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tavolgisvist · 3 months ago

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Paul about the breakup of The Beatles in The Lyrics, 2021

The four of us just knew how to fall in with each other and play, and that was our real strength. That made it all the more sorrowful to think that our breaking up was almost inevitable. So there’s a wistful aspect to ‘Get Back’. The idea that you should get back to your roots, that The Beatles should get back to how we were in Liverpool. And the roots are embodied in the style of the song, which is straight-up rock and roll. Because that was definitely what I thought we should do when we broke up – that we should ‘get back to where we once belonged’ and become a little band again. We should just play and do the occasional little gig. The others laughed at that – quite understandably – because by then it was not really a practical solution. John had just met Yoko, and he clearly needed to escape to a new place, whereas I was saying we should escape to an old place. Reviving the old Beatles just wasn’t on the cards. It was too late to be recommending that we not forget who we were and where we once were from. If my dream at the time really was to get back to where we once belonged, John’s dream was to go beyond where we once belonged, to go somewhere we didn’t yet belong. I’ve already mentioned how in September 1969 we were in a meeting and talking about future plans, and John said, ‘Well, I’m not doing it. I’m leaving. Bye.’ In the ensuing moments, he was giggling and saying how this felt really thrilling, like telling someone you’re going to divorce them and then laughing. At the time, obviously, that was wildly hurtful. Talk about a knockout blow. You’re lying on the canvas, and he’s giggling and telling you how good it feels to have just knocked you out. It took a while, but I suppose I eventually got with the programme. This was my best mate from my youth, the collaborator with whom I’d done some of the best work of the twentieth century (he said, modestly). If he fell in love with this woman, what did that have to do with me? Not only did I have to let him do it, but I had to admire him for doing it. That was the position I eventually reached. There was nothing else I could do but be cool with it.

(Paul McCartney about Get Back (1969), The Lyrics, 2021)

That was coupled with the business problems at Apple Records, which really were horrible. The business meetings were just soul-destroying. We’d sit around in an office, and it was a place you just didn’t want to be, with people you didn’t want to be with. There’s a great picture that Linda took of Allen Klein, in which he’s got a hammer like Maxwell’s silver hammer. It’s very symbolic. And that’s why we have the little nod and a wink in the middle section to ‘You Never Give Me Your Money’, in the lines ‘I never give you my pillow / I only send you my invitations’. That whole period weighed on me to such an extent that I even began to think it was all tied in with the idea of original sin. Even though my mum had christened me as a Catholic, we weren’t brought up Catholic, so I didn’t buy into the concept of original sin on a day-to-day basis. It’s really very depressing to think that you were born a loser.

(Paul McCartney about Carry That Weight (1969), The Lyrics, 2021)

The Beatles stuff all got too heavy, and 'heavy' at that time had a very particular meaning for me. It meant more than oppressive. It meant having to go into meetings and sit in the boardroom with all the other Beatles and with the accountants and with this guy Allen Klein. He was a New York spiv who had come over to London and talked to The Rolling Stones and persuaded them he was the man for them. Prior to that, he had persuaded Sam Cooke he was the man for him. I smelled a rat but the other chaps didn’t, so we had a fight over it and I got voted down. I was trying to be Mr Rational and Mr Sensible, and it all went haywire. It was early 1969, and The Beatles were already beginning to break up. John had said he was leaving, and Allen Klein told us not to tell anyone, as he was in the middle of doing deals with Capitol Records. So, for a few months we had to keep mum. We were living a lie, knowing that John had left the group. Allen Klein and Dick James, who sold our publishing in Northern Songs without giving us a chance to buy the company, were both hanging around in the background of this song. All the people who had screwed us or were still trying to screw us. It’s fascinating how directly we acknowledged this in the song. We’d cottoned on to them, and they must have cottoned on to the fact that we’d cottoned on. We couldn’t have been more direct about it. ...

Contracts were written on funny paper. Lying behind the song is the idea of the contract as a relationship between two people. The negotiations are at once business negotiations and romantic negotiations; I’m thinking of the lines ‘And in the middle of negotiations / You break down’. The breakdown in negotiations is also a kind of nervous breakdown. The problem was that, by this stage, everything was up for negotiation, and miscommunication was the order of the day. We weren’t really writing together anymore. Each person was bringing in little bits of this and little bits of that. And we all knew that phase of our lives, of being The Beatles, was coming to an end. We were working towards an album, knowing it was probably going to be our final fling. Though Let It Be was released later, Abbey Road was indeed the last album we recorded in the studio. There was an upside, however. I’d got married to Linda, and our relationship offered some respite from the dreary infighting and the financial stuff. The lines ‘One sweet dream / Pick up the bags and get in the limousine’ were a reference to how Linda and I were still able to disappear for a weekend in the country. That saved me.

