Images used with gratitude from fancaps.net.
Disclaimer: I am not a psychologist, psychiatrist, social worker, or other mental health professional. In my field, I have worked with folks who have trauma histories, but my primary focus is communication. Mostly I’m just a person who reads and overthinks a lot.
SPOILERS ahead for the movie “Wicked,” which adapts Act 1 of “Wicked” the musical. If you haven’t seen the movie (and I highly recommend you do), consider yourself warned.
I’m avoiding spoilers for Act 2 of the stage show, so first-time watchers are safe.

Dysfunctional Family Systems and Narratives
It’s not exactly groundbreaking to say that that the Thropp family is dysfunctional. Blatant favoritism is basically Governor Thropp’s only personality trait. Like most dysfunctional families, the Thropps operate under a false narrative, which places each person into a role that affects the way they view themselves and each other.
Governor Frexspar Thropp: The power-holder

As the single parent and head of the household, Governor Thropp has the power to shape and uphold the Thropp family narrative: not just the story that Elphaba tells Galinda about Nessa’s birth and their mother’s death, but the general assumption that everything that goes wrong is Elphaba’s fault.
For example, in the scene during Elphaba and Nessarose’s childhood, Governor Thropp arrives too late to notice the children who were bullying Elphaba. He assumes, with no context, that Elphaba did something to upset Nessa. This interpretation fits the family narrative, so he doesn’t even try to find out what actually happened.
It should go without saying that Elphaba did not decide in utero to turn herself green, which makes it absurd to hold her responsible for her skin tone or anything that happens as a result. Yet, as with all cases of family scapegoating:
“Being the scapegoated kid wasn’t about who (Elphaba was). It was about parental illness, it was about their mistakes and their choices, but they made it to be about (her).
By enforcing this narrative, Governor Thropp creates an outlet for his feelings of grief, so he doesn’t have to deal with them or face his own culpability. He also creates a toxic family dynamic that shapes how his daughters grow and develop.
Nessarose: The Golden Child

Nessa is the child “who can do no wrong.” From the Governor’s perspective, she is special and perfect “all the way down to (her) toes.” The Golden Child is usually “very good at something…that the parent values,” in this case, having “a perfectly acceptable” skin color. For this reason, Nessa receives constant affection and extravagant gifts, and no one is allowed to hold her even partially responsible for anything bad.
In the childhood scene, Governor Thropp treats Nessa as the only victim. He offers her sweets while admonishing Elphaba for the fact that Nessa is upset at all. This reaction teaches Nessa that her feelings of safety and happiness are more important than Elphaba’s, that the facts of an incident don’t matter because Elphaba is always in the wrong.
Governor Thropp also believes that Nessa needs constant care and assistance. However, the film version of Nessa, who is played by an actual wheelchair-user for the first time since the show debuted in 2003, rejects this part of her role. She can take care of herself as long as there are ramps (and presumably elevators?), and people stop pushing her wheelchair without her permission.
Nessa has, on the other hand, fully accepted the narrative about her sister. After Elphaba’s uncomfortable introduction to the students at Shiz University, their father chides her for “causing a ruckus.” Later, when Elphaba tells Nessa “I shouldn’t have sprouted off like that,” Nessa replies, “No, you shouldn’t have.” It’s done with a smile and a show of affection, but it ignores the truth of what happened in favor of the family narrative, a clear parallel to their childhood scene.
When Elphaba is bullied by other students, Nessa doesn’t even consider sticking up for her. Instead, she focuses on the way that Elphaba’s differences affect her, because this is what she’s been taught to do. Their moments of sisterly affection almost always occur when Elphaba does something nice for Nessa, such as agreeing to stop complaining about Galinda because she helped Nessa find a date.

