#no one mourns the wicked?

[stroburry]

Glinda during "No One Mourns the Wicked"

[standcom]

I LOVE YOU HO FORGET THE FIGHT AFTER FUCK JAR LOOK AT MY YOU MAKE ME SMILE JAR!!! 🩷💚

(SHE’S) JUST A PHASE CHAPTER TWENTY ONE: that’s matcha

masterlist

cw: mention of edtwt in one singular tweet

backstage!

• that’s matcha. ? 🍵👋😒

• plan ynmegumi 2.0 back in… action?

• status: unkown….

• don’t know what they’re gonna pull out of their asses (i do) but we ball🔥🔥

• toge is the type to pull that shit on his spotify wrapped PUHLEASE👋😭

• yeah it was really awkward when megumi did the walk of shame because all he could see is 3 bitches staring at him and the smell of eggs burning did NOT help

• slammed his hands on his steering wheel thrice before in fact turning on sufjan stevens

• went straight to his room when he got home & slammed the door like a little kid i’m crying

• ho is this a man or a child…

• young justice for ree & ree only

• last 3 tweets were just crack LMFAO

a/n: i hate filler chaps so bad bc tell me why i finished chapter 22 before i even started this one. goodBYE. made this in the span of an hour on call😭 sorry it took so long to post i was having a ball with my bitches these past days. no i haven’t given up on this series (yet). jk love u all lots & lots! can u tell my ree fixation is back (it never left) ree if ur reading this i will NOT be skipping over season 1 just to watch nightwing in action bc i love u. chapter 22 coming in a couple hours!!

taglist: @shokosbunny @satoryaa @prozacprinc3ss @essjujutsu @therealsatorugojo @yeehawslap @gojodickbig @dawnisatotalqueen @j2upiters @nappingnai @burnishingbagels @totallytatum @3cst4syy @lysaray @saltypuffin1040 @standcom @makeshiftproject @kurtcobaingirlie @kokoiinuts @dashingaurries @slvttycorpse @cuupidsss @mochroialainn @tenjikusstuff4 @ichcocat @sugurubabe @allthestarsarecloserrrrrrr @tyigerz @yoyo-yui @megoomies @yizmiu @jasminasblog22 @marst4rz @guitarstringed-scars @kalulakunundrum @lovefrominaya @beepbopzlorp @itsdragonius @meguemii @chilichopsticks @starantulas @1l-ynn @sluttkuna @rcveriees @solaqes @starrysho @sukunaspillow @evry1luvssm @syxoki @m-rmeladka

*if i can't tag you please change your tag settings otherwise i will remove you from the list!

[usuallydyinginside]

"No One Mourns the Wicked" is about Glinda, not Elphaba

Okay, but hear me out. Wicked songs are so good at saying one thing and meaning something entirely different once you have more context. For instance, "I'm Not That Girl" is Elphaba singing about Glinda initially, then in Act 2 flips to Glinda singing about Elphaba. Because it turns out, Elphaba IS that girl and Glinda is not. When we meet the Wizard, he sings about how he always wanted to be a father. When you get to Act 2, you get the sad little reprise in the background music as he realizes that WHOOPS, he was one and he destroyed his only kid. "Defying Gravity" starts with "I hope you're happy" in the sarcastic sense and ends with them both using the same phrase to genuinely wish one another well.

"Thank Goodness" is set up as a cheerful engagement song where Glinda genuinely means "thank goodness for how great my life is" and ends in a place where she's insisting that she IS happy even as she realizes her engagement is a sham, her best friend is gone, and she's left with the Wizard and Madame M, who she doesn't even like.

You get the picture.

Basically, the whole musical is about subverting what you expect, starting with the base premise of "what if the Wicked Witch was the hero of the story" and digging in from there.

Honestly, I'd never paid much attention to the first song. It's a good opener, sets things up well, but it has some big competition with later songs. However, in the movie the staging and camera choices made me really notice it for the first time. Because you know what? Someone DID pay attention to that song, and you can really really tell.

For those who need a refresher, the lyrics to the chorus Glinda sings are: And Goodness knows The Wicked's lives are lonely Goodness knows The Wicked die alone It just shows when you're Wicked You're left only On your own I was always so busy noticing Glinda's grief over thinking Elphaba was genuinely dead that I failed to notice Glinda's grief over her OWN fate. The movie did such a good job with this because every time we get to the pink lines about being alone, Glinda IS alone. She is standing apart from the crowd who adores her. Standing above them. Standing at the center of a bunch of people yet still, isolated.