(Paul McCartney about You Never Give Me Your Money (1969), The Lyrics, 2021)

This was just after The Beatles broke up, and I was trying to establish myself as a solo artist with a new repertoire. If it was going to work like the Beatles repertoire had worked, I had to have a hit. One in two songs had to be a hit. So, this was a conscious effort to write a hit, and Phil was very helpful. We knew that if we had a hit, it would cement our relationship and we would keep working together, which we did with the RAM album. It would prove that we were both good – he as a producer and I as a singer songwriter. Releasing my first solo song after the breakup felt like a big moment. Thrilling, though tinged with sadness. It also felt like I had something to prove, and that kind of challenge is always exciting. The song went to number two in the UK singles chart and number five in the US Billboard Hot 100, so it did pretty well. Of course, this was still a time when there was a bit of tension between John and me, and this sometimes filtered into our songwriting. John made fun of this song in one of his own, ‘How Do You Sleep?’The only thing you done was yesterday And since you’ve gone you’re just another day One of his little piss takes.

(Paul McCartney about Another Day (1969/1971), The Lyrics, 2021)

This song was written a year or so after The Beatles breakup, at a time when John was firing missiles at me with his songs, and one or two of them were quite cruel. I don’t know what he hoped to gain, other than punching me in the face. The whole thing really annoyed me. I decided to turn my missiles on him too, but I’m not really that kind of a writer, so it was quite veiled. It was the 1970s equivalent of what we might today call a ‘diss track’. Songs like this, where you’re calling someone out on their behaviour, are quite commonplace now, but back then it was a fairly new ‘genre’. The idea of too many people ‘preaching practices’ was definitely aimed at John telling everyone what they ought to do – telling me, for instance, that I ought to go into business with Allen Klein. I just got fed up with being told what to do, so I wrote this song. ‘You took your lucky break and broke it in two’ was me saying basically, ‘You’ve made this break, so good luck with it.’ But it was pretty mild. I didn’t really come out with any savagery, and it’s actually a fairly upbeat song; it doesn’t really sound that vitriolic. If you didn’t know the story, I don’t know that you’d be able to guess at the anger behind its writing. It was all a bit weird and a bit nasty, and I was basically saying, ‘Let’s be sensible. We had a lot going for us in The Beatles, and what actually split us up is the business stuff, and that’s pretty pathetic really, so let’s try and be peaceful. Let’s maybe give peace a chance.’ The first verse and the chorus have pretty much all the anger I could muster, and when I did the vocal on the second line, ‘Too many reaching for a piece of cake’, I remember singing it as ‘Piss off cake’, which you can hear if you really listen to it. Again, I was getting back at John, but my heart wasn’t really in it. This is me saying, ‘Too many people are sharing the party line. Too many people are grabbing for a slice of the cake, a piece of the pie.’ The ‘sleep in late’ thing – whether that was accurate, whether John and Yoko actually slept in late or not, I’m not sure (although John often was a late riser when I would drive out to Weybridge so that we could write together). They were all references to people thinking that their own truth was the only truth, which was certainly what was coming from John. The thing is, so much of what they held to be truth was crap. War is over? Well no, it isn’t. But I get what you’re saying: war is over if you want it to be. So, if enough people want war to be over, it’ll be over. I’m not sure that’s entirely true, but it’s a great sentiment; it’s a nice thing to think and to say.