This is not meant to place all of the blame on Nessa, nor is it intended to absolve her of her faults. It’s simply describing Nessa’s role in the Thropp family system and the long-running narrative that continues to influence her and Elphaba as they enter adulthood.
Elphaba: The Scapegoat

Elphaba, needless to say, is the the family Scapegoat: “the outlier—the one who is different…often the focus of the family’s problems.” This is made clear from the moment Governor Thropp discovers his firstborn child has green skin. In the Thropp family narrative, Elphaba is the cause of every problem, no matter the context. In every interaction between Elphaba and her father, he is snapping at her and/or assuming the worst.
In a video outlining the Scapegoat Narrative, clinician and researcher Rebecca C. Mandeville, LMFT explains that when families scapegoat a young child so consistently:
“(their) very neural pathways are developing around what may be a core sense of being defective, of being unworthy of love.”
This sense is called “toxic shame,” and it’s no surprise that Elphaba carries it into adulthood. Apologizing for her uncomfortable introduction to Shiz, when the only choices she made were to walk a little bit ahead of Nessa and then defend herself against the people gaping at her, is a prime example. Later in the film, she tells Fiyero, “I don’t cause commotions, I am one,” showing how deeply she has internalized the idea that she is at fault for everything that goes wrong.
Elphaba fully accepts the blame for their mother’s death and Nessa’s disability. In her first real heart-to-heart with Galinda, she says, “My father hates me…he has a good reason.” (Galinda’s response is almost-but-not-quite the answer that Elphaba needs to hear: read more about that in this fantastic article).
In fact, only part of the family narrative that Elphaba dares to challenge is the same piece that Nessa has already rejected. “She’ll be fine,” Elphaba tells their father as Nessa starts her new life at Shiz, “She’s on her own now.” However, unlike when Nessa speaks up about it (“Don’t help me”), in this case the Governor snaps at Elphaba to “Stop jabbering! Just do what I say.” The Golden Child might be able to challenge the family narrative, but the Scapegoat certainly can’t.
Dulcibear: The Consoler

From Elphaba’s birth, the only person who shows her love and affection is Dulcibear, her nanny, who raises her while the Governor is busy doting on Nessarose. Although Dulcibear’s ability to defend Elphaba is limited, as she can’t challenge Governor Thropp without risking her job, she can provide comfort when the Governor isn’t around.
Dulcibear may not be able to help Elphaba escape the family narrative, but she does create a deep sense of empathy and connection with Animals. As she and Elphaba share moments of affection when Governor Thropp isn’t around, so too does Elphaba bond with Dr. Dillamond after class. It is easier for Elphba to connect with him than with humans her own age.
Elphaba deeply identifies with Animals, who are essentially Oz’s Scapegoats (no pun intended). On several occasions, when Elphaba describes their maltreatment, it’s hard to tell if she’s talking about Animals or herself. Because Dulcibear was her only source of love, and because the plight of the Animals and Elphaba’s childhood are so similar, Elphaba herself may not be able to distinguish between the two.
Childhood trauma and C-PTSD

By now, it should go without saying that Elphaba’s childhood is full of “ongoing, inescapable, relational trauma,” which can lead to Complex Post Traumatic Stress Disorder (C-PTSD). C-PTSD can include symptoms of PTSD (flashbacks, self-blame, angry outbursts, hypervigilance) with additional symptoms including:
- Emotional flashbacks
- Lack of self-worth (i.e. toxic shame)
- Difficulty controlling emotions
Similar to the way C-PTSD presents in real life, we see these signs in Elphaba as subtle patterns and memorable, dramatic moments. In many cases, Elphaba’s magic is directly connected to her trauma.
Flashbacks and Emotional Flashbacks
Elphaba experiences a few short flashbacks during the film, some mixed with premonitions or memories from infancy, because the magic of Oz can’t seem to let her catch a break. She hears the Munchkin children teasing her and her father shouting “Take it away!” and “Stop jabbering!” She sees Governor Thropp’s face reacting to her as a newborn, the graffiti on Dr. Dillamond’s chalkboard, and a premonition of Dr. Dillamond in a cage.
Talking to Madame Morrible about what happened in Dr. Dillamond’s classroom seems to trigger an emotional flashback: “a complex mixture of intense and confusing reliving of past trauma …with overwhelming sorrow, toxic shame, and a sense of inadequacy.” The incident resonates so deeply with Elphaba that she finds herself quoting her father – rather than the words on the board – as the coin she is attempting to levitate shatters a glass case.
(Later in the film, she has a longer and more powerful emotional flashback, but we’ll get to that.)
Toxic Shame
Even as a child, Elphaba associates the color green with things that are bad. In her description of the Wizard, she mentions that the he likes emeralds “even though they’re green.” This is an example of toxic shame, a “chronic feeling of worthlessness and self-hatred,” which is a major part of C-PTSD.
As an adult, Elphaba sings about her best-case-scenario fantasy of meeting the Wizard, hoping that he’ll see her as “A girl on whom (he) can rely.” She gushes that “All of Oz has to love you/ when by the Wizard you’re acclaimed.” Elphaba doesn’t see herself as someone who is easy to love, more or less someone who deserves love intrinsically. But if the Wizard calls her reliable, then Ozians will have no choice but to follow suit. On top of that, legends say that the Wizard can grant anyone their “heart’s desire,” which in Elphaba’s case could mean literally transforming her into someone who is worthy of love – i.e. someone without green skin.
She also sings an entire song about being unworthy of romantic love, and not just because the object of her affection is already dating someone.

