After almost a year of nonstop marketing, Wicked finally debuts in theaters on November 22, 2024. On paper, the campaign seems like a dream, following the wildly successful Barbie movie strategy: a fully immersive experience drenched in pink and green. But online, it’s getting roasted for being overdone and uninspired. Honestly? I kind of agree. Let’s break down why.
From Books to Broadway to Blockbuster
To understand how we got here, we need to go back to the beginning. Wicked: The Life and Times of the Wicked Witch of the West, written by Gregory Maguire in 1995, reimagined the classic characters from The Wizard of Oz. This prequel explored the Witch of the West’s backstory before Dorothy dropped in. After some film optioning drama, the story was reworked into a Broadway musical.
Debuting in 2003, Wicked became an instant sensation. Starring Idina Menzel as Elphaba and Kristin Chenoweth as Glinda, it softened the novel’s darker themes to focus on friendship, rivalry, and self-discovery. Iconic songs like “Defying Gravity” turned it into a cultural phenomenon. The original Broadway recording still resonates with a generation of fans from the Myspace and early Tumblr eras.
With this buzz, a film adaptation seemed inevitable. Preproduction started in 2012, but after a decade of speculation, delays, and a global pandemic, the film finally gained momentum. In 2021, the cast was announced: Cynthia Erivo as Elphaba and Ariana Grande as Glinda.
Fast forward to November 2024, and after a six-month media blitz, we’re days away from the release of part one, with part two slated for November 2025.
Exhausted? Me too. Now, let’s dive into the marketing.
In a Barbie World
The Barbie movie redefined immersive marketing in 2023. Its campaign was a masterclass in creativity, combining nostalgia, vibrant visuals, and humor. The film embraced Barbie’s iconic status with clever cross-promotions, viral social media campaigns, and immersive events. By letting audiences in on the joke, the campaign became an extension of the movie’s story.
Wicked’s marketing team clearly took notes. After filming wrapped in January 2024, the first trailer debuted during the Super Bowl in February. From there, it’s been nonstop pink-and-green branding through every imaginable channel.
Fans have been waiting for this adaptation since 2004, so excitement is high. But in fan spaces, there’s a growing sentiment that this drawn-out campaign is doing more harm than good, leaving many casual fans feeling over it.
We Can’t All Come and Go by Bubble
Why did Barbie’s immersive campaign succeed while Wicked’s seems to falter? I have a few theories.
1. Barbie is Universal; Wicked Isn’t
Everyone knows Barbie. Wicked, however, is tied to Broadway—a niche and often inaccessible space. Yes, it has a loyal fanbase, but its reach pales in comparison.
Take Spotify, for example. The Original Broadway Cast Recording of Wicked averages 27 million streams per song. Compare that to co-star Ariana Grande, who has several songs with over a billion streams. Relying on Ariana’s fans to carry the film’s success is a gamble, especially given some of the headlines she’s made recently.
2. The Story Isn’t Clear
Barbie’s marketing thrived on ambiguity because Barbie represents whatever you want her to. Wicked, on the other hand, has a rich story filled with layered themes like friendship, identity, and morality. But the marketing isn’t highlighting any of that.
Instead of emphasizing the story’s exploration of prejudice, power, and transformation, the campaign leans heavily on aesthetics. It’s all pink-and-green branding with little nod to the emotional depth that makes Wicked so beloved.
They’re Just Shoes, Elphie, Get Over It!
Wicked’s marketing campaign includes an exhaustive list of brand collaborations:
Fashion: Gap hoodies, Rebecca Minkoff handbags, and Vera Bradley travel bags.
Beauty: R.E.M. Beauty by Ariana Grande makeup and OPI Wicked-themed nail polish.
Food & Drink: Starbucks Glinda’s Pink Potion, Betty Crocker baking kits, and Pernod Ricard cocktails.
Retail: Target’s 150 Wicked products and LEGO collectible sets.
These partnerships mirror what Barbie did, but Barbie’s campaign worked because it played into the brand’s legacy as a cultural artifact of consumerism. With Wicked, it feels like a missed opportunity. The emphasis on flashy branding and merchandise seems disconnected from the story’s core themes.
The Trouble with Green-Tinted Glasses
Wicked’s marketing campaign ticks all the boxes for a textbook immersive experience: brand tie-ins, relentless buzz, and bold visuals. But effective marketing isn’t just about visibility—it’s about resonance.
Barbie succeeded because its campaign felt like an authentic extension of its story. Wicked, on the other hand, risks alienating both core fans and casual viewers by losing sight of the narrative that made it a cultural touchstone.
Marketing for a film adaptation should do more than sell products—it should sell the story. Wicked’s campaign serves as a cautionary tale: when the marketing feels disconnected from the heart of the story, even the most magical tales can feel a little hollow.
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