I’d been able to accept Yoko in the studio, sitting on a blanket in front of my amp. I’d worked hard to come to terms with that. But then when we broke up and everyone was now flailing around, John turned nasty. I don’t really understand why. Maybe because we grew up in Liverpool, where it was always good to get in the first punch of a fight. The whole story in a nutshell is that we were having a meeting in 1969, and John showed up and said he’d met this guy Allen Klein, who had promised Yoko an exhibition in Syracuse, and then matter-of-factly John told us he was leaving the band. That’s basically how it happened. It was three to one because the other two went with John, so it was looking like Allen Klein was going to own our entire Beatles empire. I was not too keen on that idea. John actually had Allen Klein and Yoko in the room, suggesting lyrics during writing sessions. In his song ‘How Do You Sleep?’ the line ‘The only thing you done was yesterday’ was apparently Allen Klein’s suggestion, and John said, ‘Hey, great. Put that in.’ I can see the laughs they had doing it, and I had to work very hard not to take it too seriously, but at the back of my mind I was thinking, ‘Wait a minute, All I ever did was “Yesterday”? I suppose that’s a funny pun, but all I ever did was “Yesterday”, “Let It Be”, “The Long and Winding Road”, “Eleanor Rigby”, “Lady Madonna”, . . . – fuck you, John.’ I had to fight them for my bit of The Beatles and, in fact, for their bit of The Beatles, which many years later they realised and almost thanked me for. Nowadays people get it, but at the time I think the others felt they were the ones who were victims, who were being hurt by my actions. Allen Klein already had a history with The Rolling Stones. I just thought, ‘Oy oy oy, no, this guy’s got such a bad reputation.’ And good old John says, ‘Oh, if he’s that badly talked about, he can’t be all bad.’ John had this kind of distorted thinking, which was amusing sometimes. But not when someone was going to take everything that John and George and Ringo and I owned and had worked really hard to get.

So, I stood up as the sensible one and said, ‘This is not good.’ Klein wanted twenty per cent, and I said, ‘Tell him he can have ten, if you have to go with him.’ ‘Oh no, no, no,’ they came back. ‘No, he wants twenty.’ It seemed to me they were just fucking out of it and making no attempt to do anything sensible. A lot of hurt went down during that period in the early 1970s – them feeling hurt, me feeling hurt – but John being John, he was the one who would write a hurtful song. That was his bag.

(Paul McCartney about Too Many People (1971), The Lyrics, 2021)

Towards the end of 1969, John had quite gleefully told us it was over. There were a few of us in the Apple boardroom at the time. I think George was away visiting family, but Ringo and I were at the meeting, and John was saying no to every suggestion. I thought we should go back to playing smaller gigs again, but the answer came back: ‘No’. Eventually John said, ‘Oh, I’ve been wanting to tell you this, but I’m leaving The Beatles.’ We were all shocked. Relations had been strained, but we sat there saying, ‘What? Why? Why? Why?’ It was like a divorce, and he had just had a divorce from Cynthia the year before. I can remember him saying, ‘Oh, this is quite exciting.’ That was very John, and I had admired this kind of contrarian behaviour about him since we were kids, when I first met him.

He really was a bit loony, in the nicest possible way. But whilst all of us could see what he meant, it was not quite so exciting for those left on the other side.

(Paul McCartney about Dear Friend (1971), The Lyrics, 2021)

This is one of my favourite songs. It's a ballad with a brass section, but it’s always felt Victorian in style to me. It’s very heartfelt. ‘A love so warm and beautiful / Stands when time itself is falling’. I like that idea, instead of just saying, ‘It will go on forever.’ I got a good feeling writing this song, and listening to it now, I still do. ‘Love, faith and hope are beautiful’. The brass solo is lovely for me because it harks back to the brass bands that were so common when I was a kid; there would often be brass bands in the park or in the streets. My dad played trumpet, as I never fail to mention, and he had his own little band – Jim Mac’s Jazz Band. The first instrument he bought me was a trumpet, and he taught me the scale of C which, when you go on the piano, becomes B-flat. It’s all very complicated. That’s why we didn’t even bother learning music. I realised that I wanted to swap the trumpet for a guitar, so I asked his permission, and he said, ‘Yes, okay.’ ‘Warm and Beautiful’ was written well after the demise of The Beatles, and at this time we knew sadness. I knew about delving into your mind to look for help and looking for some sort of solace in a song. I liked the idea of writing a song in a universal way that dispels the sadness. You write about the wonderful things you know in the world, and you try to write so that it will sing well and be well received by people dealing with grief something that inevitably surrounds all of us at one time or another. On a more personal level, the main inspiration for the song was Linda…

(Paul McCartney about Warm and Beautiful (1976), The Lyrics, 2021)

