#I completely understand that a lot of book fans hate how they’ve removed the context of the setting though

[mariathechosen1]

Seeing a lot of people criticize Netflix’s 3 Body Problem for its casting choices (which I understand, they’ve definitely made an…….interesting decision), but when it comes to criticizing it as a show I think many are being a bit unfair.

I get that a lot of people don’t like it when adaptations change elements of their favorite book, but this show was honestly pretty well made! Not to mention visually stunning!

I watched it with my dad, who has read all the books and who’s a really big fan, while I’m only vaguely familiar with the book plot, but we both really liked it! I definitely agree with some critics that the show sometimes struggles (especially in the first episodes) with giving us proper direction and motivation (something/someone to root for ya know?) but that fixed itself a bit as we got to know the main cast more and more. The show’s biggest flaw (except for all the weird af adaptation choices) is that they don’t give us more time with our main cast. They can be a bit flat at times, and I really feel like most of them carry a lot of unexplored potential.

Onto the positives: The way these guys do dialogue is just *chef’s kisses*. It’s smart, it’s layered, it’s funny and they never made exposition boring. I think a lot of the characters were ‘saved’ by just how great the dialogue was. Characters like Wade very quickly became favorites because of just how entertaining they were, while, on the other side, characters like Auggie seemed a bit ‘dull’ at times (though Auggie definitely became better once they gave her more agency). The show’s characters almost seem divided into two categories: Those with emotional depth, but dull dialogue, and those with no depth, but awesome dialogue. Sometimes it balances itself out, other times it’s a bit frustrating.

I was also pleasantly surprised by how they handled the horror element of the story. While probably not as effective as in the original book (converting written to visual horror is a challenge of its own caliber.), there were several scenes that very much scared the shit out of me.

I also cried……several times. Kudos to Alex Sharp for a breathtaking performance.

I think this show is best suited for two types of people: 1) People who haven’t read the books, but who are interested in some nice sci fi, and 2) Book fans…….who aren’t too emotionally attached to the original storyline.

[microsuedemouse]

last night I had an Absolute Stranger pop up in my notes to be totally hostile out of nowhere about my interpretations of some fictional characters. I took the initiative to block them because they were engaging in bad faith and clearly had no interest in discussing the subject. now they don't have to see my content anymore and everyone wins! but I've been thinking about it ever since, and I wanted to share some thoughts here, with those of you who are reasonable and not just trying to start arguments with people you've never interacted with before. I know that at times I've collected large numbers of young, passionate followers, so I think this is a discussion worth having with anyone who's willing to converse in good faith!

one of the most fundamental truths of how human beings interact with fiction is that every single member of the audience is going to have a different take on the story. if you ask me, this is also one of the most beautiful and interesting things about engaging with other fans of something. everyone is bringing something different to the table when they sit down to read, watch, listen, play, or otherwise take in the tale. everyone is going to have their own context through which to understand the characters and events in the story. when you're dealing with literally anything that isn't expressly stated by the storytelling, you're dealing with interpretation, and there is never only one correct way to interpret a story or character. this just isn't how fiction works.

let me give you a good, clear example of what I mean. several years ago, in one of my university classes, I read Karen Russell's short story St. Lucy's Home for Girls Raised by Wolves. the story is about a group of girls - maybe werewolves, maybe only feral children; it's left somewhat ambiguous - who are taken from their wolf families and re-educated by nuns to be proper young ladies. they're made to sit up straight and cut their wild hair and speak only in human languages, giving up the howling and growling they've used all their lives. it's difficult and unnatural for them. when my prof asked us what the story reminded us of, I was the one who brought up residential schools, and it seemed that a lot of my classmates agreed with me: the similarities were striking, even if Russell hadn't had that in mind. but an autistic classmate of mine had a different comparison to make - to her, the story was uncomfortably reminiscent of the treatment received by many autistic children, being forced to give up everything that comes naturally to them and conform to other people's expectations of their behaviour. both of these reads were completely legitimate.