Until she arrives at Shiz, Elphaba believes her magic is, like her, a source of chaos and destruction that she needs to “suppress or hide.” She doesn’t know how she has these powers, only that they are another example of her personal failings.
Speaking of magic…
Hypervigilance and Uncontrollable Emotions
The strongest link between Elphaba’s magic and trauma is her difficulty keeping her feelings in check. She is frequently tense, guarded, and on edge (i.e. hypervigilant), and on multiple occasions, her emotions cause her magic to wreak havoc on her surroundings, especially in situations that connect to her childhood. Some examples:
- Protectiveness toward her sister – the Golden Child – causes her to levitate Nessa in her wheelchair, as well as all the benches in the courtyard.
- Shame and defensiveness about the nature of her magic, in the face of Galinda’s questions, cause her to telekinetically slam the balcony door so hard that the glass shatters.
- Anger at the injustice dealt to Dr. Dillamond and the lion cub causes Elphaba to instinctively scatter poppy pollen around the classroom, putting almost everyone to sleep.
There are nonmagic examples too; during the song “Popular,” after Galinda calls her “beautiful,” Elphaba becomes visibly overwhelmed and leaves the room, incapable of seeing – or allowing someone else to see – herself in such a positive light.

“You think I want to be this way? You think I want to care this much?” Elphaba says to Fiyero during a scene in the forest. “I know that my life would be much easier if I didn’t care.” But Elphaba can’t disconnect herself from her feelings, especially ones that are so deeply rooted in her childhood trauma.
Elphaba demonstrates so many other signs of C-PTSD that it would be impossible to delve into all of them. More examples include:
- Specific triggers for flashbacks and other symptoms
- Becoming emotionally detached in the presence of her father
- Difficulty feeling happy or satisfied
- Trouble with interpersonal relationships
- Mistrust, especially of new people
Emotional Vulnerability and Reparenting: Enter Madame Morrible and the Wizard

Madame Morrible is the first human to treat Elphaba with kindness and warmth. “Leave your father to me,” she says, establishing her ability to protect Elphaba from her main source of trauma. Morrible gives Elphaba hugs, calls her magic “a talent” and “remarkable,” and even goes out of her way to protect Elphaba from the rain. Her behavior toward Elphaba markedly contrasts with her cold and dismissive demeanor toward other students, a full reversal from Elphaba’s childhood experience.
This, of course, is a ruse. (I did warn you there would be spoilers.). Madame Morrible is giving Elphaba everything she never had in order to establish emotional dependence. Through Madame Morrible, Elphaba finds what seems like unconditional acceptance and appreciation. “Afraid of losing [that] love,” Elphaba complies with everything Madame Morrible asks of her. By establishing herself as a surrogate maternal figure, Madame Morrible ensures control over Elphaba’s actions, and by proxy her power.
Which is why, after Madame Morrible sees the aftermath of the “poppy incident,” she writes an “urgent” letter to the Wizard, presumably accelerating their plans in order to keep Elphaba under their control.
If Madame Morrible puts on an act for Elphaba, the Wizard puts on an entire production, from the animatronic balloon with its fancy invitation, to the luxurious private train, to the moment Elphaba sets foot in his inner sanctum. This is what the Wizard is best at: grand, over-the-top inventions that dazzle – and distract – his audience.