After The Beatles thing became so depressing, Linda and I decided we’d get out of London and start living full-time on our small holding in Scotland. It was quite a difficult period because of the band’s breakup but it allowed me to see another side of myself. First and foremost, we did everything for ourselves, and at this point it was Linda, Heather, Mary – who was still a baby – and me. If we needed something to eat, we’d go into town in the little Land Rover, come back up, and cook it. We didn’t have anyone helping us, except for one guy, the shepherd, because it was a little sheep farm. It was an experience that allowed me to be a man. <…> I’d grown up in Liverpool and gone on the road with The Beatles around the world and then around again, and now here I was on a farm in the middle of nowhere, and it was sensational. <…> This was the kind of thing I’d never done, ever, in my life, and it was amazingly liberating. I got to do all the things I think a lot of young people still dream about today – the famous ‘gap year’. I sense a lot of people want that freedom, escaping the rat race…

(Paul McCartney about When Winter Comes (1992), The Lyrics, 2021)

After the breakup of The Beatles, I wouldoften just sit around a lot. Sometimes I sat in the kitchen while the kids were playing. Maybe they were drawing. Maybe they were doing bits and pieces of homework. In this case, I came across the chords and I just felt optimistic, and I liked the idea of a song saying that help is coming and there’s a bright light on the horizon. I’ve got absolutely no evidence for this, but I like to believe it. It helps to lift my spirits, to move me forward, and hopefully it might help other people move forward too.

(Paul McCartney about Great Day (1972/1997), The Lyrics, 2021)

Wings, which we began in 1971, was in many ways an experiment to see whether there was life after The Beatles, to see whether that success could be followed. It was the result of asking myself, ‘Am I going to stop now?’ The Beatles were so wonderful and all-encompassing, so successful. Now, should I stop and look for something else to do? But I thought, ‘No. I like music too much, so whatever the something else is, it will be music.’ <…> But it wouldn’t be The Wings, like The Beatles. Just Wings. My problem after The Beatles was, who’s going to be as good as them? I thought, ‘We can’t be as good as The Beatles, but we can be something else.’ I knew that if I were to go ahead with this project I’d have to tough it out, but I had reserves of courage from being part of The Beatles when pennies were thrown at us at the village hall in Stroud, when we were still starting out. <…> Starting off a new band is always a lot of fun, but it’s a lot of hard work too; you have to establish yourself. Following The Beatles was one of the most difficult things for me, just trying to live up to those expectations. It was even more difficult for her [Linda]. I started to write songs for Wings from 1971 onwards, when we got started, and I tried to keep them away from The Beatles’ style. There were avenues I could go down that I wouldn’t have gone down with The Beatles, like bringing in the influence of reggae, which Linda and I got into in Jamaica. I fancied doing something crazy, and Wings allowed me a little bit more freedom. So, this is a love song in which Cupid’s arrow is referenced, but it’s a malevolent arrow. It’s possible I’d seen an illustration of Cupid and thought, ‘Cupid fires a bow, but I’ll switch it. It won’t be love; it will be the opposite.’ The character in the song has been wounded. He’s been cheated on. And it could’ve been a great relationship, could’ve been fantastic. As things stand, you couldn’t ‘have found a more down hero’, because there was nobody more down than me at that moment. So, get it together and bring your love. I have always had a soft spot for this song. There’s a nice horn riff in it, and it’s funky. Sometimes you write to get a sort of feeling rather than a perfectly ‘correct’ lyric. Sometimes the lyric can be secondary to the feeling. This one has as much, or more, to do with the feel of the song, the groove.

(Paul McCartney about Arrow Through Me (1979), The Lyrics, 2021)

John described ‘Coming Up’ somewhere as ‘a good piece of work’. He’d been lying around not doing much, and it sort of shocked him out of inertia. So it was nice to hear that it had struck a chord with him. At first, after the breakup of The Beatles, we had no contact, but there were various things we needed to talk about. Our relationship was a bit fraught sometimes because we were discussing business, and we would sometimes insult each other on the phone. But gradually we got past that, and if I was in New York I would ring up and say, ‘Do you fancy a cup of tea?’

