'Wicked: For Good' trailer gives us 1st look at Dorothy and the hunt for the Wicked Witch: Watch it here
Grab your broomstick and your bestie: Wicked returned to select theaters on Wednesday — and it brought the Wicked: For Good trailer along with it.
The first part of the Broadway musical adaptation hit theaters on Nov. 22, 2024, to critical and commercial acclaim. The final half of the two-part film is slated to arrive in theaters almost exactly one year later, on Nov. 21, 2025.
The two-and-a-half-minute trailer, which premiered at special one-night screenings in North American theaters on Wednesday night, features Cynthia Erivo as 'Wicked Witch' Elphaba and Ariana Grande as the supposedly 'good' witch Glinda reprising their roles and singing "For Good" as they return to Oz. The trailer also gives fans a first look at Dorothy and the yellow brick road.
Wicked: For Good picks up after Elphaba defied gravity on her broomstick and narrowly escaped the Wizard (Jeff Goldblum) and Madame Morrible (Michelle Yeoh) in order to save the animals subjugated by their tyrannical rule. Meanwhile, Elphaba's best friend, Glinda — afraid to give up her social status — chose to stay behind rather than join in on her mission.
A new poster for the film shows the new looks for the characters in Wicked: For Good. Glinda is sporting a blue dress, while Elphaba is wearing an all-black ensemble — and the hat Glinda gifted her.
Wicked: For Good places Glinda and Elphaba on opposite sides of major drama in Oz, with Glinda — who is still dating prince Fiyero (Jonathan Bailey) — acting as the Wizard's spokesperson. Meanwhile, the Wizard's henchmen are seeking to find and kill Elphaba, who all of Oz now considers 'wicked' thanks to good old-fashioned propaganda.
How will this story end? Well, if you saw The Wizard of Oz, you probably think you know — with Dorothy and company dousing poor Elphie with water and killing her. Yet Wicked: For Good may surprise you — at least, if you haven't seen the musical.
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'Wicked,' 'Thundermans,' 'Cobra Kai' win top Kids' Choice Awards
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Lesser-Known Movie Facts You Might Not Know
Before The Devil Wears Prada was even published, Fox 2000 snapped up the film rights in a preemptive deal after reading 100 pages and an outline. The manuscript by Lauren Weisberger, a former assistant to Vogue editor Anna Wintour, was generating significant industry buzz. Studio exec Carla Hacken recognized its cinematic potential and moved quickly to option it in 2003. Tasked with writing was Aline Brosh McKenna, who found it hard for anyone in the fashion world to talk to her because they feared being blackballed by Anna. According to McKenna, she did find someone (whom she will never name) who spoke to her, and then read the script. After reading the script, they told her, "The people in this movie are too nice. No one in that world is too nice. They don't have to be, and they don't have time to be." McKenna took the note and made "everyone a bit busier and meaner." The Devil Wears Prada isn't just one of the most iconic fashion films of the 2000s — it's a landmark in fashion cinema, period. But despite it being set in the fashion world, the film had a modest wardrobe budget of just $100,000, pushing legendary costume designer Patricia Field (who is best known for work on Sex and the City) to tap into her deep fashion Rolodex. Field envisioned Andy Sachs as a "Chanel girl" and personally reached out to the fashion house, leveraging her longtime relationship and sharing the script. Chanel eagerly came on board, excited to see their designs on a younger character. This partnership, of course, famously led to Andy's iconic Chanel boots moment. Field ended up pulling about a million dollars worth of clothes for the film. Her work on the movie was also recognized with an Oscar nomination for Best Costume in case you're wondering, Field imagined Miranda Priestly as someone who wore Donna Karan. She ended up pulling many archival pieces from Donna Karan for the film. After seeing a very rough cut of Star Wars: A New Hope in 1977, directors like Francis Ford Coppola and Brian De Palma were skeptical, with Coppola saying that they were concerned for George Lucas. The early version lacked finished visual effects, had scenes of WWII dogfights as place holders for space fights, and had no music. All added up, it made it hard for viewers to grasp what Lucas's full vision was. Steven Spielberg, however, was one of the few who believed in the film from the beginning and predicted it would be a massive hit. Wicked was always meant to be a movie. Before it became a Broadway phenomenon, Universal had already acquired the rights to Gregory Maguire's 1995 novel with the intention of turning it into a film. However, producer Marc Platt struggled to adapt it into a screenplay, saying, "[It] felt that it was missing something." One day, he got a call from composer Stephen Schwartz, who knew he had the rights, and Schwartz asked him if he had ever thought of making it into a musical. That's when the "lightbulb went off" in his head, and Platt decided to work with Schwartz to make it into a musical. He thought that if the musical was successful enough, it could be turned into a movie. The term "prequel" is often associated with the Star Wars prequel films. However, those