you don't have to have an english or literature degree to understand this concept. think back to your early experiences writing essays in school, based on a book you'd been assigned to read. think about your teachers telling you: make a point, and then use evidence to convince me. this is one of the most basic ways that we engage with fiction on an academic level. and when it comes to fandom, we don't even have to go that far! while many fans love to put a lot of thought into their interpretations, headcanons, fanfics, meta, and other fanworks, many don't. there are a lot of reasons for this, from wanting to see yourself reflected in the characters you love to simply having fun shaking things up. you don't have to justify your interpretations (or your reinterpretations). you're allowed to play in the sandbox just because it's a good time.

a lot of us, when we really love a story or character, get incredibly passionate about our interpretations. that's normal and understandable. and so, naturally, we're also going to find people whose interpretations fly in the face of our own. but people who disagree with you are not inherently wrong. people are incredibly complex, which means two things: one, real people are going to have all kinds of complex factors affecting how they read a story, and two, there are virtually infinite ways to interpret fictional people when the information you're working with is necessarily limited. when they're working from the same baseline information, two people can have two wildly different understandings of a character and neither of them is objectively more correct than the other.

(this intersects a lot with conversations about coding and authorial intent. both of these are their own huge discussions that I'm not going to get into in detail here. both are important in their own ways, but when you cut down to the bone, the basic truth remains that audience interpretations are still going to go in all directions and that's still allowed. even when you're working exclusively with interpretations that aim to be entirely canon-compliant, neither coding nor authorial intent is the same thing as explicit canon. yes, it's still crappy to erase heavy queer-coding [for example] in media where that's the best representation that creators can offer us; that's a matter of social issues intersecting with fiction, which is another huge discussion of its own. but even what qualifies as 'heavy' coding is going to vary from one audience member to the next.)

for me, this incredible variety of interpretation is one of fandom's greatest strengths! I have made friends with people whose character interpretations are incredibly different from mine, or whose favourite ships are the ones I can't stand, or who hated stories I loved. I think trading these ideas, discussing the differences in our readings of the same subject matter, is so interesting. learning how someone reads a character or storyline, and why they read it that way, is always really illuminating for me! discussing our differing interpretations can be such an interesting way to learn about other people's points of view and broaden your own perspective. I so strongly encourage it. embrace the passion you share, rather than starting arguments about things that ultimately don't have much in the way of impact on your real-world existence. for sure, yeah, block the weirdo who romanticises an abusive ship that gives you the creeps. but when you meet someone who headcanons your favourite character to be a completely different sexuality than you do, or who ships your brotp romantically... there's huge potential there for some really engaging conversations.

this isn't a manifesto. the topic of fan interpretation is enormous, and includes so many smaller discussions, and intersects with so many other issues. I'm not claiming to have covered all the bases here. I just really encourage you all to accept that there are no Objectively Correct Opinions - that's not how opinions work! you know that, I know you do! and when you do come across work that's just so far from your interpretation that you can't stand it... just don't engage. scroll on past. block the poster if you want. no one is making you look at fanwork that you don't like. you are not obligated to interact with the people creating that work in any way. please, for the love of god, curate your own fandom experience. someone doodling fanart for a ship that doesn't jibe with you isn't hurting you. you have the power to remove it from in front of your eyes and go find something else you like better. go engage with things that do interest you!! you will be happier for it!!!

[aros001]

First time read through light novel vol. 6. Random thoughts.

Hey, can you guess what my favorite episode of the anime is? Here's a hint: it's one apparently a lot of other Subarem shippers hate. I say f**k that! Episode 18 and this book made me love the idea of them as a couple even more! But we'll get to that in a minute.

“By conducting these negotiations, you bear Emilia’s fate on your shoulders. Naturally, everything you say affects her, and it carries the same weight as Emilia’s words. This is not a decision you should make lightly, nor are the words you say easily taken back.”

“...Ah, uh...”

“Moreover, I ask again—should you owe me in this matter, it will mean the defeat of the Emilia camp. Are you truly fine with this?”

It really brings into the focus the problem of Subaru calling himself Emilia's knight without thinking and why the actual knights took such offence to it. At best it was a gimmick with no actual meaning to him and at worst he wanted all the rewards that came with being a knight (or at least what he perceived as the rewards) and not any of the responsibility. That's basically the reality Crusch is making Subaru face; the true burden that is on the one who claims to be Emilia's representative. Being a knight isn't just a game or a fancy title. Whatever he does will heavily impact his lady's future and he never once considered that.

