously shared some insight into his process when writing the book. Gregory was joined by Winnie Holzman, who wrote the script for the stage adaptation of Wicked and co-wrote the two movies. In footage shared by the Broadway Maven, Gregory was asked how he came to write the Wizard Of Oz spin-off, and he revealed that it was largely due to the annual television airing of the 1939 film being the only movie he and his family watched growing up. He recalled acting the movie out with his siblings the next day, and he 'started inventing with the story' at age 6. Winnie later detailed changing Glinda's last name when she adapted Gregory's book because he had given her 'a long name' in the novel, and she wanted something 'a little shorter' like Elphaba, whose last name is Thropp. She offered the fun fact that she settled on 'Upland' for Glinda in tribute to Gregory, who confirmed that he has lived at 'three different addresses' with 'Upland' in the street name. Returning the favor, Gregory explained why he chose 'Thropp' to be Elphaba's last name. He told the crowd: 'Nobody has ever asked me where Elphaba's last name comes from, her name is Elphaba Thropp.' 'Like 'Elphaba,' I didn't want it to be a pretty name,' Gregory went on. 'First and last name, I did not want it to be elegant and synonymous and sensuous: Elphaba Thropp, [it's] slapstick.' He deadpanned: ''Thropp' is the sound that a house makes when it falls on your sister.' This is, of course, a reference to Elphaba's sister Nessarose's death in the story, and the brutal reality of Gregory's thought process left Wicked fans absolutely gagged when his quote surfaced on X. Reacting to a viral Wicked Update account tweet about what the author had said, one person wrote: 'i just thropped to my knees.' 'he's so real for that,' another replied. One more popular response reads: 'Dark humoured, camp king.' 'After you read the Wicked books and think, 'Who could write such a WEIRD, deep, political, eccentric thing?' and then look up Gregory Maguire, it all makes sense,' somebody else remarked. Another simply wrote: 'He did that. He really did that.' One more quipped: 'I'm screaming that's so sick.' But Gregory isn't all sass, and he also got serious as he reflected on the deeper philosophy behind Wicked while sharing the impact he hoped his book and the musical would have on audiences. He said: 'The place that you arrive at the end of the musical is the identical place that I wanted people to arrive in the end of my novel, which was a lump in the throat and a reminder that what literature — whether it be theater, whether it be novels — brings us to is a reminder of how little time we have to do good with our lives.' 'We must cherish the ones we love,' he went on. 'We must say it out loud; we must protect one another; and we must do our work while we have the spirit.' Hear-hear — let me know what you make of Gregory's comments below! More on this Here's The Poignant Story Behind That Resurfaced Video Of Idina Menzel Playing 'Wicked's' Elphaba On Broadway In Red Sweats And Without Her Green SkinStephanie Soteriou · Nov. 28, 2024 Jon M. Chu Just Revealed That He Got 'Many Calls' From Lin-Manuel Miranda Asking For A Cameo In 'Wicked'Stephanie Soteriou · Jan. 23, 2025 People Are Heartbroken Over This Clip Of Ariana Grande Looking Dejected After Cynthia Erivo Accidentally Rejected Her Attempt To Hold HandsStephanie Soteriou · Jan. 17, 2025 Here Are 29 'Wicked' Easter Eggs And Details That Have Left Me MindblownLeyla Mohammed · Nov. 26, 2024
Buzz Feed
14-02-2025
- Entertainment
- Buzz Feed
'He Really Did That': People Can't Cope With The Author Of 'Wicked's' Seriously Brutal Reason For Giving Elphaba The Last Name 'Thropp'
It's fair to say that Wicked has been having a bit of a moment in recent months, entirely thanks to the movie adaptation that was released back in November, starring Ariana Grande and Cynthia Erivo. Prior to the film, the story was perhaps best known for its stage show, which you may be surprised to learn isn't its actual origin. In fact, Wicked's roots actually trace back to a 1995 novel by Gregory Maguire called Wicked: The Life and Times of the Wicked Witch of the West, which was, in turn, inspired by the 1900 L. Frank Baum book, The Wonderful Wizard of Oz, and its famous 1939 film adaptation. Just eight years after Maguire's book was released, his now-iconic story about Glinda and Elphaba made its transition to the stage, debuting in San Francisco in 2003. Idina Menzel and Kristin Chenoweth famously originated the lead roles in the show, and they continued to lead the cast when Wicked transferred to New York City's iconic Broadway later that same year. And while Idina, Cynthia, Kristin, and Ariana undeniably know almost everything there is to know about the beloved characters that they've brought to life on both stage