weren't the first movies to use the word. The 1979 movie Butch and Sundance: The Early Years is credited as being the film that helped popularize the term. The movie was a prequel to 1969's Butch Cassidy and the Sundance Kid. In 1988, when it was announced that Michael Keaton was cast as Bruce Wayne/Batman in Tim Burton's Batman, fans were outraged and very skeptical, reportedly sending over 50,000 protest letters to Warner Bros. At the time, Keaton was best known for comedic roles like Mr. Mom, and many felt he lacked the physicality and gravitas required to play the Dark Knight. Critics and fans also feared that, because of his casting, the film would be too campy or repeat the tone of the 1960s TV series. Similar to Michael Keaton, fans were not happy that Heath Ledger had been cast as The Joker in The Dark Knight. Today, it's hard to even imagine anyone else in the Oscar-winning role. However, when it was first announced that he would be playing the role in 2006, people online lost their collective shit, thinking he was too much of a "pretty boy" for the role, wouldn't have the chops to do it, and overall just a really bad choice. Some even campaigned for him to be removed from the part. After Chris Farley's death (who was originally cast as the voice of Shrek), Nicolas Cage was offered the role by his friend and the head of DreamWorks, Jeffrey Katzenberg. However, Cage turned down the role because he didn't want to play an ugly green ogre. In a 2013 interview with Today, he clarified what he meant by that when he turned down voicing the character, saying, "Truth is, I'm not afraid to be ugly in a movie.... When you're drawn, in a way it says more about how children are going to see you than anything else, and I so care about that." In All About Eve, Bette Davis as Margo Channing wears an off-the-shoulder silk cocktail dress in the party scene that is not only one of the most iconic dresses in film history, but has also become synonymous with Davis herself. Legendary costume designer Edith Head designed the dress; however, it was not meant to be off the shoulder — it was supposed to be a square neckline. The dress was made late and delivered to the set right before filming the scene. According to Head, she came to the studio to find Davis wearing a dress that "didn't fit at all... Someone had miscalculated, and the entire bodice and neckline were too big." Horrified, Head prepared to go tell the film's director that the dress was not ready, but Davis shrugged it off, pulled it down around her shoulders, and quipped, "Don't you like it better like this anyway?" As part of her contract, Glenn Close got to keep all her Cruella de Vil costumes from 101 Dalmatians and 102 Dalmatians. However, according to Close, when Disney "found out how expensive they were, they were unhappy that it was in my contract." Disney then offered to create replica outfits for her to take instead of the originals, but she said no. It's hard to imagine anyone other than Emma Thompson as the deliciously wicked Baroness in Cruella — her performance was pitch-perfect and effortlessly commanding. But surprisingly, she wasn't Disney's first pick for the role. The studio initially eyed Nicole Kidman to play the icy fashion designer. Also, the original live-action Cruella de Vil, Glenn Close, is an executive producer on Cruella. Elton John's journey with Disney began when lyricist Tim Rice was tapped to help complete Aladdin following the death of Howard Ashman, who passed away from complications related to AIDS in 1991, just months before Beauty and the Beast was released. Rice had been brought in to collaborate with composer Alan Menken (who had had a musical partnership with Ashman), but when Disney began work on The Lion King, Menken was unavailable. Looking for a new musical partner, Rice suggested none other than Elton John. The pairing proved legendary, resulting in one of the most iconic and beloved soundtracks in Disney history. The two had worked together in 1982 on John's song "Legal Boys." The Wizard of Oz may be a beloved classic today, but it wasn't a box office hit when it premiered in 1939. With a massive budget for its time, the film struggled to earn back its production costs. Despite critical acclaim, its initial theatrical run fell short financially. It wasn't until years later — thanks to frequent re-releases and television broadcasts — that the film finally turned a profit. Also, the reason the film has become such an iconic piece of pop culture is that starting in 1956, it began having yearly TV showings that helped introduce it to new generations of kids over the decades. The first gay kiss in a film was in 1927's Wings. The movie is about two World War I combat pilots and close friends fighting for the same woman's affection. But many have pointed out over the decades that the film has a subtle gay subtext about the two being more than just friends. Wings is also noted as the first film to win the Oscar for Best Picture. Truman Capote, who wrote the novella Breakfast at Tiffany's, disliked Audrey Hepburn's performance as Holly Golightly in the film adaptation. He had really wanted Marilyn Monroe (who turned down the role after being advised against it) to play the character. In fact, Hepburn wasn't even a second, third, or fourth choice to play Holly. After Monroe turned down the role, the producers considered casting Debbie