This next bit is speculation on my part; I believe that “The Great and Powerful Oz” recognizes Elphaba immediately but pretends not to. Hear me out:
- He obviously knows she’s coming.
- Elphaba has to present her invitation at the door to his sanctum. In a world with small flying devices that can travel the same distance as a train, microphones, radios, and a massive animatronic model of a head intricate enough to change its facial expression, it’s absurd to assume that
Stephen Schwartzthe man who grants Elphaba permission to enter has no way to communicate with the Wizard. - Because the Wizard has to to manipulate people in order maintain power, it would be equally as absurd to believe he can’t see the who he’s talking to.
- He has created a miniature of Elphaba, including her black dress and pointed hat: the exact outfit she’s wearing when she arrives.
So why would he pretend not to know who she is? I can think of two reasons.
First: Elphaba is used to standing out in a bad way. Her day in the Emerald City provides a refreshing break from that negative attention, and by not recognizing her instantly, the Wizard establishes himself as part of it. Here, Elphaba is treated exactly like everyone else, until the Wizard “discovers” who she is.
Second: By “not recognizing” her, the Wizard allows Elphaba to glimpse the version of him that everyone else sees, a sharp contrast with the version that Elphaba gets to see. For once, she is the Golden Child.
In any case, the man who greets Elphaba is warm and welcoming, silly and somewhat bumbling in an endearing way. Although I share these feelings about “A Sentimental Man,” it does demonstrate what the Wizard is trying to do. He’s charming, inviting, and willing to become the father figure that Elphaba has never had. Yes, he’s laying it on thick, but it works.

Many models of C-PTSD refer to a person’s “wounded inner child,” some referring to a process called “reparenting.” From the start, the Wizard and Madame Morrible seem to do this for Elphaba. Their demeanor toward her suggests that she might be intrinsically valuable, despite the Thropp family narrative, despite decades of Scapegoat Abuse, despite the way that Oz has reacted to Elphaba her entire life. Maybe – if Madame Morrible and the Wizard are right – Elphaba’s father was wrong to treat her the way he did. Maybe Elphaba is worthy of familial love. She can express her heart’s desire to help the Animals of Oz because with Morrible and the Wizard, she doesn’t have to change her skin color in order to be accepted.
So it’s no surprise that Elphaba is desperate to demonstrate her power. Madame Morrible has been setting this up from the beginning: Elphaba will need to “prove” herself when she meets the Wizard. Morrible and the Wizard play this moment carefully, asking each other if Elphaba is ready or if the Grimmerie is too much for her, fueling Elphaba’s desire to do what they want. So when the Wizard sets up what he’s hoping for, Elphaba doesn’t have time or space to think it through. Of course the Wizard’s interpretation of Chistery’s bird-watching is accurate; he’s The Wizard of Oz and he’s already established that he’s on the Animals’ side. Elphaba is so focused on demonstrating her skills that she doesn’t think to ask Chistery for permission before attempting the spell that presents itself to her.

Betrayal and emotional flashbacks
Despite Madame Morrible’s attempt at reassurance, the spell’s torturous effect on Chistery and the other monkey guards reinforces everything Elphaba has been taught through childhood: she cannot help but cause pain and suffering to those around her. This is a trigger: a moment that excavates Elphaba’s trauma-response and brings it directly to the surface. In less than a minute, she becomes the destructive force of chaos and shame that the Thropp family narrative has always told her she is. Every ounce of self-worth she has gained, all the good she has learned to see in herself, vanishes under the weight of this narrative that she cannot escape.

