I’ve respected Wicked‘s wallop factor from the get-go, but please God, no…don’t let it win the Best Picture Oscar.

To improve its reputation among the Joe and Jane Bumblefucks who’ve had it up to here with elite leftist instruction, the Oscar-bestowing community has to get with the emerging new current…the “put down the wokey DEI playbook, and maybe ease up on queerish messaging” program.

And I’m saying this, mind, as a rapt admirer of Luca Guadagnino‘s Queer.

Wicked is basically a high-impact racial parable with songs, magic and lesbian sauce. It’s about an unjustly feared and despised woman of color (i.e., green) and the wicked superficial whitey-whites who are determined to socially ostracize and excommunicate her, and thereby leave her no choice but to evolve into Margaret Hamilton‘s Wicked Witch of the West.

And that’s fine as far as it goes. Just leave the Best Picture Oscar out of the equation.

Obviously industry people love Wicked and I’m not saying they’re wrong for leaning this way, but given that average Americans have been saying “enough!” and “whatever happened to real movies?”, it’s clear that cinema has to turn the corner or else…films have to get real, step off the soapbox, put their feet on the ground and ease up on the progressive instruction narratives…really. Honest stories that touch bottom. Anora, Conclave, that line of country.

We all know it’s been a weak year and I don’t mean to abruptly switch objections, but HE also wishes a double ixnay upon The Brutalist.

An hour ago I checked with domain.com and discovered that www.stopwicked.com, stopwicked,org and stopwicked.net are available.

Posted a few hours ago by The Hollywood Reporter‘s Seth Abramovitch:

“A week into its release, Wicked is starting to shape up as a serious contender. Elphaba isn’t flying off to the Western sky with statuette in hand quite yet, but there’s no denying that Wicked has a lot going for it in its bid to win best picture.

“Let’s start with the obvious. Academy members don’t just like Wicked — they love Wicked. At the Directors Guild, PGA and SAG screenings in both Los Angeles and New York, as well as at the Academy screening, capacity crowds burst into applause after many songs and gave the film a rapturous standing ovation after the cliffhanger finale.

“Guild members are known to give standing Os — they did last year for Oppenheimer when Christopher Nolan emerged for his Q&A — but according to those in attendance, the effusiveness for Wicked has been at another level.

“Then there’s the damn grosses. We are coming off a near extinction-level event for cinema — i.e. the COVID-19 pandemic, during which small streaming-friendly films like CODA and Nomadland won best picture.

“But in the post-plague era, some voters seem to be hungry for spectacle. Last year, Oppenheimer was the perfect mix of IMAX-sized visuals and weighty subject matter — a billion-dollar earner the Academy could proudly point to and say, ‘This is the cinematic gold standard.’ That bodes well for Wicked.”

Wicked is a ride, all right, but “cinematic gold-standard” is a whole ‘nother realm.