Because in the end, we know that Elphaba DIDN'T die alone. We know she wasn't on her own. We know her life WASN'T lonely ultimately. She had her flying monkey and animal friends. She had Fiyero.

And who does Glinda have?

Everyone, but realistically, no one. She is an ideal, not a person to most of Oz, just as much as Elphaba has become the token scapegoat. Where Elphaba is the "Wicked Witch," Glinda is "Glinda the Good Witch" - she is literally supposed to be the embodiment of goodness.

And what does Glinda have at the end of this whole thing (as of this song at least)? A disastrous end to her engagement, the death of her best friend, a sorceress who has hated her, demeaned her, and dismissed her from the start, and a con man who is also just a symbol more than a person.

I think it really hit me when Glinda throws the fire on the giant effigy of Elphaba. Ariana's acting was SO good there, because I'd expected us to see that private moment of horror or regret. What I didn't expect was the sort of determined and almost angry glare at the effigy.

But it makes sense. At this point, Glinda has realized that she lost everything and everyone she actually cared about.

As she so aptly puts it in "Thank Goodness"...

Though it is, I admit The tiniest bit Unlike I anticipated. But I couldn't be happier, Simply couldn't be happier, Well, not "simply" 'Cause getting your dreams It's strange, but it seems A little, well, complicated.

There's a kind of a sort of cost. There's a couple of things get lost. There are bridges you cross You didn't know you crossed Until you've crossed!

And if that joy, that thrill Doesn't thrill like you think it will Still-- With this perfect finale, The cheers and the ballyhoo! Who wouldn't be happier? So I couldn't be happier, Because happy is what happens When all your dreams come true.

Well, isn't it?

Happy is what happens when you're dreams come true.

It's not Elphaba's fault that Glinda has ended up this way. Glinda chose it every step of the way. Yet, if Glinda had never met Elphaba, (if she'd never known her, you could say), she might have stayed shallow and vain. She might never have been challenged to look deeper and realize how empty it all felt.

So as Glinda sings "No One Mourns the Wicked," she realizes that even if the Munchkins are singing about the "Wicked Witch," she's not.

She's singing about herself.

The one who traded her morals, friendship, and love for a taste of the admiration and power over those who don't really know her. The one who was so worried about being likable that she herself doesn't like who she's become.

Even after she makes things better for Oz and herself by sending the wizard away and getting rid of Madame M, it just leaves Glinda by herself as the leader and source of goodness in Oz. It leaves her on a pedestal she can never step off of.

It leaves her lonely.

Entirely alone.

[omglaurashutup]

munchkins: no one mourns the wicked!

glinda: bitch i do tf 😭😭😭😭😭

[gonkaccino]

hey hey another thing. Everyone noticed how subdued movie Elphaba is relative to book/musical Elphaba, right? Book Elphaba's whole thing is being loudly independent and making her own bold choices (then getting [metaphorically] pushed down 5 flights of stairs for having the gall to exist). Musical Elphaba is less of a reddit atheist than her book counterpart, but still plenty abrasive and, ultimately, forges her own path (with its own relatively less tragic consequences).

Movie Elphaba? She doesn't choose to go to Shiz. Her father's planning on keeping her tucked away in their family home until the day she dies, where she can't hurt anyone or further embarrass the Thropp name. Morrible's the one who gets her enrolled, fully aware that Elphaba has no choice if she doesn't want to spend the rest of her life stuck at home, only ever leaving to accompany Nessa. This Elphaba doesn't choose to go to school, she doesn't choose to go to the Emerald City, and, really, she doesn't even choose to defy gravity -- there is no alternative, she can't live if she stays with the Wizard, especially not after Morrible's preemptive announcement of her wickedness. Movie Elphaba's trapped by her destiny, walking the path laid out for her. With one crucial exception, of course: Glinda, baby, that's right, the only thing this Elphie's ever chosen for herself, the only thing she's been allowed to choose, is to have Glinda at her side!

This softer, more noticeably scared Elphaba creates the extremely juicy dynamic of visibly relying on Glinda for support. As soon as they become pals, Elphaba's latched onto her, the only person who isn't scared of her magic, the first person to care for Elphaba's well-being. She chooses to befriend Glinda, she chooses to bring Glinda to the Emerald City, she chooses to ask Glinda to defy gravity with her. This is what makes this version of Defying Gravity so delicious: Elphaba's never truly believed in herself! The only reason she ever started was because Glinda was there to encourage her, and now, at this crucial moment, this Elphaba, who has lived her life so terrified of the harm she could cause others, has the confidence to not only risk her own life with a spell she's never tried, but the life of her one and only friend!