Reynolds, Doris Day, and Elizabeth Taylor in the part before finally settling on Audrey. And for the record, Capote didn't just hate Hepburn's performance; he hated the entire movie in general because it steered away from the darker themes in his book. In the original script for The Addams Family, it was supposed to be revealed at the end that Uncle Fester truly was an imposter. However, Christina Ricci voiced her concern about that ending to the film's director, Barry Sonnenfeld, who decided to change the scene after talking to her. According to Sonnenfeld, the entire cast was unhappy with that ending during the first table read, except for Christopher Lloyd. In an interview with Yahoo Entertainment, Sonnenfeld explained how, with some nudging from Anjelica Huston, Ricci made a really thoughtful case: "Christina explained to me how the audience would be left emotionally adrift if it wasn't the real Fester. Does that mean the real Fester is still out there? And how could Gomez just give up his search for his brother after all these years just because this impostor came into their family?" Contrary to popular belief (internet lore?) Leonardo DiCaprio never turned down the role of Max in Hocus Pocus because he couldn't have accepted even if he wanted it. It's a bit convoluted, but he was asked to come in to read for it, but with director Kenny Ortega being fully aware that he was unavailable to do the movie because he was already committed to filming What's Eating Gilbert Grape and This Boy's Life. According to Ortega, DiCaprio was brought in to read for the role because the casting people knew he would be very good and that it would inspire Ortega to find the right guy to play Max. Tom Hanks and director Robert Zemeckis paid for two Forrest Gump scenes (one was the scene where Forrest runs across the US) to be filmed out of their own pockets. According to Hanks, Paramount refused to increase the film's $55 million budget, and just the running scene alone would be very expensive to shoot. Hanks and Zemeckis agreed to pay for the scenes in return for a larger percentage of the film's box office gross. He said that they both put in a lot of money, but it paid off! Reportedly, Hanks earned $65 million from his percentage of the box office gross. The iconic boulder-rolling scene in Raiders of the Lost Ark is an homage to a very similar thing that happened in the 1954 Scrooge McDuck comic "The Seven Cities of Cibola." In the comic, Scrooge, Huey, Dewey, and Louie travel to a lost city, where they find an emerald idol. However, noticing it is booby-trapped, they decide not to take it. What they don't realize is that they have been followed by the Beagle Boys, who decide to steal the idol, which sets off a giant boulder that chases after them. George Lucas — who came up with Indiana Jones — was a big fan of the Scrooge McDuck comics (which were created by Carl Barks) growing up and told Edward Summer, a writer who put together a book of Barks' Scrooge comics, that the boulder scene in Raiders was a "conscious homage" to "The Seven Cities of Cibola." In a sort of full-circle moment, the Raiders logo would go on to inspire the DuckTales one (which of course is a classic cartoon series about Scrooge McDuck's adventures): Whitney Houston was originally supposed to sing a cover of Jimmy Ruffin's "What Becomes of the Brokenhearted" as the main theme song for The Bodyguard. However, they decided to switch the song after they found out that Paul Young was doing a cover of the song for the soundtrack to Fried Green Tomatoes. Kevin Costner then suggested to David Foster (who was producing The Bodyguard soundtrack) that it should be "I Will Always Love You." They also almost ended up doing a slightly different cover of "I Will Always Love You," since the only version Foster could find was Linda Ronstadt's cover. But when Foster spoke with Dolly Parton (who, of course, wrote it), she told him they needed to do her version because it included the "And I wish you joy and happiness" final verse. In the original script for Back to the Future, Marty McFly was supposed to return to 1985 by driving the DeLorean into a nuclear test site in the Nevada desert, where a nuclear explosion would generate the 1.21 gigawatts of power needed. However, they were ordered by the studio to cut a million dollars from the budget. As a result, Bob Gale and Robert Zemeckis rewrote the climax to take place at the Hill Valley clock tower, using a lightning strike to power the time machine instead. This change not only saved the budget, but it became one of the most iconic scenes in movie history. And lastly, prior to its release in 1997, many critics and Hollywood insiders predicted that Titanic would be a box office bomb. And there were several reasons why it was predicted to be a failure. One of which was that, at the time, it was the most expensive movie ever made and was getting compared to the costly Waterworld, which had been released a couple of years before and had not managed to be a huge success because it, like Titanic, was the then–most expensive movie ever made. Another was that Titanic also took a long time to film. Going way over schedule delayed the release of the movie, as it was originally meant to be released during the summer (the blockbuster movie season). Moving its release date to December set off red flags and only added to the "doomed film" narrative.