and screen, nobody knows more than the man who first developed these characters way back in the '90s. Luckily for us, Gregory took part in a "Writing Wicked" panel at BroadwayCon on Sunday, where he generously shared some insight into his process when writing the book. Gregory was joined by Winnie Holzman, who wrote the script for the stage adaptation of Wicked and co-wrote the two movies. In footage shared by the Broadway Maven, Gregory was asked how he came to write the Wizard Of Oz spin-off, and he revealed that it was largely due to the annual television airing of the 1939 film being the only movie he and his family watched growing up. He recalled acting the movie out with his siblings the next day, and he 'started inventing with the story' at age 6. Winnie later detailed changing Glinda's last name when she adapted Gregory's book because he had given her 'a long name' in the novel, and she wanted something 'a little shorter' like Elphaba, whose last name is Thropp. She offered the fun fact that she settled on 'Upland' for Glinda in tribute to Gregory, who confirmed that he has lived at 'three different addresses' with 'Upland' in the street name. Returning the favor, Gregory explained why he chose 'Thropp' to be Elphaba's last name. He told the crowd: 'Nobody has ever asked me where Elphaba's last name comes from, her name is Elphaba Thropp.' Universal Pictures / Via 'Like 'Elphaba,' I didn't want it to be a pretty name,' Gregory went on. 'First and last name, I did not want it to be elegant and synonymous and sensuous: Elphaba Thropp, [it's] slapstick.' He deadpanned: ''Thropp' is the sound that a house makes when it falls on your sister.' This is, of course, a reference to Elphaba's sister Nessarose's death in the story, and the brutal reality of Gregory's thought process left Wicked fans absolutely gagged when his quote surfaced on X. Reacting to a viral Wicked Update account tweet about what the author had said, one person wrote: 'i just thropped to my knees.' 'he's so real for that,' another replied. One more popular response reads: 'Dark humoured, camp king.' 'After you read the Wicked books and think, 'Who could write such a WEIRD, deep, political, eccentric thing?' and then look up Gregory Maguire, it all makes sense,' somebody else remarked. Another simply wrote: 'He did that. He really did that.' One more quipped: 'I'm screaming that's so sick.' But Gregory isn't all sass, and he also got serious as he reflected on the deeper philosophy behind Wicked while sharing the impact he hoped his book and the musical would have on audiences. He said: 'The place that you arrive at the end of the musical is the identical place that I wanted people to arrive in the end of my novel, which was a lump in the throat and a reminder that what literature — whether it be theater, whether it be novels — brings us to is a reminder of how little time we have to do good with our lives.' 'We must cherish the ones we love,' he went on. 'We must say it out loud; we must protect one another; and we must do our work while we have the spirit.'
Yahoo
07-02-2025
- Entertainment
- Yahoo
In ‘Wicked,' they're silver. But at Academy Museum color show, the ruby-red shoes take center stage
LOS ANGELES (AP) — In the hit movie 'Wicked,' those famous magical shoes are silver. But if you want to see them in all their ruby-red glory from 'The Wizard of Oz,' there's no place like home — their current home, that is, at the Academy Museum of Motion Pictures in Los Angeles. There, Dorothy's shoes, worn by Judy Garland, are now on display as part of a sweeping exhibit on the history of color in cinema. It's a history in which the sequined slippers play a key role. While the 1900 novel by Frank L. Baum described them as silver, filmmakers in 1939 wanted to pack as much color as possible into the scene where Dorothy steps from sepia-toned Kansas into the shimmering color of the Land of Oz, where Glinda gives her the shoes off the feet of the Wicked Witch of the East. They were showing off a new technology: Technicolor. See for yourself — The Yodel is the go-to source for daily news, entertainment and feel-good stories. By signing up, you agree to our Terms and Privacy Policy. The exhibit, 'Color in Motion: Chromatic Explorations of Cinema,' running through July 13, is timely not only because everything Oz is new again. It also highlights the largely unsung role that women played in the development of color in Hollywood, not only on screen but off, where labor-intensive jobs like hand-coloring and stenciling gave them a foothold in a male-dominated industry. There's also a fanciful interactive installation where your own body creates cinematic explosions of color, on the spot. Here are some highlights: People always ask to see the shoes Those glistening slippers nestled against a wall — rather unobtrusively, given their iconic status — began their life as white silk pumps. 