“You hate the Witch Cult. That’s the reason you approached Emilia, is it not?”

Damn.

“—You have not said, ‘I want to save Emilia,’ even once.”

Daaaamn. Obviously, we know the witch cult has nothing to do with why Subaru wanted to hang around Emilia, but it's really telling of his current state that that's what it looks like from the outside. His hatred for Petelgeuse is stronger than his love for Emilia.

The fact that Roswaal has twice now been absent during events that his presence could easily have prevented tragedy is incredibly suspicious. Especially during the mansion arc, where he only left the mansion during the loop Subaru had made a lot of progress in finding the shaman and thus, unlike the previous loops, could have warned him about what was about to happen. It feels like Roswaal is intentionally removing himself as to invite disaster upon his house and Emilia, likely to manipulate her and Subaru.

Priscilla is an oddity to me, because she really feels like someone I should dislike more than I do, as I tend to have an instant dislike for very bratty, entitled, and/or spoiled characters. I'm not sure what it is specifically that's lifting her up so much for me. It's not just the looks, because I've seen attractive female characters I've hated because of their brattiness (I think she and Bitch princess from Shield Hero share the same english voice actor, in fact). I think that, one, there is just this sense of fun and amusement when Priscilla's around, like I just want to see whatever she does next, and two, despite her attitude, I'm not really getting a feeling of shallowness from her. She doesn't feel like she's putting people down just to prop herself up. There is actual strength and depth to her.

Rem followed behind both of them, and he could hear noises coming from her nose every so often. Rem had a keen sense of smell, and she’d apparently picked up some kind of unsavory scent, staring at the back of the iron helm as they walked along.

Well, Al is from another world like Subaru, so it wouldn't be surprising if he also had the witch's scent attached to him, assuming his situation is anything like Subaru's.

“Don’t be silly. You’re Ram, right?”

“I am Rem... Forgive my rudeness, but where have you met Sister, Master Al?”

Rem explained how he’d mistaken her for her nearly identical older sister as she posed the question. However, Al made no reply. He raised up his one arm and touched his helm, busily poking the metal.

“What the hell’s goin’ on here...?”

Al sounded nervous, seemingly unable to process the information. The increasingly rapid tapping offered further proof.

“So you’re Rem...and your sister is Ram?”

“Yes, that is correct.”

“This might be a weird thing to ask but...is your older sister alive?”

“...? I do not understand the meaning of your question. Sister is alive, as she should be.”

The instant Rem gave that answer, Subaru, who had been listening to the conversation in silence, felt goose bumps all over his flesh.

“—This ain’t funny.”

Well...that got a lot of theory wheels turning in my head. I was already wondering if Al had his own Return By Death ability, so it's certainly possible he'd met Ram before a restart, though why he'd mix up her and Rem, I'm not sure. Another possibility is that he's maybe experienced Subaru's own RBDs, so while he can't trigger the ability himself he retains his memories from the original timelines. We've seen timelines where Ram has died but also one back at the mansion where only Rem died. Of course, there's also the possibility this story is going to go full Futurama: Bender's Big Score and Al is going to turn out to be a future version of Subaru sent back to the past.

That damn whale is like something out of a horror movie. I don't tend to care for gory horror but I do like movies with unique monsters and killers, so I could easily see myself getting into a movie about a giant flying whale that appears in a dark fog and basically consumes the entire existence of whatever it eats, including its past presence in the world. It's not just memories being erased. The person themselves never was.

You can tell the story is doing a good job of connecting when I know full well that Subaru's going to have another RBD and that everything's going to be fine and I'm still tearing up over Rem basically sacrificing herself to hold off the whale and Subaru is realizing he's allowed her to die four times over.

Huge difference between the books and the anime, as I'm pretty sure in the anime Puck just killed Subaru in the room Emilia died in. There was no bringing her to the witch cult's hidden cave like there was here.

“Unable to even pass a single trial, not even facing a single Deadly Sin, bearing great expectations only to stumble over the first stone in her path...”

The madman looked down at the sleeping Emilia, sighing.

“—Ahh, you were lazy!”