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Tony Talk: Our extremely early 2026 awards predictions for ‘Ragtime,' ‘Waiting for Godot,' Kristin Chenoweth, and all the buzzy new shows
Welcome to Tony Talk, a column in which Gold Derby contributors Sam Eckmann and David Buchanan offer Tony Awards analysis. Two weeks after the 2025 Tonys, we discuss the upcoming Broadway season and forecast likely 2026 Tony contenders. David Buchanan: Last June, you and I offered our earliest predictions for what could contend and even win at the Tonys a whole 12 months in the future! Looking back at our extremely early 2025 predictions, we hit some nails on the head, including the Best Musical Revival and Best Actress in a Musical showdowns between Gypsy and Sunset Boulevard and stars Audra McDonald and Nicole Scherzinger, respectively. For the 2025-26 Broadway season — which has already kicked off with Jean Smart in the solo play Call Me Izzy — it looks like the revivals are once again front and center. We have remountings of musicals Ragtime, Chess, and The Rocky Horror Show forthcoming, as well as plays Art, Waiting for Godot, and Fallen Angels, among others. Do you think we have any potential winners in those lists? More from GoldDerby 'Rosemead,' starring Lucy Liu, takes top prize at Bentonville Film Festival 'The Last of Us': How the 'Lord of the Rings' VFX team (and marshmallows) made the Battle of Jackson 'Batman Forever' and 'Batman Begins' share an anniversary week - and a surprising Oscar connection Sam Eckmann: To your list of musical revivals, I would add Cats: The Jellicle Ball. This reimagining of the classic Andrew Lloyd Webber musical ditches the feline body suits and sets the story in the world of ballroom. The show was a sold-out hit off-Broadway and though a Broadway run isn't official, a cheeky new social media account for the show has been teasing a transfer for months. Should it transfer, it will be an immediate frontrunner in the Best Musical Revival category. That said, Ragtime, Chess, and The Rocky Horror Show (which will be directed by newly minted Tony winner Sam Pinkleton) are rarely seen but beloved musicals. So this category promises to be an epic showdown yet again! The race for Best Musical is harder to predict since so many new tuners have yet to officially announce their runs. But we do know that director Michael Arden (now a two-time Tony winner thanks to Parade and Maybe Happy Ending) will helm a pair of new musicals: The Queen of Versailles, starring Kristin Chenoweth, and a stage adaptation of The Lost Boys. Do you think Arden could add a third trophy to his mantle next year? Steve Eichner/Variety via Getty Images Buchanan: Next year, either Pinkleton or Arden could join the list of only eight directors in the history of the Tonys to win back-to-back trophies, like Danya Taymor tried to do this year with John Proctor Is the Villain, so that should make for a very exciting race! With his two Tony-winning projects plus Once on This Island and Deaf West's Spring Awakening, I know never to underestimate Arden. Queen of Versailles is a huge creative swing, and though I didn't see the Boston try-out, word of mouth suggests it needs some judicious tightening of its runtime and of its tone. Based on critics' reviews, it sounds like the show may be more of an awards contender for Chenoweth and composer Stephen Schwartz than for directing, despite the humongous scope and set of the musical, which centers on real-life billionaire Jackie Siegel and her dream to construct the largest private residence in America. The Lost Boys is the bigger question mark in my mind. Vampire musicals have an infamous track record on Broadway — Dance of the Vampires, Elton John's Lestat, to name just two — but the song officially released by the Rescues, who composed the score, is strong, as is Arden's creative team, so this could be a contender, sight unseen. But before we pivot to the play categories, let's stick with Chenoweth and dive into Best Actress in a Musical. Folks have called her performance as Siegel the best of her career, but she'll be potentially contending against Caissie Levy in Ragtime as Mother, a two-time Tony-nominated role for Marin Mazzie and Christiane Noll, plus Lea Michele in Chess as Florence, a Tony-nominated role for Judy Kuhn. Do you think we'll have as cutthroat a Best Actress race in 2026 as we did this year? SEE Tony Talk: Dissecting those shocking wins for 'Purpose,' Nicole Scherzinger, Darren Criss, and full show analysis Eckmann: You've already highlighted three formidable contenders who could make the