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11/20/2024 | News release | Distributed by Public on 11/21/2024 02:02

How Did the Wicked Movie Release Become a Cultural Phenomenon? Brand Collabs, Nostalgia-Tapping, and More

How Did the Wicked Movie Release Become a Cultural Phenomenon? Brand Collabs, Nostalgia-Tapping, and More

COM prof on how the film adaptation of the Tony-winning musical could be the biggest movie of the year

Photo courtesy of Universial

Arts & Culture

How Did the Wicked Movie Release Become a Cultural Phenomenon? Brand Collabs, Nostalgia-Tapping, and More

COM prof on how the film adaptation of the Tony-winning musical could be the biggest movie of the year

November 20, 2024
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One of Wicked's best known songs is "Popular," a word that only begins to capture the success of the long-running Broadway smash hit. Seen by nearly 65 million people worldwide since it first opened in 2003, the musical's themes of self-love, equality, and true friendship helped it become a cultural phenomenon that continues to captivate audiences more than 20 years after its debut.

It's no surprise, then, that Wicked enthusiasts are lining up to see the much-anticipated movie adaptation, starring Tony-winner Cynthia Erivo and Grammy-winner Ariana Grande, set to hit theaters November 22. Directed by Jon M. Chu (Crazy Rich Asians) and adapted for the big screen by Stephen Schwartz and Winnie Holzman (the duo behind the Broadway show's music and lyrics), the film serves as a prequel and a sequel to the The Wizard of Oz, exploring the complex, untold story of the friendship between Erivo's Elphaba (who becomes the Wicked Witch of the West) and Grande's Glinda (who evolves into Glinda the Good).

The film had a reported budget of $150 million, and the second half of the two-part story (at an additional cost of $150 million) is arriving on the big screen in 2025. Industry experts are predicting blockbuster ticket sales, with the film expected to gross $110 million during just its opening weekend.

Given the buzz surrounding the film, it's no surprise that the Universal Pictures marketing team has been working on overdrive to promote it. They've secured more than 400 brand partnerships, from a Forever 21 rhinestone faux leather jacket to a Wicked-themed Samsung music frame to an Elphaba Squishmallow pillow.

For some insight into the film studio's marketing strategy, BU Today spoke with Amy Shanler (CAS'96, COM'96,'04), a College of Communication associate professor of the practice of public relations. Shanler has 25 years of experience managing communications activities for multiple organizations and industries, including retail, business, and entertainment.

Q&A

with Amy Shanler

BU Today: Brands as varied as Target, Aldo, Vera Bradley, and Stanley have come out with a plethora of Wicked-themed merchandise over the past few months. Why are so many brands looking to collaborate with the new film?

Shanler: It's a cultural moment and no one wants to be left behind. That's why we're seeing so many collaborations, from Crocs to REM Beauty to the Stanley cup (the drinking one, not the hockey one). This is a big moment that a lot of people have been anticipating. The brands want to show that they are listening. One thing all brands have in common is that they want to build credibility with their audiences in the long term and show that "I care about the things that you care about," because this deepens the relationship between the brand and the consumer.

BU Today: Do you think there is any disadvantage to having so many collaborations?

Shanler: For the fans, no. They are so invested in these characters and have been following the evolution from The Wizard of Oz to the Broadway show and now the movie.

There's also an aspect of "super fans" and finding your people. When I, as a big fan, see someone walking down the street with the Elphaba green Stanley mug, I might nod to them. There is a sense of community-building. With the people who aren't fans, they might be oblivious. It's just noise along with any other advertising. But there is maybe a small segment that feels tired from the hype.

Photo courtesy of Stanley

BU Today: Last summer's Barbie movie had a similar marketing blitz and hundreds of brand collaborations. Do you think the Wicked team took away any lessons?

Unlike the Barbie movie-Barbie the doll has a complicated history-Wicked is more representative and doesn't have that same baggage. Barbie tried to get there: "We're all Barbie." Meanwhile, Wicked has the message of the importance of people being able to be themselves truly, and that's an inclusive message. Gregory Maguire's original book, which the musical is based on, goes into great depth about the great divides, and the struggle that Elphaba goes through trying to protect the animals. It's this fight and this hero that we're rooting for, because she's representing the people who don't have a voice. That's a different message than what Barbie's was. Other than the wrong URL on Mattel doll boxes [a recent mishap that accidentally drove people to a porn site], it's hard to find something wrong with Wicked.

Photo courtesy of Crocs

BU Today: Are there any marketing approaches the movie's publicity team used that you find especially fun or unique?

I think one of the things they've done well was offering two flavors of everything. Like Crocs-it's not just "Wicked" crocs, there are two different versions, the green and the "glam," reflecting the duality of the characters. They gave fans further ways to express themselves, coming out with two different eyeshadow palettes for example. It's really smart of them. It's similar to the approach of the Harry Potter team with the marketing of the four houses [clothes and merchandise themed to Gryffindor, Slytherin, Hufflepuff, and Ravenclaw].

Photo courtesy of Lexus

BU Today: What other fun marketing approaches might we see down the line?

It might be smart for bookstores to host events around the Wicked books. Movie theaters can host sing-alongs. Both are examples of "finding your community," which Taylor Swift's team did really well with the release of the Eras movie. They encouraged fans to dress up, sing along, and bring along friendship bracelets that they made so that they could trade them with other fans. I wouldn't be surprised if we see a touring "World of Wicked" show, similar to the Harry Potter one that is out now.

BU Today: Wicked has three generations of fans-those who watched the 1939 Judy Garland film, those who saw Wicked on Broadway, and a younger subset who may be somewhat familiar (but not as much) with the material. Can you talk about the power of nostalgia when planning a marketing approach?

I threatened my kids-they're 20-and said, I don't know what I'm going to do if you guys see this movie without me. When they were kids I played the soundtrack all the time in the car; they know this music. I had glorious times as a parent. Nostalgia as a parent is a powerful thing, and to be able to rekindle and reconnect now, since they're adults, is magical. It's like a time machine.

When you have an emotional connection, you are strengthening, adding depth, and lengthening that relationship. That's why nostalgia is so powerful in this environment. The Wizard of Oz story is passed down from generation to generation, and even as the story adds depth and different characters and prequels, it's still part of this same experience. In this way, it's woven into our culture and something we continuously refer back to.

I love the idea that Wicked is so welcoming for old fans and new fans. The ability for audiences to express themselves in so many ways is very effective from a marketing and communications perspective. We'll continue to see people organically create magical moments around Wicked. There will be pre-parties, themed gatherings, sing-alongs, and then another resurgence when the sequel comes out next year. All of these help keep the conversation going.

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  • Amy Laskowski

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    Amy Laskowski is a senior writer at Boston University. She is always hunting for interesting, quirky stories around BU and helps manage and edit the work of BU Today's interns. She did her undergrad at Syracuse University and earned a master's in journalism at the College of Communication in 2015. Profile

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