'The Wizard of Oz' costume designer Adrian (known by his first name) dyed them red and embellished them with nearly 5,000 sequins. One of four known pairs used for the film that still exist, they were secured with great fanfare and help from luminaries like Leonardo DiCaprio, and were displayed when the museum opened in September 2021. 'They're certainly one of the biggest treasures we have in our collection,' says Jessica Niebel, curator of the color show. 'Ever since they came down, we've gotten regular visitor feedback asking to see the ruby red slippers back on display. This was the perfect opportunity.' The shoes are silver in both Baum's 1900 novel and in Gregory Maguire's 1995 book 'Wicked: The Life and Times of the Wicked Witch of the West,' on which the Broadway show and movie are based. Actually, these aren't the only important red shoes Some nine years after 'The Wizard of Oz,' another movie put a pair of red shoes front and center. They were ballet pointe shoes, and the film, fittingly, was 'The Red Shoes.' The sad story of a young ballerina forced to choose between her career and a romance, the movie , by Michael Powell and Emeric Pressburger, starred Moira Shearer, a real-life ballerina. Its tragic 17-minute dance sequence tells a story within a story — a young woman who dances in the red shoes until she dies. Curators placed these prized red pointe shoes front and center because, Niebel says, 'The Red Shoes' highlights both the magical nature of red and the role color plays in the expression of physical movement through dance. Poignantly, the pointe shoes are not perfect, but worn — just as the character's white dress turns gray and dirty as she is gradually consumed. Color where you don't expect it Silent films were in black and white, right? Well, no, actually. In this gallery, silent film excerpts show that many were in color. 'In the 1920s, most films, 80-90%, we think, were in color,' Niebel says. 'They only became black and white with the arrival of sound.' Before that, the majority of films where were tinted and toned, curators say, meaning an entire filmstrip is submerged in one color, often a bright one like yellow or pink or red or blue. Curators went to four film archives in Europe and the U.S. and scanned their filmstrips. 'In this gallery, for the first time, you can see how these colors authentically looked in the 1920s without any digital manipulation,' Niebel says. The complicated story of Hollywood's 'leader ladies' Another section describes a phenomenon many know nothing about: leader ladies. These were women who appeared in the lead frame of a film reel to be processed in a color lab. They were invisible to audiences, but used to calibrate and process the color in a film. The display raises the issue that this process, which has disappeared with the digital age, largely excluded people of color. 'Predominantly they used to be white women,' Niebel says. 'So film stock and film materials were calibrated towards white skin predominantly. We wanted to tell this story as well — the story of these women who are never named, who the public never saw, but also the story of how film stock was developed particularly to depict white skin.' The role of women, on screen and off The show begins with images of Loïe Fuller and the Serpentine Dance she invented, where colored light was reflected onto a flowing costume, changing the colors. An American dancer, Fuller experimented in the early 20th century with fabric, movement, and color techniques like gels and chemical salts. But many other women toiled in obscurity. There were, for example, the women at Disney, as the studio made a transition to color. We learn that under the leadership of Walt Disney's sister-in-law Hazel Sewell, the studio's ink and paint department became the animation industry's first all-female unit. And the French production company Pathé employed young women to hand-paint films — frame by frame — early in the 20th century. These young women earned less than their male counterparts. Still, it was more than they were able to earn in other professions. Almost as good as finger painting As kids know from finger painting, there's nothing more fun than making color yourself — especially color that moves. That's the takeaway from a final gallery in which your own physical movement creates cascades of color. 'Body Paint,' by artist Memo Akten, allows you to stand in front of a screen, spread your arms, jump up and down or move any which way you want as a camera translates the moves into color. 'Now it's time for visitors to become animators of colors themselves through their own bodies,' Niebel says. She's seen people stop and perform full-on dances at the installation. 'It seems to bring people together,' she says.