(Paul McCartney about Coming Up (1979), The Lyrics, 2021)

It’s very possible that I’d been feeling down in London. I was back in the solace of family and Liverpool, and what with the Beatles troubles down south, I was likely thinking, ‘Wouldn’t it be nice to get home and have that comfortable feeling again?’ So, there may have been some of that in the background. I wouldn’t rule it out. When I wrote the song, I hadn’t been back home to Liverpool for a long time. But now I was at my dad’s house, which wasn’t quite home because it was a house I’d bought him when I got some money – a five-bedroomed mock Tudor place in Heswall near the River Dee. But it was still Liverpool, and it was ‘homeward’. So I added, ‘Once there was a way to get back homeward / Once there was a way to get back home’. The song turned out to be quite soulful, and I think that’s what attracted me to those lyrics in the first place – that notion of consoling a baby or reading kids a bedtime story. ‘Sleep, pretty darling, do not cry / And I will sing a lullaby’. Those are lines – or something with a similar sentiment – that most parents probably say to their children to soothe them when they’re growing up.

(Paul McCartney about Golden Slumbers (1969), The Lyrics, 2021)

It became a refuge of sorts, and it was nice to get away from London and everything – both the good and bad – that comes with the city. I would drive a Massey Ferguson 315 tractor and mow the hay, and I loved that because I’d been a nature fiend as a kid, and this freedom just gave me time to think – ‘Down to Junior's Farm where I want to lay low’. It was such a relief to get out of those business meetings with people in suits, who were so serious all the time, and to go off to Scotland and be able just to sit around in a T-shirt and corduroys. I was very much in that mindset when I wrote this song. The basic message is, let’s get out of here. You might say it’s my post-Beatles getting-out-of-town song.

(Paul McCartney about Junior's Farm (1974), The Lyrics, 2021)

The context in which the song was written was one of stress. It was a difficult time because we were heading towards the breakup of The Beatles. It was a period of change partly because John and Yoko had got together, and that had an effect on the dynamics of the group. Yoko was literally in the middle of the recording session, and that was challenging. But it was also something we had to deal with. Unless there was a really serious problem – unless one of us said, ‘I can’t sing with her there’ – we just had to let it be. We weren’t very confrontational, so we just bottled it up and got on with it. We were northern lads, and that was part of our culture. Grin and bear it. One interesting thing about ‘Let It Be’ that I was reminded of only recently is that, while I was studying English literature at the Liverpool Institute High School for Boys with my favourite teacher, Alan Durband, I read Hamlet. In those days you had to learn speeches by heart because you had to be able to carry them into the exam and quote them. There are a couple of lines from late in the play: O, I could tell you But let it be. – Horatio, I am dead I suspect those lines had subconsciously planted themselves in my memory. When I was writing ‘Let It Be’, I’d been doing too much of everything, was run ragged, and this was all taking its toll. The band, me we were all going through times of trouble, as the song goes, and there didn’t seem to be any way out of the mess. <…> Around the time we recorded ‘Let It Be’, I’d been pushing the band to go back out and play some club dates – to get back to basics and just bond again as a band, end the decade like we’d begun it, just playing for the love of it. We didn’t get to do that as The Beatles, but that idea did inform the direction of the Let It Be album. We didn’t want any studio trickery. It was supposed to be an honest, no-overdubbing album. It didn’t exactly end up that way, but that had been the plan.

(Paul McCartney about Let It Be (1969), The Lyrics, 2021)

This song is also an analogy for when something goes wrong out of the blue, as I was beginning to find happening around this time in our business dealings. Recording sessions were always good because no matter what our personal troubles were, no matter what was happening on the business front, the minute we sat down to make a song we were in good shape. Right until the end there was always a great joy in working together in the studio. So there we were, recording a song like ‘Maxwell’s Silver Hammer’ and knowing we would never have the opportunity to perform it. That possibility was over. It had been knocked on the head like one of Maxwell’s victims. Bang bang.

(Paul McCartney about Maxwell's Silver Hammer (1969), The Lyrics, 2021)

In much the way that Linda wanted to flee from New York society– the constrictions of Park Avenue and Scarsdale – I wanted to flee from what The Beatles had become. I was hoping to escape, she was hoping to escape. So we had this feeling that we had each pulled the other ‘out of time’. Though the song was written immediately after The Beatles’ breakup, it was somehow included under the Lennon-McCartney rubric, where it doesn’t belong. It was one of my first solo songs, but because of the deal, it got caught in the publishing net. That was very annoying. <…> …the central idea being that there’s so often a split between the inner and outer. <…> The elements of fear and loneliness are very much to the fore. ‘Maybe I’m afraid of the way I love you’ is itself a troubling idea. While it’s true that Linda is the person I’m addressing, it’s also true that I’m dealing in fiction. Starting with myself, the characters who appear in my songs are imagined. <…> In any event, this song isn’t the conventional way of presenting a relationship, or of some of the contradictions that can arise from being in love. <…> It shows the fragility of love.