This, of course, is not the worst part.
The Grimmerie spell was never a test of Elphaba’s power; she proved that effortlessly to Madame Morrible the first day she set foot on Shiz University campus. It was a test of loyalty. Would Elphaba stay with the Wizard, knowing what he really was? Would she abandon her desire to help the Animals of Oz in order to maintain the familial love she so desperately craves?
This is what Madame Morrible and the Wizard have been building toward. By establishing themselves as safe, loving, surrogate parents, they can secure Elphaba’s emotional dependence, allowing them to manipulate her – and therefore her power – for their own gain. Yet this is where their plan goes wrong. Too early, they tip their hand about their role in Animal subjugation. The moment Elphaba hears the word “spies,” everything they have been working for is lost.
So, if Madame Morrible and the Wizard have been so carefully orchestrating all of this, how did they mess it up so badly?
At first I thought it was a minor plot hole; a momentary disconnect from the consistency of their characters in order to fuel the plot. Then I realized something. As much as they know about Elphaba’s childhood, there is one very important aspect they may not have heard about: Dulcibear.
When Elphaba processes her feelings with Madame Morrible after the incident in Dr. Dillamond’s classroom, she is clearly projecting the shame and humiliation she faced in childhood. This, Madame Morrible sees. She does not see Elphaba follow Dr. Dillamond into the forest to witness the meeting of the Animals. She does not hear that as a child, Elphaba’s only source of love and support was an Animal. She does not understand the extent to which Elphaba has internalized the plight of the Animals, that the desire for justice that she was never allowed to express for herself has been fully transferred to the Animals because for the first twenty years of her life, she was closer to an Animal than she could be to humans. So Madame Morrible and the Wizard have no way to understand how deep those feelings lie. They have no way to predict the sense of betrayal that this revelation will bring up.
Would Elphaba have accepted the Wizard being a fraud if he wasn’t oppressing Animal culture? Maybe; maybe not. But after learning that the Animals are being deliberately Scapegoated (again: no pun intended. I did not come up with this term) by the Wizard, a plot enabled by Madame Morrible, the revelation about the Wizard’s powerlessness can only add fuel to the fire. The Wizard’s first promise to Elphaba was a lie. Even if he could grant her heart’s desire (which he can’t), he wouldn’t because it’s antithetical to everything he’s been working for.

Elphaba clutches the Grimmerie to herself and yells at Madame Morrible, “Don’t (touch me)!” and “Stay back! This is an emotional flashback. For these few minutes, Elphaba is a child again, helpless against the authority figures around her, unable to break free from the shame and rejection that has shaped her life. She finds herself in a Fight/Flight/Freeze response, and everything they say only makes it worse.
Reclaiming the narrative
Several harrowing minutes later, Elphaba listens to Madame Morrible, the first human who showed her true kindness, confirm to all of Oz that Elphaba is the exact person everyone – especially the Thropp family system – has thought her to be. It’s an effortless heel-turn, proving that her warmth and kindness was at best conditional, at worst a facade.

Glinda, who has never felt the level of pain and powerlessness that Elphaba has, who was raised by two loving, supportive parents, clings to the belief that Elphaba can erase everything that happened simply by apologizing. She does not understand that the Wizard and Madame Morrible have become unsafe, that returning to them requires Elphaba to subject herself to the shame and humiliation she was forced to endure through childhood. Having lived a life of privilege and admiration, Glinda cannot understand what Elphaba is going through.
Choosing to reject the only course of action that leads to any semblance of external love and validation, Elphaba finally claims that love from the only person who can truly give it to her: herself.


Reparenting the wounded inner child of a person with C-PTSD can – in certain cases – be done by external figures who are safe and trusted (and thoroughly trained), but more frequently it is done internally by the person themself. As explained by the CPTSD foundation:
…reparenting means giving yourself what you did not receive in childhood from the original parents. Reparenting involves learning to give your wounded inner child all the love, respect, and dignity they deserved when you were young.
“It’s me!” Elphaba cries, not just to redirect the palace guards, but to proclaim that she has given herself what the world has never seen fit to. There is no one left to rescue her, so instead she rescues herself. It’s a beautiful, tense, powerful moment; a heartwarming metaphor of a major step forward in the C-PTSD recovery process. Elphaba may have become Oz’s Scapegoat, but she has also become her own hero. “And nobody in all of Oz, no Wizard that there is or was” can ever take this moment away from her.

As of January 26,2025, Wicked is still in some theaters, but it can also be bought or rented through YouTube, Fandango at home, Apple TV, Google Play, or Amazon Prime.














