Ben Shapiro has weighed in on the cultural moment surrounding Wicked: For Good, publishing a review segment on his show as the sequel hit theaters. Americans who distrust Hollywood’s elites want someone who speaks plain truth about spectacle, and Ben’s review promises to give viewers a no-nonsense take on a film that has already divided critics and audiences alike.
The movie opened widely on November 21, 2025, and industry reports show massive preview turnout that foreshadowed a blockbuster debut, with Forbes reporting huge preview grosses ahead of opening weekend. That kind of commercial muscle proves the American people still decide what succeeds at the box office — not the opinion of coastal critics or the awards cabal.
Critics, however, have been noticeably more mixed about the sequel’s merits, calling part two meandering and less energized than the first installment in several prominent reviews. Washington Post critics and other outlets have pointed out pacing and tonal problems that the studio’s two-part gamble exposed, suggesting Hollywood’s habit of stretching content for profit can hollow out even beloved properties.
Still, ordinary moviegoers have been more forgiving, with audience scores and social reaction showing enthusiastic support from fans who want to return to Oz and feel moved by the central performances. Aggregators and audience meters show a sharp split between professional critics and paying customers, and that gap tells you everything about who Hollywood is really serving these days.
Let’s be clear: there’s legitimate art here — Cynthia Erivo, in particular, continues to earn praise for grounding Elphaba with real emotional weight, and many reviewers concede that the leads elevate flawed material. But praise for performances doesn’t erase a broader pattern where studios prioritize spectacle, franchise sequencing, and headline-grabbing casting over coherent storytelling and respect for audiences’ time.
Ben’s audience doesn’t come to him for groupthink; they come for honest, principled criticism that respects common-sense values and the taste of regular Americans. Whether he dismantles the film’s excesses or celebrates its moments of greatness, his review is part of a larger conservative pushback against an entertainment industry increasingly detached from mainstream culture.
Americans who love movies should demand better: stop the two-part padding, stop letting woke virtue signaling trump storytelling, and start rewarding films that actually respect viewers and tell a complete story. If box office success and genuine audience enthusiasm continue to clash with critics’ takes, then it’s time to listen to the people who pay for tickets — and to commentators like Ben who will call out Hollywood’s failures while cheering its true successes.
