Just because ANORA wears the Oscars' Best Picture crown doesn't mean the movies nominated turn to dust. In fact, as the Best Picture nominees slowly trickle out to home video, discussing them feels more pertinent. A movie's lifespan isn't limited to the awards calendar, especially when it comes to WICKED.

Jon M. Chu's fantasy musical, based on the Broadway show, vacuumed up the world's cash to the tune of nearly $750 million, a testament to the musical's 20+ year success. This thing's been around long enough on its own to discuss it in generational terms.

But WICKED owes it all to THE WIZARD OF OZ, being a prequel exploring the college years of Elphaba (Cynthia Erivo) and Galinda (Ariana Grande), who will be known later in life as the Wicked Witch and Good Witch, respectively.

Grande's lovably bubbly narcissism makes me laugh. Even the camera can't stop following her hair flips and flighty trots across the sets. Erivo seems incapable of playing a false note. They carry years worth of pain behind a restrictive, poised demeanor, presenting confidence as a defense tower.

Our technicolor understanding of the land of Oz is muted by a change in perspective. We're not from Kansas anymore, Toto. Director of photography and frequent Chu collaborator Alice Brooks gives Oz a more tactile, European feel, at times flooding the background with natural light that gives the sets a lived-in presence. This isn't a Marvel Studios CGI nightmare (for the most part).

But this idea of a realistic Oz, marked by more serious ventures into ANIMAL FARM-esque allegories for fascist subjugations within a caste system, doesn't always gel with the magic or whimsy WIZARD OF OZ is known for. It feels as though each creative grabbed their own idea of what WICKED should be and stretched it in said direction. The result is something that doesn't coalesce but I'll be damned if I say I didn't have fun with it.

Though I'm still stunned Chu got a Critics' Choice Award for Best Director. Go home; y'all are drunk.

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