(Paul McCartney about Maybe I’m Amazed (1970), The Lyrics, 2021)

John went to the exhibition, and I think that was when he and Yoko met, towards the end of 1966. He climbed up a ladder to see what she’d written on the ceiling, and got close enough to it to read it, and it said, ‘Yes.’ So he thought, ‘That’s a sign; this is it,’ and they fell madly in love. Once they were an item, there was the whole Beatles recording thing, where she would be there too. I think this started at the beginning of the ‘White Album’ sessions – so, around the end of spring in 1968. And at first we all – all of us except John – found it pretty intrusive, but we went along with it and worked around her. And eventually I came to the realisation that, look, if John loves her, we’ve just got to let it be, and we’ve got to support this relationship. That was basically my feeling. Then, a year or two later, The Beatles broke up, and it was a bad period, a real low point, where everyone was taking potshots at everyone. And I felt that John and Yoko were particularly good in the potshot department, saying things in interviews, or comments that would make their way to you. They would say not always very pleasant things, and looking back on it, I sort of think, ‘Why? You’re annoyed, so say something unpleasant?’ Over time, the situation eased off and my relationship with John got better, and I used to see him in New York or speak to him on the phone.

(Paul McCartney about Golden Earth Girl (1993), The Lyrics, 2021)

I’m not sure I thought of it at the time, even though this was well after The Beatles disbanded, but I can’t help connecting the oppressiveness associated with that phrase to the oppressiveness that coincided with the end of The Beatles. Not that The Beatles are over exactly. It’s not like we were some little band that never had another record; even though half of us have died, the phenomenon continues stronger than ever. Everything I do seems to be painted with ‘Beatle’…

(Paul McCartney about Put It There (1988), The Lyrics, 2021)

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lily-onher-grave · 3 months ago

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okay okay okay thoughts/excited ramblings about the wicked movie under the cut bc i've seen it and now i'm insane about it again

let's be real it's kinda hard to fumble the opening number of a musical especially when that opening number is no one mourns the wicked and yet i was still absolutely blown away it was SO GOOD

the lil munchkins running, the singing in the streets, the posters of the witch (side note all the artwork was insanely good and just added so much to the style of oz i feel like) it was all so awesome

NOMTW becomes so sinister and they nailed it

obligatory emotional babbling about glinda standing alone in the crowd as everyone sings 'the wicked's lives are lonely'

before i left for the theater i was like 'take your bets on if i'll cry' and my roommate and i agreed that yeah obviously i would. but what i didn't expect is for ariana's sad face to knock me out in five minutes flat. i was done for

the effigy. holy shit. and handing the torch to glinda. i want to go see the whole thing again just so i can rewatch that scene. my heart still hurts

(also nanny! sort of not really. but i liked the childhood scenes i liked that elphaba had one (1) good thing in her life before shiz)

SHIZ okay shiz honestly shiz was the thing i was most excited for bc c'mon, we don't write about our gothic magic school all the time in fic for nothing. and honestly it was so good. the shots of the whole castle! the library design! the balcony moments and the stairways and just like the layers of architecture and the way morrible could kind of be anywhere at any time. the way it felt so grand and yet so small at the same time. idk man the vibes were good and the set was beautiful

glinda arriving by boat was magical that's all

the way everything dillamond had was tailored to him was fantastic it was so good

actually i want to shout out the library set design again and how it tied into the clockwork theme that never gets fully called out even in the musical but it's still so good

where's my time dragon clock tho

also back up the scene where elphaba loses her temper in the courtyard--when she breaks the relief of the wizard, there's old artwork of Animals behind it and i gasped out loud when i saw it

and that was the first moment i thought 'this is brilliant but i still want an hbo dark fantasy political drama tv show based on the book'

speaking of the dark fantasy political drama tv shows, the Animal meeting!! i'm so glad they put more stuff like that in there

actually as a whole the movie felt more grounded and less comedic than the musical. i think they did a fantastic job of keeping the magic and silliness and charm and wonder of the show while still adding those extra bits of drama and dire circumstances

anyway gelphie fic prank wars trope is officially canon great work everybody handshakes all around. i was cackling (silently. i promise i'm a respectful moviegoer)

