These Songs Are Wickedly Boring

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The movie Wicked: For Good is now in theaters, marking the end of a press tour that was often both puzzling and delightful, but always moving. Director Jon M. Chu expanded the second act of the stage musical into a full film, starting with Elphaba leaving the Emerald City. The movie also includes two new songs: a sad ballad for Glinda called “The Girl in the Bubble,” and an inspiring song for Elphaba, “No Place Like Home.” I spoke with theater critic Jackson McHenry and writer Rebecca Alter, Vulture’s senior bucket critic, to discuss the music of For Good. —Jasmine Vojdani, senior newsletter editor

I noticed you reviewed these two original songs based on short clips. Now that you’ve heard the full versions, did your opinion change?

Rebecca Alter: Even though the songs describe characters having moments of realization, the music itself doesn’t really capture that. Both songs felt quite dull and didn’t develop much beyond the initial clips – they just felt long.

Jackson McHenry questioned how new songs would fit into the already complex second act of Wicked. He felt Elphaba’s song made sense because her motivations weren’t fully explored until later in the show, specifically in songs like “As Long You’re Mine” and “No Good Deed.” This makes you curious about what she’s feeling as she transitions from being a student to fighting against the system.

Glinda already takes center stage in the second act, and the song “Thank Goodness” effectively sets up everything we need to know. It’s a strong song because it both shows us how Glinda presents herself to the world and what she’s secretly feeling. However, by the time we reach “The Girl in the Bubble,” the music hasn’t really progressed much. A better-written song, one that moves beyond simply describing a bubble, could have a bigger impact.

Which singer’s performance did you like better on the new tracks?

R.A.: Ariana has some impressive high notes in these songs – it’s really enjoyable to watch her hit them, kind of like watching someone do a backflip. However, the chorus Cynthia sings on “No Place Like Home” is more memorable and catchy.

I keep hearing the phrase “girl in the bubble, the bright shining bubble” in my head. It’s not necessarily good, but it’s so straightforward that it’s amusing.

This scene really highlights that the movie centers around Ariana Grande. Her solo performances are much more engaging than watching Cynthia interact with the animated animals.

We’ve observed that a lot of them are Australian animals. I have a major issue with that – there are just too many kangaroos. Is this happening because the game is set in Australia?

As a fan, one thing really struck me as a missed chance in the musical adaptation. I think Madame Morrible deserved a big, show-stopping song – especially during the tornado scene! She’s such a fascinating character, but we don’t really get to know her motivations. It feels like she jumps from teacher to royal advisor without much explanation. It would have been amazing to see her really unleash her inner self. The only hurdle was that Michelle Yeoh isn’t a singer, so they’d have needed to either dub the song or cast someone with strong vocal abilities. Honestly, it felt like too much time was spent developing characters we already understood, and not enough on the main villain. I kept wondering why she craves power. Perhaps, like Nessarose and Elphaba, she too felt like an outsider and chose to align herself with the regime to gain control – mirroring what she wants Glinda to do. She has the power to manipulate the weather, yet she’s allied with a seemingly powerless wizard? There’s a really compelling story hidden there, and I wish they’d explored it!

When adapting the musical Wicked into two films, there’s an opportunity to develop plot points that feel a little unclear on stage. What works theatrically – even if it doesn’t fully make sense – needs to be more logically sound when viewers are seeing a close-up on screen.

J.M.: It’s also a mistake that both the new songs are down-tempo.

R.A.: We needed another “Dancing Through Life.” “Wonderful” does not count.

Should we talk about the song’s lyrics? J.M. believes we need to closely examine the use of the word “unsee” in “Girl in the Bubble.” It seems like an effort to create a playful, Wizard of Oz-style word while also sounding modern, and that’s a risky approach to songwriting.

R.A.: No, because then it would be like “unsee-ify.”

Both song titles, “The Girl in the Bubble” and “No Place Like Home,” rely too heavily on a single idea and don’t expand on it. “The Girl in the Bubble” is overly focused on its initial metaphor, and “No Place Like Home” feels too ordinary. Neither song explores its imagery beyond that first concept.

The line ‘A place that seems to be falling apart and even wanting to’ from ‘No Place Like Home’ is really difficult to sing. However, the idea that ‘if we just keep fighting for it, we will win back and restore it’ feels very Disney-like and hopeful.

Let’s discuss the songs from the original musical. Did you find the way the movie presented them noteworthy?

J.M.: It’s surprising they begin with a fast-paced blend of the songs from Act One. It’s similar to an orchestral interlude using musical themes, but it’s performed by the characters themselves. I also think it immediately establishes the film’s lighthearted and playful tone, which I enjoyed. It feels very much driven by the desire to capitalize on the popularity of the original and remind viewers of it.

I appreciate how the scene takes its time at the beginning, allowing Glinda to carefully consider and deliver her line, “Thank Goodness.”

