Bad Guys Are Right What Star Wars Is Wrong

By Chris Snellgrove | Published 5 seconds ago

Recently, They are not bad had the third biggest opening of the year, coming in behind Disney’s biggest hits Inside Out 2 again Deadpool and Wolverine. Blockbusters can be predictable, as Disney found out when Marvels bombed after its predecessor. Captain Marvel earned more than a billion dollars. It has left fans and critics wondering why this particular music works. I believe the reason is simple: because of its written origin, They are not bad finally delivered on Star Wars’ failed promise of using a prequel to fill the franchise’s popular villain.

Of course, i They are not bad the movie had one major advantage that even Star Wars didn’t: the opportunity to learn from the mistakes of previous adaptations. Gregory Maguire wrote Wicked: The Life and Times of the Wicked Witch of the West in 1995 as The Wizard of Oz prequel, and was adapted into a hit Broadway musical in 2003. The latest film is obviously focused on adapting the musical for the big screen but uses its excessive running time (the first film adapts only half of the play but has a longer running time than the entire Broadway adaptation) to add more details to the book, creating the kind of strong prequel that, frankly, we all wanted. The Phantom Menace and its sequence would be.

Maguire wrote clearly They are not bad years before The Phantom Menace came out, but it is still interesting that they both had the same goal, that is, to provide the full story of the origin of one of the great masters of cinema. However, the biggest failure of the Star Wars prequels is that they didn’t really change our understanding of Darth Vader, by giving a stupid reason to the whole world, that he is a man who is easily deceived, because of his birth on the Dark Side.

In contrast, the Wicked novel, play, and film now dramatically change our understanding of the “Wicked” witch by presenting her as a sympathetic advocate for the underdogs (and monkeys, for that matter). We see him determined to stand up to the evil Wizard whose only real power comes from his fascist government and his mysterious Gestapo, a far cry from the terrifying green beast that threatened Dorothy back in 1939.

In other words, the They are not bad the story makes an excellent prequel The Wizard of Oz especially because it is determined to surprise us with a version of this famous villain that we did not expect. That was relatively easy because the first cinematic portrayal of the character presented him as a taunting villain, someone who threatened to take out a little girl and her little dog, too. Darth Vader similarly started out as a one-note villain, and while the rest of the Original Trilogy added a little more depth to his backstory, he still spends almost all of his scenes as a brute whose mask and heavy breathing couldn’t hide how. He used to chew a lot of space.

As we all know, the Star Wars prequels didn’t do anything spectacular with Darth Vader. He went from weird to violent to weird and violent. Aside from finding out how eerily similar he was to the school shooter, there wasn’t much new about his character.

They are not badon the contrary, he ends the relationship of the Wicked Witch with other iconic characters while giving her motives for sympathy. When he brought down the house with his hit single “Defying Gravity,” the audience was willing to root for the old Hollywood hero as he fought for those who have lost (literally, in some cases) their voice.

All this means that They are not bad he finally does well with The Witcher what George Lucas failed to do with Darth Vader: change what we know about the villain to make the prequel fresh and exciting. Sadly, all of them a generation of the filmmakers tried to bite Lucas’s style, giving us the same mediocre prequels Hannibal Rising that likewise did nothing interesting or surprising for their benevolent villains. A successful prequel requires clever and creative writing, and if most Hollywood studios can’t provide that, they’ll be the only ones left mourning their box office failures.

After all, just as no one mourns the wicked, no one mourns the lazy. And there is nothing lazier than the cookie-cutter prequels that are afraid to take a single risk with their most iconic characters. Hollywood is full of laziness, however, and as the Wicked Witch herself might say, what a world it is.