The machinery of the modern Hollywood blockbuster is typically loud, metallic, and armored in high-gloss publicity. Yet, for the Winter 25 cover of Wonderland, the stars of the billion-dollar Wicked franchise—Cynthia Erivo and Jonathan Bailey—have chosen a radically different weapon: intimacy. In a media landscape saturated with polished soundbites and rigid press junkets, the duo’s latest editorial, styled by Jason Bolden and captured in the soft focus of a bedroom set, dismantles the traditional architecture of movie promotion. By framing the upcoming Wicked: For Good not as a mere cinematic sequel but as a tactile exploration of power, nature, and friendship, Erivo and Bailey are executing a sophisticated "soft power" play. They are signaling that the second half of Jon M. Chu’s magnum opus will trade the Technicolor spectacle of Oz for something far more human, political, and dangerously vulnerable.
The Architecture of Intimacy
The visual narrative of the Wonderland Winter 25 cover story serves as a deliberate counter-programming to the CGI-heavy scale of the film itself. Where the screen offers sweeping vistas of the Emerald City, the editorial offers tangled limbs, unmade beds, and a proximity that feels almost illicit in its comfort. This is the "no sleep for the wicked" concept reimagined not as exhaustion, but as the quiet, unguarded hours between friends who have weathered a global storm together.
The accompanying video piece, "In Bed With Cynthia Erivo and Jonathan Bailey," strips away the typical interviewer-subject hierarchy. Running just over ten minutes, the unscripted conversation reveals a chemistry that industry insiders know cannot be manufactured. Erivo and Bailey navigate the dialogue with a fluidity that suggests a shared language—one developed over months of grueling production schedules and the shared burden of carrying a massive legacy IP.
Critically, this editorial choice by Wonderland bridges the gap between high-fashion prestige and fandom desire. By placing two of cinema’s most potent queer icons in a setting coded with domesticity and softness, the publication taps into a modern craving for authenticity. It validates the parasocial investment of the audience, offering a glimpse of the "real" people behind the green paint and the prince’s uniform, while simultaneously elevating them to the status of fashion muses.
Styling the Subversive: The Jason Bolden Effect
Fashion is never incidental in a campaign of this magnitude, and the credits for this shoot reveal a strategic deployment of top-tier talent. Stylist Jason Bolden has orchestrated a wardrobe that rejects the rigid armor of traditional superhero or fantasy promotion. Instead, the focus is on texture, silhouette, and touch. Erivo, known for her architectural red carpet moments, is presented here in softer lines that emphasize her humanity over her character’s mythic destiny. The clothes breathe, moving with her rather than constraining her.
For Bailey, the styling leans heavily into a "bedroom masculinity"—a trend gaining significant traction in menswear editorial. Deviating from the sharp suiting of his Bridgerton tenure, Bailey’s look is tactile and relaxed, utilizing knitwear and soft tailoring to project an accessible, emotionally literate strength. This aesthetic aligns perfectly with his character Fiyero’s trajectory in the second film, which promises to deconstruct the "shallow prince" trope into something far more tragic and substantial.
The beauty team, represented by The Wall Group, reinforces this narrative of raw elegance. Joanna Simkin’s makeup for Erivo avoids heavy theatricality, opting for a luminous, skin-forward finish that withstands the scrutiny of the close-up lens. Groomer Ben Talbott and nail artist Shea Osei provide the finishing touches that ground the fantasy in high-end reality. It is a masterclass in "undone" glamour—a visual assertion that these stars do not need costumes to command attention.
Power, Nature, and the World We Live In
Beyond the aesthetics, the substance of the Erivo-Bailey dialogue signals a thematic pivot for the franchise. While the first film established the spectacle, Wicked: For Good is being positioned as the philosophical engine of the saga. In their conversation, the actors repeatedly circle back to concepts of "power," "nature," and the "world we live in." This is not the language of a holiday musical; it is the language of prestige drama.
Erivo credits director Jon M. Chu with the ability to "make something very big seem entirely small and intimate." This paradox is central to the film’s new marketing identity. The narrative is moving away from the "origin story of a villain" toward a complex allegory about authoritarianism, environmental stewardship, and the cost of moral courage. By grounding these lofty themes in their personal friendship, Erivo and Bailey make the political personal.