lead actress race just as competitive as this year's. While we don't have a full picture of all the eligible contenders yet, it's hard to imagine a lineup without any of these women. That would mean that Levy and Michele score the first Tony nominations of their career. I believe Levy came close to a nomination with Hair and Frozen, and she is the type of Broadway mainstay that voters are eager to reward once the right part comes along. Michele is still riding high on a renewed sense of goodwill after rescuing the recent revival of Funny Girl, and the score to Chess is perfectly suited to her high belting capabilities. Speaking of Chess, Michele's costars should also find themselves hotly competitive. Most Broadway fans are already familiar with Tony winner Aaron Tveit, but I suspect the über-talented Nicholas Christopher to finally cement himself as a Broadway superstar with this revival. If you're a theater nerd whose never heard him sing before, prepare yourself for your new obsession. While there are far too many question marks with the musicals at this early stage — I desperately need to know who Pinkleton is going to cast as Frank 'N' Furter in Rocky Horror — we know much more about the plays since the fall is front-loaded with them. I attended Call Me Izzy, the first production of the 2025-26 season, the day before this year's Tony Awards. While the script itself may not be remembered a full year from now in the Best Play race, star Jean Smart is at the height of her powers, delivering a solo performance so devastating that voters will surely be able to remember it next spring. Other contenders for lead actress in a play will surely include whichever mystery actress is cast in Second Stage's revival of Marjorie Prime, which won accolades for star Lois Smith in the off-Broadway run — though at 94, I'm not expecting her to sign up for the Broadway staging. An audition notice has also spoiled that the play Little Bear Ridge is also aiming for Broadway this season. Laurie Metcalf starred in this Samuel D. Hunter play at Steppenwolf Theatre in Chicago. This could be Hunter's first play to transfer to Broadway, and Metcalf is a seemingly guaranteed Tony nominee should she reprise her role. Hunter's The Whale earned Shuler Hensley a Lucille Lortel Award, and the film adaptation scored an Oscar for Brendan Fraser. Perhaps he's written Metcalf a role worthy of Tony No. 3. What plays are you looking forward to next season? SEE 'Every beat is meticulously crafted': An oral history of the Pulitzer Prize- and Tony-winning play 'Purpose' Buchanan: It would be so wonderful to have Metcalf back on Broadway after her Who's Afraid of Virginia Woolf? shuttered prematurely due to COVID in March 2020. Yes, there are a lot of very exciting plays already announced for the season, from Marjorie Prime to fellow Pulitzer finalist Becky Shaw and Tony winner David Lindsay-Abaire's upper-crust satire The Balusters. I'm particularly interested in the U.K. transfers of Oedipus starring the absolutely fabulous Mark Strong and Lesley Manville in a modern, election night retelling of the classic Greek tragedy, as well as the true-story, chilling Punch. The announcement of Pulitzer winner Stephen Adly Guirgis's stage adaptation of Dog Day Afternoon caught me by surprise but seems like a brilliant work to adapt to the stage, especially with its two The Bear stars Ebon Moss-Bachrach and Jon Bernthal. Speaking of those performers, the Best Actor in a Play race already sounds competitive. We'll soon see Keanu Reeves and Alex Winter in Waiting for Godot, and I'll be especially curious to know what director Jamie Lloyd does with the play. He's been in a musical mode lately with this year's Tony winner Sunset Boulevard and now the London revival of Evita with Rachel Zegler, but I have been most taken with his staging of plays including Betrayal in 2019, and it'll be interesting to see how his minimalism matches this classic drama. Yasmina Reza's ART brings a trio of Tony-winning heavyweights back to Broadway with Bobby Cannavale, Neil Patrick Harris, and James Corden. Sight unseen, I'm already rooting for Strong to take home his first Tony, but I'm excited for surprises this Broadway season, too! SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby 'Maybe Happy Ending' star Darren Criss on his Tony nomination for playing a robot: 'Getting to do this is the true win' Who Needs a Tony to Reach EGOT? Sadie Sink on her character's 'emotional rage' in 'John Proctor Is the Villain' and her reaction to 'Stranger Things: The First Shadow' Click here to read the full article.