The Independent
07-02-2025
- Entertainment
- The Independent
In ‘Wicked,' they're silver. But at Academy Museum color show, the ruby-red shoes take center stage
In the hit movie 'Wicked,' those famous magical shoes are silver. But if you want to see them in all their ruby-red glory from 'The Wizard of Oz,' there's no place like home — their current home, that is, at the Academy Museum of Motion Pictures in Los Angeles. There, Dorothy's shoes, worn by Judy Garland, are now on display as part of a sweeping exhibit on the history of color in cinema. It's a history in which the sequined slippers play a key role. While the 1900 novel by Frank L. Baum described them as silver, filmmakers in 1939 wanted to pack as much color as possible into the scene where Dorothy steps from sepia-toned Kansas into the shimmering color of the Land of Oz, where Glinda gives her the shoes off the feet of the Wicked Witch of the East. They were showing off a new technology: Technicolor. The exhibit, 'Color in Motion: Chromatic Explorations of Cinema,' running through July 13, is timely not only because everything Oz is new again. It also highlights the largely unsung role that women played in the development of color in Hollywood, not only on screen but off, where labor-intensive jobs like hand-coloring and stenciling gave them a foothold in a male-dominated industry. There's also a fanciful interactive installation where your own body creates cinematic explosions of color, on the spot. Here are some highlights: People always ask to see the shoes Those glistening slippers nestled against a wall — rather unobtrusively, given their iconic status — began their life as white silk pumps. 'The Wizard of Oz' costume designer Adrian (known by his first name) dyed them red and embellished them with nearly 5,000 sequins. One of four known pairs used for the film that still exist, they were secured with great fanfare and help from luminaries like Leonardo DiCaprio, and were displayed when the museum opened in September 2021. 'They're certainly one of the biggest treasures we have in our collection,' says Jessica Niebel, curator of the color show. 'Ever since they came down, we've gotten regular visitor feedback asking to see the ruby red slippers back on display. This was the perfect opportunity.' The shoes are silver in both Baum's 1900 novel and in Gregory Maguire's 1995 book 'Wicked: The Life and Times of the Wicked Witch of the West,' on which the Broadway show and movie are based. Actually, these aren't the only important red shoes Some nine years after 'The Wizard of Oz,' another movie put a pair of red shoes front and center. They were ballet pointe shoes, and the film, fittingly, was 'The Red Shoes.' The sad story of a young ballerina forced to choose between her career and a romance, the movie , by Michael Powell and Emeric Pressburger, starred Moira Shearer, a real-life ballerina. Its tragic 17-minute dance sequence tells a story within a story — a young woman who dances in the red shoes until she dies. Curators placed these prized red pointe shoes front and center because, Niebel says, 'The Red Shoes' highlights both the magical nature of red and the role color plays in the expression of physical movement through dance. Poignantly, the pointe shoes are not perfect, but worn — just as the character's white dress turns gray and dirty as she is gradually consumed. Color where you don't expect it Silent films were in black and white, right? Well, no, actually. In this gallery, silent film excerpts show that many were in color. 'In the 1920s, most films, 80-90%, we think, were in color,' Niebel says. 'They only became black and white with the arrival of sound.' Before that, the majority of films where were tinted and toned, curators say, meaning an entire filmstrip is submerged in one color, often a bright one like yellow or pink or red or blue. Curators went to four film archives in Europe and the U.S. and scanned their filmstrips. 'In this gallery, for the first time, you can see how these colors authentically looked in the 1920s without any digital manipulation,' Niebel says. The complicated story of Hollywood's 'leader ladies' Another section describes a phenomenon many know nothing about: leader ladies. These were women who appeared in the lead frame of a film reel to be processed in a color lab. They were invisible to audiences, but used to calibrate and process the color in a film. The display raises the issue that this process, which has disappeared with the digital age, largely excluded people of color. 'Predominantly they used to be white women,' Niebel says. 'So film stock and film materials were calibrated towards white skin predominantly. We wanted to tell this story as well — the story of these women who are never named, who the public never saw, but also the story of how film stock was developed particularly to depict white skin.' The role of women, on screen and off The show begins with images of Loïe Fuller and the Serpentine Dance she invented, where colored light was reflected onto a flowing costume, changing the colors. An American dancer, Fuller experimented in the early 20th century with fabric, movement, and color techniques like gels and chemical salts. But many other women toiled in obscurity. There were, for example, the women at Disney, as the studio made a transition to color. We learn that under the leadership of Walt Disney's sister-in-law Hazel Sewell, the studio's ink and paint department became the animation industry's first all-female unit. And the French production company Pathé employed young women to hand-paint films — frame by frame — early in the 20th century. These young women earned less than their male counterparts. Still, it was more than they were able to earn in other professions. Almost as good as finger painting As kids know from finger painting, there's nothing more fun than making color yourself — especially color that moves. That's the takeaway from a final gallery in which your own physical movement creates cascades of color. 'Body Paint,' by artist Memo Akten, allows you to stand in front of a screen, spread your arms, jump up and down or move any which way you want as a camera translates the moves into color. 'Now it's time for visitors to become animators of colors themselves through their own bodies,' Niebel says. She's seen people stop and perform full-on dances at the installation. 'It seems to bring people together,' she says.
