5 Ways Modern Adaptations Prove It's 'Not The Wizard Of Oz' Anymore

The phrase "Not The Wizard of Oz" has become a cultural shorthand for the dramatic changes and controversies surrounding modern interpretations of the L. Frank Baum classic. As of December 2025, the conversation is dominated by two major, current phenomena: the highly-debated, AI-enhanced immersive experience at the Las Vegas Sphere and the impending, two-part cinematic adaptation of the Broadway hit *Wicked*. These projects, alongside a century of other retellings, force audiences to reckon with a fundamental question: When does an adaptation stop being a tribute and start becoming something else entirely? The enduring power of the 1939 film, starring Judy Garland as Dorothy Gale, is its foundational status in American cinema, defined by its pioneering use of Technicolor, its iconic musical numbers, and its simple, heartfelt narrative. Yet, contemporary creators, armed with advanced technology and revisionist perspectives, are deliberately moving away from this classic, resulting in experiences that are technically dazzling but critically divisive.

The New Emerald City: A Century of Oz Adaptations and Re-imaginings

The story of Dorothy’s journey to the magical land of Oz is one of the most adapted narratives in history. L. Frank Baum published *The Wonderful Wizard of Oz* in 1900, and since then, the tale has been continuously reinterpreted across every medium. Understanding the lineage of these adaptations is key to grasping why the newest versions are so often labeled as "Not The Wizard of Oz."

• The Wonderful Wizard of Oz (1900): The original novel by L. Frank Baum, which was followed by thirteen official sequels.
• The Wizard of Oz (1939): The iconic MGM film starring Judy Garland, often considered the definitive version.
• The Wiz (1978): A soulful, all-Black musical film adaptation starring Diana Ross and Michael Jackson.
• Return to Oz (1985): A darker, more unsettling sequel from Disney that was truer to the tone of Baum's later books.
• Tin Man (2007): A Sci-Fi Channel (Syfy) miniseries that offered a dystopian, modern-day re-imagining of the characters.
• Oz the Great and Powerful (2013): A Disney prequel film directed by Sam Raimi, focusing on the origins of the Wizard.
• Wicked (Upcoming 2024/2025): The two-part film adaptation of the blockbuster Broadway musical, a prequel focused on the Wicked Witch of the West.

Each iteration has added a layer to the Oz canon, but the current wave of projects is challenging the very integrity of the 1939 film, sparking debates about artistic preservation versus technological innovation.

1. The Sphere Controversy: When AI-Alteration Becomes 'Vandalism'

The most recent and contentious example of "Not The Wizard of Oz" is the immersive experience at the Sphere in Las Vegas. Launched to utilize the venue’s massive, 160,000 sq. ft. interior LED screen, this version of the 1939 film has ignited a fierce backlash among film purists. The experience is billed as a fully immersive journey, utilizing AI-driven visuals to deliver a spectacle. However, the use of AI to "enhance" and alter the original footage has been the source of major criticism. Reports indicate that the AI technology was used to algorithmically sharpen details, such as giving Dorothy’s face an unnatural synthetic sheen and even altering the appearance of her famous freckles.

Critics have labeled these changes as "emotionless" and a form of "vandalism" against a classic work of art. The argument is that by digitally manipulating the film to fit the massive, curved screen—effectively stretching and re-coloring it—the producers have sacrificed the original film’s texture, color palette, and cinematic intent. The result is a hyper-real, edited-down version that may dazzle with spectacle but fails to preserve the soul of the original movie. It is, by definition, an experience based on *The Wizard of Oz*, but fundamentally, it is *Not The Wizard of Oz*.

2. The Wicked Phenomenon: A Focus on Elphaba, Not Dorothy

The upcoming two-part film adaptation of the musical *Wicked* is the second major contemporary reason for the "Not The Wizard of Oz" distinction. The musical, and its source novel *Wicked: The Life and Times of the Wicked Witch of the West* by Gregory Maguire, is a revisionist prequel that shifts the entire narrative focus away from Dorothy Gale and onto the character of Elphaba Thropp, the future Wicked Witch of the West. The films, directed by Jon M. Chu, feature a star-studded cast:

• Elphaba Thropp: Cynthia Erivo
• Galinda Upland (Glinda): Ariana Grande
• The Wizard: Jeff Goldblum
• Madame Morrible: Michelle Yeoh
• Fiyero: Jonathan Bailey

The first installment of the film is slated for release on November 22, 2024, with the second part following on November 21, 2025. The core intention of *Wicked* is to explore the political, social, and ethical complexities of Oz before Dorothy's arrival. It deconstructs the black-and-white morality of the 1939 film, presenting the Wicked Witch as a misunderstood activist and Glinda as a complex, ambitious figure. Because its central conflict, themes, and characters are entirely distinct from the classic film, fans and critics alike are careful to emphasize that *Wicked* is an Oz story, but it is Not The Wizard of Oz.

3. The Loss of the Original's Magic: The Search for a New "Rainbow"

Beyond specific projects, the phrase "Not The Wizard of Oz" speaks to a broader critical disappointment with modern remakes. The 1939 film is beloved for its pioneering leap from the sepia tones of Kansas to the vibrant, saturated world of Technicolor Oz, perfectly encapsulated by the song "Somewhere Over the Rainbow." Many modern adaptations, in their quest to be "darker," "grittier," or more "realistic," lose the inherent, innocent sincerity of the original. The 1985 sequel *Return to Oz*, for example, while critically acclaimed for its faithfulness to Baum's later books, was too dark and unsettling for many fans of the 1939 classic, proving that a different tone can fundamentally change the viewing experience. Similarly, the 2007 miniseries *Tin Man* offered a dystopian, science-fiction take, completely abandoning the musical fantasy elements that made the original a timeless classic. The core magic of the 1939 film lies in its simplicity: a young girl’s journey of self-discovery, accompanied by the Scarecrow, the Tin Man, and the Cowardly Lion. When modern adaptations prioritize complex political backstories, digital spectacle, or revisionist character arcs, they inevitably create something that is technically impressive but emotionally detached from the original. This detachment is precisely why the most cutting critique a new Oz project can receive is the simple, definitive statement: It’s Not The Wizard of Oz.