Hollywood is bracing for another reboot, another revisiting of familiar ground. This time, it’sAlice in Wonderland, reimagined as a musical and reportedly starring Sabrina Carpenter in the iconic title role. The announcement feels… underwhelming. It’s not a question of Carpenter’s talent, but a growing fatigue with endless adaptations.
Carpenter is a genuine star, a force in pop music. She possesses the power to champion bold artistic choices, evidenced by her album artwork and politically charged performances. ThisAlicefeels like a step back, a safe choice for an artist capable of so much more. Her cultural influence deserves a project that truly breaks new ground.
Audiences are demonstrably weary of remakes, sequels, and adaptations. Recent attempts to revive classic stories have been met with resistance. Guillermo del Toro’sFrankensteinsparked debate among book purists, while Emerald Fennell’sWuthering Heightsadaptation drew criticism for its soundtrack and casting choices. Even the highly anticipatedHarry Pottertelevision series has faced controversy.
Disney, once the king of live-action remakes, appears to be slowing down its production line, and for good reason.Lilo & Stitchproved a lackluster entry, highlighting a growing trend of diminishing returns. While 2016’sThe Jungle Bookinitially succeeded, it marked the beginning of a descent into “safe bets” and predictable storytelling. The subsequent, almost shot-for-shot remake ofThe Lion Kingonly accelerated that decline.
The previous foray into a live-actionAlice in Wonderland, Tim Burton’s 2010 spectacle, was a massive success, exceeding $1 billion at the global box office. However, the 2016 sequel stumbled dramatically, grossing a mere $300 million and reportedly costing the studio $70 million. Interest had evaporated, proving that even a beloved property can’t rely on past success.
To succeed, Carpenter’sAlicemust be radically different. It needs to distance itself from Burton’s vision and Disney’s animated classic. The musical genre offers potential, but Hollywood’s recent track record is concerning. 2019’sCatswas a critical disaster, andMean Girls: The Musicalfailed to recapture the magic of the 2004 original.
Wickedstands as an exception, a testament to the power of a well-established stage show. The Ariana Grande and Cynthia Erivo-led adaptation benefited from decades of devoted fans and a willingness to challenge the source material. This newAlicerisks mirroring the fate ofWonka– a modestly successful but ultimately forgettable film that quickly faded from the cultural conversation.
The fear is that this adaptation will join the ranks of disregarded song-and-dance numbers, failing to capture the wonder of its predecessors. Carpenter reportedly pitched anAlice in Wonderlandfilm in 2020, but lacked the star power to get it made. Now, with a stronger platform, a more original concept feels like a missed opportunity.
While Carpenter’s acting credits include roles inTall GirlandThe Hate U Give, her singing career has eclipsed her on-screen work. Her recent hosting gig onSaturday Night Liveshowcased her comedic talent, but her focus remains firmly on music. Lorene Scafaria, the writer and director, has a promising resume with films likeHustlersandNick & Norah’s Infinite Playlist, but her other projects suggest a more conventional approach.
Alice’s Adventures in Wonderlandpossesses the potential for a truly psychedelic and unconventional musical experience. But the early signs are not encouraging. A plea, then: embrace the bizarre, lean into the musicality, and, after years of remakes, deliver something genuinely different. It’s time to take a risk.
