No romantic storyline is complete without the triangulation of desire. The Dorothy narrative frequently employs the contrast between the exciting, unpredictable "bad boy" and the stable, perhaps slightly boring, "nice guy."
The beauty of these storylines is that they rarely judge the character for her choices. Instead, they highlight the universal lesson that we often have to kiss a few frogs (or bad boys) to understand what we actually need in a partner.
Here’s where it gets interesting. Glinda arrives in a bubble, beautiful, soft-spoken, and immediately focuses all her attention on Dorothy.
The dynamic: Mentorship with a heavy dose of awe. Glinda treats Dorothy like the most important person in Oz. She doesn't tell her how to get home—she tells her to discover it herself. In many UK stage adaptations (like the RSC’s 1980s version), Glinda is played with a knowing, tender affection that borders on the maternal... and sometimes something more ethereal.
When we think of iconic female-driven narratives in recent UK television history, the landscape is often dominated by gritty crime dramas or period pieces. However, looking at the character archetypes that define the "modern British woman" on screen—specifically through the lens of characters like Dorothy (or the ensemble casts often grouped under this banner in fan discourse)—we find a fascinating study in modern romance. No romantic storyline is complete without the triangulation
Whether referencing the specific character dynamics in cult classics or the general "Dorothy" archetype of a woman navigating the complexities of British life, the romantic storylines offer more than just fluff. They provide a mirror to the shifting expectations of love, loyalty, and self-discovery.
Here is a deep dive into the romantic storylines and relationship dynamics that define the Dorothy narrative.
This is the original UK "keep your feet on the ground" relationship. Auntie Em isn't warm and fuzzy; she’s tired, working a grey Kansas farm, and tells Dorothy to stop daydreaming.
The dynamic: Strict, loving, but distant. In the UK adaptation The Wiz (or stage productions), this relationship is often re-cast as a foster-care or strained guardian dynamic. It’s the "I love you but I don’t understand you" trope. The beauty of these storylines is that they
While romantic partners come and go, the strongest relationships in the Dorothy universe are often platonic. The "Girl Relationships" element is the backbone of the story.
Before the romantic hero gets his moment, the female friends usually do the heavy lifting. They are the ones picking up the pieces after a heartbreak, offering brutal honesty over a glass of wine, and providing the safety net that allows the protagonist to take romantic risks.
This dynamic is crucial. It tells the audience that while the romantic storyline is the cherry on top, the cake is the solidarity between women. The friends are the ones who validate her feelings and remind her of her worth when a romantic storyline goes south.
Here’s the deep cut for UK book fans. In L. Frank Baum’s original novels, Dorothy eventually meets Princess Ozma, the ruler of Oz. They become best friends. Ozma even gives Dorothy a magic picture to watch over her. Glinda is played with a knowing
However, in the later books, Ozma is revealed to have been enchanted as a boy (Tip) before becoming a girl again. Modern LGBTQ+ readers (especially in the UK’s vibrant queer theatre scene) have interpreted Dorothy and Ozma’s relationship as a quiet, gentle romance. They sleep in the same palace, share secrets, and Ozma says Dorothy is "dearer than anyone."
Verdict: The closest thing to a canon "girl relationship" with romantic potential. It’s never stated, but the warmth is undeniable.
Officially? No. The 1939 film famously gives Dorothy zero love interest. No prince, no farm boy, no kiss at the end. This is rare even by today’s standards.
But UK fan culture and modern adaptations have filled the gap.
In the film, Hunk (the actor who plays the Scarecrow in Oz) says to Dorothy: "I think I’ll miss you most of all, Scarecrow." That line is loaded. In many UK stage productions, Hunk is rewritten as a shy farm boy who clearly has a crush on Dorothy. The romance is left hanging—will she notice him when she gets back to Kansas?