THE WIZ (1978) Movie Reaction! | First Time Watch! | Diana Ross | Michael Jackson | Richard Pryor

The hosts highlight that 'The Wiz' improves upon the original 'Wizard of Oz' by having Dorothy herself guide her friends to discover their inherent qualities (brain, heart, courage). This shift makes the self-discovery more meaningful, as it comes from within their shared journey rather than being bestowed by a 'wizard.' The Wizard's role is reduced to a 'sham,' emphasizing that true power resides in self-belief.

Achara: 'I loved that Dorothy came along and was like, 'No, like that's not true. You can I'm just going to help you down. Like, why have you been listening to these crows who know nothing about you?'' Michael: 'I liked that Dorothy was the one that told her friends it was in them all along.'

The Scarecrow's storyline serves as a powerful allegory for the detrimental effects of negative external voices and self-talk. The hosts emphasize how constant criticism ('you're worthless, you can't come down') can make individuals believe they are incapable, even when they possess intelligence. Dorothy's intervention helps him realize his true potential by dismissing these external narratives.

Achara: 'Poor Scarecrow had the crows telling him that, you know, you're worthless. You're worthless. You can't come. You can't come down. You can't do this. you can't do that. And he believed it.'

The Tin Man's character is interpreted as a commentary on masculinity and the suppression of emotions. Despite claiming to have no heart and no feelings, he openly expresses sadness, joy, and vulnerability throughout his journey. This portrayal challenges the societal expectation for men to 'be a man' and 'not cry,' suggesting that true emotional capacity exists even when denied.

Michael: 'He was his whole thing was cracking me up as well, cuz I thought that, you know, it perhaps was like a kind of commentary on men and masculinity and how it's like we weird. We don't feel and like I'm just out there with like all my all my little Betties and all of that, like with my ladies, and I don't feel. And he all the while he's saying he doesn't have a heart. He doesn't feel. And then he's crying over Tiny.'

The hosts are consistently impressed by the film's visual design, including its massive sets, intricate costumes, and innovative practical effects. They highlight scenes like the Munchkin Land transformation, the Emerald City's color-changing fashion, and the subway monster sequence as examples of groundbreaking artistry for its time, creating a sense of awe comparable to early color films.

Achara: 'This is so colorful.' Michael: 'The art department already winning so many awards. The costumes, the outfits, the makeup, the choreography.' Michael: 'The Twilight Zone fight in the subway where the literal columns came off. That was wild.'