Gwen Stefani’s ‘Dorothy’: Another Wizard of Oz Remake We Didn’t Ask For

Prime Video’s newly announced ‘Dorothy’, a “contemporary, music-infused YA retelling of ‘The Wizard of Oz,” is yet another example of Hollywood’s obsession with dusting off classic intellectual property (IP) instead of taking a risk on something original. Helmed by Gwen Stefani and Blake Shelton as executive producers alongside creator Gina Matthews, the series promises a modern spin on Dorothy’s journey, reimagining the Yellow Brick Road as a metaphor for the angst of young adulthood. While the project’s details—sourced from outlets like Deadline, Yahoo Entertainment, Nerdist, Reactor, JoBlo, and ScreenRant—sound ambitious, the whole endeavor reeks of creative bankruptcy. Given Prime’s recent string of misfires, from ‘The Rings of Power’ to the disastrous Ice Cube-led ‘War of the Worlds‘, there’s little reason to believe this team can deliver a ‘Wizard of Oz’ series that doesn’t butcher the original or turn Dorothy into an insufferable girl-boss caricature.

According to Deadline, ‘Dorothy’ is in development under Matthews’ Little Engine label, with Stefani, Shelton, and others like Lee Metzger and Patrick Moran attached as non-writing executive producers. The pitch centers on Dorothy as a “symbol of strength” (if that’s not Mary Sue coded language, nothing is), navigating modern challenges with “kindness and grit” in a music-driven narrative. Stefani, fresh off her ‘Kuu Kuu Harajuku‘ animated series, calls it a “creative and modern take” that blends “music, emotion, and the character of Dorothy.” Shelton, whose producing credits lean heavily on Hallmark fluff, claims Stefani’s “unique perspective” makes her perfect for the job. Matthews, with credits like ’13 Going on 30’, says her lifelong love for Baum’s books inspired the project, aiming to deliver a story about resilience and community. Sounds fine, until you realize it’s just another rehash of a story we’ve seen a million times before.

Here’s the rub: why does this need to exist? ‘The Wizard of Oz’—whether Baum’s books or the 1939 Judy Garland classic—is a cultural monolith, timeless in its simplicity and depth. Dorothy’s journey is already universal; her Kansas roots and earnest quest to find home don’t need a “contemporary YA” filter to resonate. Yet Prime, like so many studios, can’t resist plundering the past instead of investing in a fresh idea. This isn’t about honoring Baum’s legacy—it’s about milking a recognizable brand for quick clicks. As Nerdist notes, the timing reeks of opportunism, piggybacking on Wicked’s success to capitalize on Oz’s cultural cachet. But where ‘Wicked‘ carved out a distinct perspective, ‘Dorothy’ sounds like it’s aiming for a CW-style reboot, complete with pop anthems and a Dorothy who’s more likely to post #BossBabe selfies than marvel at flying monkeys.

Prime’s track record only deepens the skepticism. This is the studio that turned ‘The Rings of Power’ into a Tolkien fan’s nightmare, alienating purists with its lore-bending excess. Then there’s the past rumors of their push for a female James Bond, a concept so focus-grouped it feels like a parody of itself. And don’t get me started on the Ice Cube ‘War of the Worlds’—a film so universally panned it’s already a case study in how to torch a classic. These aren’t just missteps; they’re neon warning signs that Prime prioritizes flashy gimmicks over substance. Why should we trust them to handle Oz with care? The “music-infused” angle, likely leaning on Stefani and Shelton’s industry clout, smells like a ploy to turn Dorothy’s adventure into a glorified music video, with the Scarecrow probably rapping about his missing brain.

Speaking of Stefani and Shelton, their involvement screams stunt casting over creative necessity. Stefani’s producing resume is thin—’Kuu Kuu Harajuku’ was a quirky side project, not a storytelling triumph. Shelton’s work on Hallmark movies suggests he’s better suited to cozy romances than reimagining a fantasy epic. Their names feel like a marketing grab, not a vote of confidence in their ability to steer a nuanced adaptation. Will their input even matter, or are they just here to slap their names on the poster and sell a few singles?

The “contemporary YA” label is another red flag. As Reactor and ScreenRant report, the series frames the Yellow Brick Road as a stand-in for “the challenges and choices facing young adults today.” Translation: expect a Dorothy who’s less about wide-eyed wonder and more about preaching empowerment to the toxically male Tin Man. Baum’s Dorothy was compelling because of her unassuming courage, not because she was a proto-influencer with a chip on her shoulder. Modernizing her risks turning a timeless heroine into a walking cliché, spouting dialogue that sounds like it was ripped from a self-help blog. And with Prime’s history of overcorrecting for “relevance,” we’re likely to get an Oz that feels less like a magical land and more like a gentrified urban pop-up.

Could this go right? Maybe. Matthews has a decent track record with character-driven stories, and her affection for Baum’s work could ground the series in something authentic. But she’s swimming against the tide of a studio that loves to meddle and producers whose expertise lies elsewhere. The lack of concrete details—no casting, no writers, no clear vision—suggests ‘Dorothy’ is still a concept in search of a soul. Compare this to other failed Oz reboots, like Kenya Barris’ Inglewood-set pitch, which fizzled amid doubts about its necessity. ‘Dorothy’ feels like it’s chasing the same fleeting trend, banking on nostalgia while offering nothing new.

The bigger issue here is the industry’s addiction to remakes. Original stories are risky, sure, but they’re also the lifeblood of art. Instead of betting on a fresh fantasy with the same emotional weight as Oz, Prime is playing it safe, recycling a brand they know will get headlines. It’s the same laziness that’s given us endless Spider-Man reboots and live-action Disney remakes that nobody asked for. If ‘Dorothy’ crashes and burns, it won’t just be because of bad execution—it’ll be because it never needed to exist in the first place. Until Prime proves it can respect a classic or, better yet, create something original, this skeptic will keep expectations firmly in Kansas—flat, predictable, and far from magical.