And Glinda refuses! And it's totally understandable now! Of course this Glinda would say no -- she's not scared of what could happen to her, she's scared of what will happen to Elphie, and standing there, she gets it. She understands the role she's played in Elphaba's life. Glinda knows Elphaba wouldn't be there, ready to declare war on the Wizard, if Glinda hadn't been by her side the entire time, and she has to refuse. She has to. Elphaba's request isn't come with me, we're stronger together, it's I can't do this without you, I'm not strong enough, and Glinda KNOWS that's not true. The only way she can express this is by sending Elphie off on her own, to straighten her hat and wish her luck. It's the only way Elphie will take flight and finally realize that she's got the power to do anything she wants, if she just tries.

[tunemyart]

lowkey feeling bad for the wizard's propaganda machine surely having to work overtime to drown out the entire student body of shiz university who witnessed not only the very public enemies to lovers speedrun, but also the constant canoodling, hand holding, joined at the hip elphaba-and-glinda that followed

act ii glinda's like 'oh no the wicked witch! wickedness bad!'

heckler in the audience: 'you're married!'

act ii glinda: 'shhhhhhh'

[sabeedraws]

Yes, Goodness knows

The wicked's lives are lonely

Goodness knows

The wicked cry alone

[finleycannotdraw]

GOODNESS KNOWS THE WICKEDS LIVES ARE LONELY GOODNESS KNOWS THE WICKED DIE ALONE

[benevolenterrancy]

~loathing, unadulterated loathing~

[whatevertheywant]

Munchkin girl: Is it true you were her friend?

Glinda: Baby we was FAWKING tf u mean "friend"????

[jluvswicked2]

“Good news…”

I absolutely adored the Wicked film. From the overture to Elphaba’s battle cry I was an emotional mess. Ariana and Cynthia knocked it out of the park.

[lavender-gayz]

'glinda, is it true you were her FRIEND?' loving the thought of there being staunch believers in glinda's straightness in oz who over-identify with her relationship with fiyero and feel they have to defend her from accusations of lesbian behaviour. is it an open secret that madame morrible made everyone at shiz sign NDAs? does some eagle-eyed citizen swear they saw elphaba caressing glinda's face at the top of the palace and produce a blurry sketch as proof? is glinda overheard softly singing 'i'm not her girl' to herself one day, thereby sparking hushed but lively discussions in small gaylinda circles?

[warship005]

"No one mourns the wicked"

"No, one mourns the wicked"

[moon-axolotl]

That One Audacious Munchkin: Is it TRUE you were her FRIEND???

Glinda the Good: …Yes

Munchkins: holy shit

Glinda the Good: That is… our tongues did cross. I MEAN OUR PATHS. Our PATHS did cross… back at school.

Munchkins: …

Munchkins: HOLY SHIT

[heart4buddie]

I think the thing that makes me feel the most insane about the Wicked movie is how Ariana was able to make it so clear in her actions and voice in No One Mourns The Wicked, that she was mourning Elphaba. She’s sings along with people saying how horrible Elphaba was and how no one will miss her, while the way she holds herself and sings screams that she is mourning the loss.

[isuckatwritingsobenice]

No one mourns the wicked

Synopsis: No one mourns the wicked except it’s Alastor and his loving wife after he dies and the people realize he was in fact the killer terrorizing New Orleans

A/n: i was listening to this song after watching the movie and it kind of reminded me of multiple characters, one of them being Alastor, so here we are :)

Warnings: timeline tweaked to fit the storyline, Major character death, grief, obsession, dark themes, implied past violence, mourning, religious elements

Navigation

The bells tolled for Alastor.

The sound rang out over New Orleans, a slow, deliberate chime that echoed off the cobblestone streets and wrought-iron balconies. A funeral procession wound its way through the city, black-clad mourners moving with somber grace, their eyes cast downward—though not for grief.

There was no grief.

Only fear.

Alastor, beloved radio host, lively entertainer, and charming presence in every parlor and ballroom, was dead. But the man the city had adored was not the man they had buried.

The real Alastor—the one with blood on his hands and a smile on his lips—had been unmasked at last.

And now, no one mourned the wicked man.

No one except her.

She stood apart from the rest, a lone figure swathed in black lace, her veil obscuring the grief-stricken expression beneath.

His wife.

The word felt hollow now, as though spoken from another lifetime. What was she now, if not the wife of the man they cursed? The whispers had already begun—how could she not have known? How could she have laid beside a man with the devil’s grin and never seen the hellfire in his eyes?