the ozdust ballroom being illegal makes so much sense. it being underwater was fucking cool. boq and nessa were actually really great and i usually don't care about them at all during this scene

also i love love love nessa and i cannot wait to see more of her. but showing her multiple times on the sidelines when elphie was being humiliated was such a good choice. the tension between nessa obviously caring for her sister yet always caring for herself more is so delicious and i always want to see it fleshed out more, and i think they did such a good job with her? her and elphaba have sweet moments which i love, and her wanting to be independent and only elphaba really understanding that is so so good. and having her just watching elphaba for so long before finally saying she can't watch. god i can't wait to see her be desperate and selfish and cold in act 2, it's gonna be so good

side note boq also looking upset by elphie being bullied. i miss my brotp man

but let's talk about what's most important: the gelphie dance. because oh my god i started crying all over again. so did elphaba. and glinda wiping her tears i'm dying i've died oh my god

i always get a little bit surprised when glinda seems more head over heels than elphaba. idk why. but ariana's glinda is absolutely more head over heels than cynthia's elphaba and i loved it

(they just. freaking LEFT the party. just zipped out of there as soon as they hugged. glinda was like hmmm i just realized some things and grabbed elphaba's hand and ran off while the night was young. and fiyero stared after them knowing that he stood no chance whatsoever)

also i'm like 72% sure the guys sitting next to me were a couple? and they both cried during the gelphie dance too and it was a very unexpected but very funny moment of solidarity

i say ariana's glinda is more head over heels and i stand by it but elphaba's fond little smile when glinda was pouting about sharing secrets almost made me start sobbing again they're so GOOD they're so CUTE and she is SO heart eyes for glinda immediately!!!

i need to be sedated i swear

popular was adorable 10/10 no notes absolutely nailed it i loved every second

also glinda sitting next to elphaba in class now. my heart <3

after dillamond gets hauled away (again with this being more violent and dark and those moments of drama coming through more in the movie i loveeee) glinda doesn't sit down until elphaba does

also they had several little moments of elphaba looking to glinda and glinda either shaking her head or nodding. they've been friends for 2 days and they're already having silent conversations i love them <3

the poppy spell? was sick as hell????

another seeing of wicked, another complete sense of bafflement as to why fiyero is there

i say this jokingly but the fiyero and elphaba romance really does feel like a product of the early 2000s especially now that it's on screen rather than on stage. idk maybe that's just the lesbian in me talking though

the train design is also sick but we knew that from the trailers

okay look logically yes i knew idina and kristin would have cameos. but i'd been crying on and off and one short day's magic had already taken hold so they caught me completely off guard. it was great

the wizard stuff was really sweet. and while i was hoping for more time put toward shiz and stuff, i do think those moments did a great job of 1) showing how much elphaba just wants to be loved 2) foreshadowing the wizard being her father and 3) laying the groundwork for her briefly considering working with the wizard in act 2, which is a decision that never quiteee feels right in the show

i love that they put more lore into the grimmerie btw. very cool

the hot air balloon was random but fun. i wonder if it'll come up again in act 2

every time. every damn time glinda starts singing in defying gravity i just want someone to end it right there. glinda grabs the broom, it fades to black, and they both lived happily ever after

fuck

defying gravity taking place at sunset because it's at the end of their one short day of happiness

also UM morrible coming up and hugging glinda when she's crying. exquisite emotional manipulation i'm screaming

elphie! seeing! her! inner! child! i loved the baby elphie scenes even though i prefer creepy 'horrors' elphaba always. but seeing her come back was sooooo fucking good

elphaba only ever relying on herself, in the end

glinda's final 'i hope you're happy' took me out, as it always does, as it always should. and reaching out from the balcony? i'm sobbing again

morrible dragging glinda into the darkness while elphaba flies into the sun! someone fucking help me i'm already wrecked by these two

honestly my biggest complaint is that now i have to wait for part two, i want to see the rest nowwwww

#wicked movie #gelphie #gelphie my beloved oh my god #a bunch of my friends saw it and were like 'it's amazing everyone should see it'#and i was like yeah i mean i trust your opinion #but is it 'i was obsessed with this for some of the most important years of my life #and i hold it with such a reverence that borders on possessiveness' good?#but lemme tell you it was pretty damn amazing and everyone should see it #also side note i think nomtw is my new favorite wicked song

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