This reframing is essential for the film’s longevity. The "two-part split" strategy carries inherent risks of franchise fatigue. To justify a second ticket purchase, the studio must promise depth, not just length. The Wonderland interview serves this purpose by assuring audiences that the second installment allows the cast to "dig in and find the truest versions" of their characters. It implies that Part One was merely the setup, and Part Two is where the real artistic work resides.
Industry Reaction and The Director’s Brand
The industry reaction to the Wonderland package has been swift and telling. Fashion-adjacent media and entertainment trades have seized on the "director brand-building" aspect of the interview. Jon M. Chu is increasingly being portrayed not just as a logistical wizard capable of managing massive budgets, but as an emotional anchor—a director who prioritizes the heartbeat of a scene over its special effects.
This characterization is crucial for Chu’s career trajectory, positioning him for future awards consideration. Erivo’s endorsement of his process serves as a powerful testimonial within the Academy and guild circles. It paints a picture of a set where "holding the scenes" and "holding the crew" are synonymous with directing—a holistic approach that resonates in a post-strike Hollywood focused on sustainable production cultures.
Furthermore, the viral circulation of clips from the "In Bed" video demonstrates the power of social-native promo. Fandom accounts have dissected every glance and "unspoken rule" mentioned by the pair, generating millions of organic impressions that traditional advertising cannot buy. The video’s videographer, Jay Sentrosi, and the editorial team at Wonderland have effectively created a piece of content that functions as both a high-gloss magazine feature and a piece of fan-service bait.
The Business of Emotional Investment
From a macro business perspective, this feature represents the convergence of fashion media and franchise IP management. Studios are increasingly relying on editorial spaces to do the "soft work" of character development. A billboard can sell a release date, but a cover story sells an emotional connection. By utilizing Wonderland—a publication known for its savvy intersection of pop culture and high fashion—Universal Pictures is targeting a demographic that is literate in visual codes and skeptical of corporate hard-sells.
The timing is also strategic. Releasing this "Winter 25" package now, ahead of the deep freeze of the awards season and the ramp-up to the film’s release, keeps the conversation simmering. It bridges the gap between the initial hype of the first film and the serious, dramatic positioning of the second. It transforms Erivo and Bailey from co-stars into a cultural unit—a duo whose off-screen bond is as compelling as their on-screen romance.
Timeline of the Wicked Phenomenon
- The Origin: Wicked begins as Gregory Maguire’s revisionist novel, evolving into a Broadway monolith that redefines the modern musical.
- The Adaptation: After years of development hell, the film is greenlit as a two-part saga directed by Jon M. Chu, casting Erivo and Grande (and later Bailey) to anchor the project.
- The Launch: Part One releases to global box office success, establishing the visual language of the filmic Oz.
- The Pivot (Winter 25): The Wonderland cover story signals the shift toward Wicked: For Good, reframing the narrative around intimacy, maturity, and political resonance.
- The Future: The release of Part Two, likely accompanied by a heavy awards campaign focused on the acting and directing, moving beyond technical categories.
Forecast: The Road to the Oscars
Looking ahead, the tone set by this Wonderland feature predicts a specific trajectory for the Wicked: For Good press tour. Expect fewer stunts and more "serious" cinema discourse. The fashion will likely follow suit—anticipate Erivo and Bailey appearing in more avant-garde, structural, and perhaps darker looks that reflect the "nature/power" themes discussed in the interview.
Financially, this strategy aims to expand the audience base. While the musical theatre core is guaranteed, the emphasis on "world-building" and "political relevance" invites the interest of general cinephiles and cultural critics who might otherwise dismiss a "singing witch movie." If successful, this pivot could see Wicked transcending its genre to become a genuine contender in major acting and directing categories, validating the two-film gamble as an artistic necessity rather than a commercial cash-grab.
Ultimately, the Wonderland cover is more than a pretty picture. It is a statement of intent. It declares that in a world of noise, the most powerful thing two stars can do is lie down, look at each other, and speak the truth.
Written by Ara Ohanian for FAZ Fashion — fashion intelligence for the modern reader.
