Las Vegas has always been the city where dreams go to get bigger, bolder, and occasionally more ridiculous. But even by Sin City standards, what’s happening at the Sphere this month is causing quite the uproar. The iconic 1939 film “The Wizard of Oz” is getting a complete AI makeover for the venue’s massive wraparound screen, and let’s just say not everyone is clicking their ruby slippers in approval.
Starting August 28, visitors to the futuristic Sphere can experience Dorothy’s journey down the yellow brick road like never before. And by “like never before,” we mean with AI-generated content that has film historians clutching their pearls and taking to social media with the fury of a Kansas tornado.
When Dorothy Gets a Digital Makeover
Here’s where things get interesting (and controversial). The original film, shot in the 1930s for a standard 4:3 movie screen, is being transformed to fill the Sphere’s mind-boggling 160,000 square feet of LED display space. That’s roughly the size of four football fields curving up, over, and around the audience.
To make this happen, a team of 2,000 people has been working with artificial intelligence to do two main things: dramatically enhance the film’s resolution to 16K quality and use something called “outpainting” to expand scenes far beyond their original frames. Think of it as digital wizardry that reveals what was supposedly happening just outside the camera’s view in 1939.
The result? Dorothy’s close-ups now show details that were never visible in the original print. The yellow brick road extends in directions Victor Fleming never filmed. Uncle Henry appears in shots where he was never actually present. Even Toto gets what one reviewer called a “glow-up.”
The $80 Million Yellow Brick Controversy
With an estimated price tag of $80 million, this isn’t just any old movie screening. Sphere Entertainment CEO James Dolan insists the goal isn’t to “modify the film at all but to try and bring you into the film, as if you were in the studio when it was shot.”
The immersive experience goes beyond just visuals. The venue’s 167,000 speakers deliver spatial audio that makes “Over the Rainbow” hit different (literally). Haptic seats let you feel the tornado’s winds. Environmental effects include custom scents that transport you to Kansas farmland and the Emerald City. There are even drone-operated flying monkeys filled with helium swooping around the audience.
More than 120,000 tickets have already been sold, with prices starting at $104 and climbing well over $200 for prime viewing times. The company expects to hit 200,000 ticket sales by opening night, potentially increasing the percentage of Vegas visitors who attend Sphere events from 7% to over 10%.
The Backlash Is Real
But here’s where the story takes a darker turn than anything the Wicked Witch could conjure. Film preservationists, critics, and devoted fans are absolutely furious about the AI alterations. The Oz Archive, a prominent fan community, claims that “over 90% of the film has been ‘touched up’ with AI” and calls the result “disgraceful.”
The criticism isn’t just about technical changes. Many argue that the AI enhancements fundamentally disrespect the original artistic vision. They point to Dorothy’s unnaturally smoothed skin, the loss of the film’s characteristic grain, and completely fabricated performances by deceased actors who never consented to digital resurrection.
One particularly sarcastic social media user wrote: “Like I’d been wondering my whole life what Uncle Henry was doing off to the side while Aunt Em was talking to Miss Gulch. Finally we know. He was just standing there.” The comment highlights how AI has filled empty spaces with content that was never meant to exist.
More Than Just Technical Upgrades
Critics distinguish between traditional film restoration and what’s happening at the Sphere. Standard restoration focuses on repairing damage like scratches, tears, and fading while maintaining fidelity to the source material. This project goes far beyond that, actively reinterpreting and generating new visual content that the original filmmakers never created.
Film historian Stephen Whitty and other preservation experts argue that the changes alter the film’s fundamental look and composition. The hand-painted backdrops that gave Oz its magical, theatrical quality have been transformed into photo-realistic landscapes that, according to critics, make Dorothy’s journey feel less like a trip to a fantastical realm and more like a high-definition nature documentary.
The Show Must Go On
Despite the controversy, the Sphere experience is moving full steam ahead. The venue, which opened in September 2023 and seats about 20,000 people, has already made waves with its concerts and visual displays. This marks their first venture into classic cinema, and early reviews from journalists who’ve seen preview segments have been largely positive.
The production team includes Oscar winners, tech innovators, and film historians working alongside Google Cloud engineers. They’ve spent two years developing the technology and crafting an experience that goes far beyond simply watching a movie. Glenn Derry, executive vice president of MSG Ventures, has been overseeing 4D elements including simulated fog, wind effects, and sensations that replicate the film’s tornado scenes.
The Bigger Picture
This controversy reflects broader anxieties about AI’s role in entertainment and art preservation. While Sphere producers argue they’re creating an “ethical” blueprint for AI use in film restoration, critics worry about setting precedents for altering beloved classics without permission from original creators or their estates.
The debate raises fundamental questions: Where’s the line between enhancement and alteration? Who gets to decide how classic films should be experienced by new generations? And in an age where AI can generate infinite variations of existing content, what happens to artistic integrity?
For now, audiences will get to decide with their wallets. The Wizard of Oz at Sphere runs through late September, offering what may be the most technologically advanced movie experience ever created. Whether it’s a magical innovation or digital vandalism depends entirely on your perspective.
One thing’s certain: we’re not in Kansas anymore. And depending on who you ask, that might not be such a wonderful thing after all.
