Executive producer Ben Winston is utilizing the traditional, old-school variety show format to elevate promotional content for major film franchises like Universal’s Wicked. By blending comedy sketches, exclusive behind-the-scenes clips, and live musical performances, Winston aims to create “event television” that serves as a bridge between cinematic releases, according to his remarks at a recent Universal lot FYC event.
How are variety specials evolving as marketing tools?
Modern variety specials are shifting away from simple press junkets toward highly produced, standalone entertainment. According to Winston, the strategy for Wicked: One Wonderful Night was to treat promotional material with the same creative rigor as a feature film. By weaving choreography and narrative elements into the special, the production team created content that functions as an extension of the film’s universe rather than a standard advertisement.
The Wicked special featured a unique performance of “Get Happy/Happy Days Are Here Again,” a suggestion pitched directly by Ariana Grande to Ben Winston over a Zoom call.
Why does the “old-school” formula resonate with audiences?
The reliance on classic variety show tropes—live performances, scripted comedy, and musical numbers—provides a sense of nostalgia that appeals to a broad demographic. Music director Stephen Oremus noted that reconstructing iconic arrangements note-by-note creates an emotional connection, citing the Judy Garland-inspired finale as a way to ground the high-fantasy world of Wicked in a recognizable musical history.
Production constraints and creative solutions
Time management remains the primary challenge in this format. Choreographer Christopher Scott reported that the team had only three days to finalize the movement for Michelle Yeoh’s segment. To overcome this, Scott rehearsed with Yeoh at her hotel, incorporating her martial arts background into the choreography to highlight her character’s weather-manipulating abilities. The production also faced tight scheduling at the Dolby Theater, with only two days available for full musical rehearsals, according to Winston.
What is the future of IP-integrated variety content?
The success of these specials suggests a trend toward “transmedia” marketing, where promotional content becomes eligible for major industry awards. Wicked: One Wonderful Night is currently vying for Emmy consideration. If successful, it would represent a rare convergence of an intellectual property securing Oscar, Tony, Grammy, and Emmy accolades, reinforcing the value of high-quality, long-form promotional storytelling.
Pro Tip: Leveraging existing talent
Successful variety specials often rely on the improvisational instincts of their leads. When Michelle Yeoh added an unscripted “wink” to her performance, it became a standout moment that added depth to her character. Producers should prioritize creative freedom for performers to ensure the content feels authentic rather than strictly scripted.
Frequently Asked Questions
- Who produced the Wicked: One Wonderful Night special?
The special was executive produced by Ben Winston, who is also known for his work on The Late Late Show and The Grammy Awards. - What was the inspiration behind the special’s finale?
According to Ben Winston and Stephen Oremus, Ariana Grande pitched the idea of covering “Get Happy/Happy Days Are Here Again” to create a hopeful, iconic conclusion. - How long did the team have to rehearse?
The production team had only two days at the Dolby Theater for musical rehearsals, and choreographer Christopher Scott had three days to prepare the movement segments.
Interested in how modern entertainment trends are shaping the future of film promotion? Subscribe to our newsletter for deep dives into production strategies and industry analysis.
d, without any additional comments or text.
[/gpt3]