But she had known.

She had known from the very beginning.

She had met Alastor on a summer evening when the air was thick with the scent of magnolias and the sound of jazz curled through the streets like smoke. He had been charming, so very charming, his voice warm like the whiskey he poured her, his laughter infectious.

She had loved him immediately.

Perhaps that had been her first sin.

He had taken her hand and led her into a world no other woman dared enter. His world—one of secrets and shadows, where the missing never returned and the wicked were punished not by law, but by him.

It had frightened her.

And yet, she had stayed.

That had been her second sin.

And now, she committed her last: grieving a man the world had condemned.

The funeral was held in St. Louis Cemetery No. 1, beneath a sky choked with heavy clouds, as though even the heavens refused to shine upon the dead man’s final resting place.

The priest spoke in measured tones, his voice a thin veil of piety stretched over the weight of judgment beneath. There were no kind words, no lamentations for a life lost too soon—only the murmured prayers of a man who feared for his own soul in speaking them.

She knelt at the grave as they lowered him down, her hands clenched in the folds of her dress. Her breath hitched, but she would not cry.

Alastor had never liked tears.

That night, the city rejoiced.

The terror was gone, the Monster of New Orleans put to rest at last. Music poured into the streets, the living celebrating while the dead turned in their graves.

She sat alone in their home, the ghost of his laughter still lingering in the walls, in the floorboards that creaked beneath her as she walked. The gramophone sat silent, its usual melody absent.

She could not bear to play it without him.

She could still hear them outside—people whispering his name, cursing it, spitting it into the dirt.

Had none of them loved him? Had none of them seen the brilliance in him, the fire that burned so hot it could only consume?

No.

Only she had seen.

And now, she was alone in her mourning.

The city moved on quickly, as cities often did. Another scandal would come, another name would replace his in the papers. Soon, he would be nothing more than a ghost story, a hushed warning spoken to children who strayed too far after dark.

But she would not forget.

She could not.

Late at night, when the streets fell silent and the candlelight cast long shadows against the walls, she swore she could still feel him.

She would wake to the phantom press of fingers against her wrist, the faintest trace of a breath against her ear. The scent of cigar smoke lingered when she had not lit one. The record player clicked on in the dead of night, playing a tune she had long since stopped hearing.

He was still here.

And oh, how she wished he wasn’t.

Because if he was here—if his soul still roamed these halls—then he had not found peace.

And she could not bear the thought of him suffering, not even in death.

The knocking began three nights after the funeral.

At first, she thought it was the wind, rattling the shutters in its restless wail. But then she heard it again—sharp, deliberate.

Three knocks.

Like a gentleman at a parlor door.

Like a husband returning home.

She hesitated only a moment before crossing the room, hands trembling as she reached for the handle. The air was thick with something unspoken, the kind of quiet that sat heavy in the chest.

She opened the door.

Nothing.

Only the dark, stretching out before her in endless silence.

And yet, as she closed the door, she swore she heard it—

The low, familiar hum of a tune.

A tune only he would sing.

It continued.

The soft shuffle of feet behind her when no one was there. The sudden flicker of candlelight when the air was still. The radio tuning itself to static, then settling on a voice she had not heard in days.

His voice.

“Did you really think I’d leave you all alone, my darling?”

She gasped, the breath stolen from her lungs as cold fingers brushed her cheek.

Not a trick of the mind.

Not a dream.

He was here.

He was with her.

She pressed a hand to her lips, a sob choking its way free. “Alastor?”

His laugh curled around her, warm as the summer nights they had once shared. “Who else would it be, dearest?”

She shuddered. “You—”

“I know.” His voice was teasing, affectionate. “A terrible shame, isn’t it? I had such plans for us. And now look—stuck haunting my own home! How embarrassing.”

She swallowed thickly. “Are you… are you in pain?”

A pause.

Then, softer, “No, my love.”

She exhaled, her body sagging with relief.

If he was still here, still him, then perhaps there was justice yet.

Perhaps the city had not won.

She no longer feared the voices outside, the ones that spat curses at his name.

Let them speak.

Let them call him monster, murderer, devil.

He had been all those things, and more.

And yet, he had loved her.

Was that not proof enough of his humanity?

So she loved him still.

Even in death.

Even in whispers.

Even as she sat alone, her fingers tracing the cool wooden surface of his coffin, her lips parting to hum the song he had so often sung.

The melody drifted through the house, carried by the wind, by the dark, by the presence that lingered just beyond sight.

And somewhere, just behind her ear—

A voice joined in.

Laughing. Loving. Hers.

Always.