The song “Wonderful” isn’t very strong, but including Glinda in it was a smart move, as it provided a reason for Ariana and Cynthia to share a scene. However, the movie spends far too long on that song. I did enjoy Cynthia’s vocal run on “Fiyerooooo” in “No Good Deed,” even though the rest of the song felt more polished than genuinely passionate. The way that song was filmed was also strange – it looked like it was taking place on a zero-gravity planet, similar to something out of a Guardians of the Galaxy movie, and it just didn’t look good.

Compared to Guardians of the Galaxy, the musical sequences in this film are visually more polished and well-executed. Cynthia Erivo gets a standout moment with the song “No Good Deed,” and the scene of her floating castle with the bat-like creatures, while creative, didn’t quite work for me. The film also uses flashbacks showing Elphaba revisiting scenes from the first movie. One particularly jarring moment was the black-and-white footage of Fiyero being attacked – it was surprisingly unpleasant to watch.

This song should rely on minimal editing and production. The focus should be on the artist’s natural vocal delivery and emotional expression.

What was the most impactful musical performance for you?

J.M.: Definitely the second performance of “I’m Not That Girl” by Glinda, and Ariana Grande sings it beautifully. A lot of people focus on how well Ariana imitates Kristin Chenoweth’s high, operatic voice – and she does a good job, though it’s hard to match Chenoweth’s crystal-clear high notes. But Ariana also has a really strong lower range, and it’s significant that Glinda starts singing lower and lower as she becomes more genuine throughout the show. It was great to see Ariana portray that journey, and I always enjoy a reprise!

I still get emotional when I hear “For Good” – specifically when Glinda and Elphaba sing the harmonies together. They’ve altered the way they blend in the movie, and the close-up shots really highlight that. The first film was strongest when it focused on Ariana Grande as Glinda falling in love with Elphaba, however you choose to understand that connection.

J.M.: Ariana has a great sad face. She flutters her eyelids really well.

I evaluate male actors by how they look at their female costars – specifically, how intense or meaningful that gaze is. It’s about how they see the other woman. Ariana is surprisingly skilled at this; she’s really good at looking at Cynthia in a way that feels genuine and impactful.

How does her performance stack up to Fiyero’s in terms of romantic connection?

R.A.: [Laughs] I’ve never seen a rendition of “As Long As You’re Mine” quite like this one. The chemistry between them just isn’t there. It’s enjoyable and visually impressive, but they don’t really connect with each other through eye contact. It felt similar to the Twilight movies – a lot of attempts at intense, fantastical romance that ultimately fall flat. The way they’re trying so hard to show a passionate connection despite the lack of real chemistry is actually quite interesting in its own way.

As a huge film buff, one thing I really wished we’d gotten more of was Jonathan Bailey singing – he’s got such a fantastic voice! Also, I felt like some of his comedic lines didn’t quite land. The stage show version of this part is a little chaotic, but there’s still potential for humor there, and I think it could have been brought out more in the film.

Marissa Bode’s performance as the Wicked Witch of the East is strong, and Ethan Slater is also good in that scene. Some viewers have expressed disappointment that she doesn’t powerfully sing at the climax, but I appreciate the choice to portray Nessarose as more reserved and focused on her inner feelings.

Jackson, you mentioned something interesting about Glinda’s apartment in “The Girl in the Bubble.” I realized while listening to the song that her apartment looks a lot like Padmé Amidala’s place in Star Wars: Attack of the Clones. And honestly, the Emerald City really reminds me of Coruscant. That Attack of the Clones movie is George Lucas just having fun playing with different film genres – it’s a mix of sword-and-sandal epics, film noir, detective stories, and over-the-top romance. Wicked: For Good could actually benefit from taking a page from that movie’s book! It often feels too serious and doesn’t have enough self-awareness, while the stage musical winks at the audience more.

I noticed while rewatching the musical Wicked and thinking about Fiyero’s subplot during the “No Good Deed” song, that the stage version is much funnier. The movie version plays those same scenes very seriously, and our audience didn’t laugh at the jokes like they do in the live show. This seems to be a general problem with the film’s tone – it’s lost some of the humor.

The key is to approach things with playful energy, like the classic Hollywood films where everyone was clearly enjoying themselves – a sense of ‘let’s do this and have fun!’ But it’s important not to be sarcastic or make fun of the material. Many big movies today are either too cynical or avoid humor altogether. There’s a sweet spot where you can fully embrace the adventure and have fun with it, like Errol Flynn or Gene Kelly used to. Jonathan Bailey has the potential for that, but the script doesn’t really ask him to. Ariana and Cynthia are both very sincere, which is great, though Ariana naturally has a better sense of timing and comedy. The best stories in this genre can be both silly and deeply moving – those emotions can actually strengthen each other. I just wish there was more of a feeling of joyful mischief, like everyone involved is getting away with something fun.

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2025-11-22 00:57