Curious as to what he meant by all that. Now that I think about it, I don't think it's been revealed yet the specific reason the witch cult went after Emilia. Yes, she looks like the Witch of Envy but it that a bad thing or a good thing to the cult? Do these "trials" she was supposed to face have to do with the dragon and royal selection or the witch?

I don't think they said why Subaru can now see Petelgeuse's previously unseen hands. I think I saw a theory about how Subaru's connection with the witch grows stronger with each RBD, beyond just the scent, so he might simply has just accumulated enough EXP to finally level up into seeing them. Then again, I did love Subaru's mocking line to Petelgeuse that the witch has been "cheating" on him with Subaru, so it's certainly possible he just has more of Satella's affection than Petelgeuse and thus he gets more special perks from her.

And finally, we get to the talk between Subaru and Rem at the end. Funny thing, when I first started watching the anime, someone I knew who'd seen it before me told me that, one, it's very different from Isekai Quartet, which introduced me to the characters, so don't go in expecting a comedy, and two, that episode 18 has a Subaru moment that a lot of people hate. Given how the arc had been since before that episode and how Subaru kept falling further and further, I had no idea what was going to happen or what was worse than what he'd already done that'd get people to hate him so much.

And it turns out it's just because of a shipping war. I'm still not sure if I should feel relieved or annoyed. Yeah, I ship Subaru and Rem over Subaru and Emilia, but hating this part of the story just because he still loves Emilia? I feel like everything else except for that one line gets ignored (the line I'm avoiding saying because I don't want a bot to flag this post) and that the lack of all context except Subaru loving Emilia while Rem loves him destroys a lot of why the scene works.

There's just so much to talk about with why I love this part between Subaru and Rem. I'm a big fan of superhero stories and a classic trope I love is when things get dark and everything is brought to its lowest point...only for the hero to make a comeback. And Subaru... The man is broken. He's given up. Not only has he experienced death, failure, and futility multiple times, he's seen the people he cares about be completely slaughtered, with Rem dying, being mutilated, and even erased to protect him and Emilia, the woman he loves, dying directly because of him. He's powerless to change anything, or at least everything he does change seems to just make things worse. He sees himself as selfish, greedy, and arrogant; that he never actually cared about anyone other than himself. He's just spewing all this very justified self-hatred...and Rem counters it perfectly, not saying a single thing that isn't true about what she loves about him. Last volume had her imagining running away with Subaru, so the possible life with him she talks about isn't just something she's pulled out of the air. It's something she's considered and wants, which means it has actual weight when she turns him down.

I think another reason Rem connects to Subaru so much is because she's no stranger to self-hatred. She's also seen her own existence as a blight on everyone and everything around her. That she's selfish and terrible. And the person who helped pull her out of that state, at least somewhat, and get her to start liking herself was Subaru, which is what she's doing for him now. It's what I love so much about the relationship between these two. It's not just that they've saved each others' lives. They've helped each other in incredibly personal ways, despite the fact that neither fully knows what the source of the other's pain is. Subaru doesn't know what Rem felt as she watched Ram's horn get cut off. Rem doesn't know about Subaru's RBD and constant failures. They didn't need to. They simply knew the other needed help and they gave it, with no strings attached. It's why, despite me shipping them together, I'm not upset that Subaru doesn't return Rem's love (yet?) in the same way. There was a great bit of art I saw of the moment, and the words alongside it were "I didn't say I love you to hear it back. I said it so that you would know." Despite her still having some issues, being a little too subservient and obsessed with Subaru, I can believe Rem's love for him is real. When Subaru hated himself and believed everyone else did too, Rem told him that she loved him, not to get anything back out of it, but simply because she wanted him to at least have that to hold onto.

Rem was clearly at least a little upset at the end of their talk, and I can see it being some regret that she turned him down or that he does still love Emilia more, and I'm fine with that. She did the right thing and she is happy the real Subaru is back, but her being a little sad afterwards keeps her human (even if she's a demon).

Honestly, while I do ship them, I think both did make the right call. If or when they hook up, it should be when there's no lingering doubts or regrets they're carrying with them. Where they can have a future where they can smile together and with everyone in their lives they love and can't just abandon. Plus, I want to see Ram as an aunt to Subaru and Rem's kid! That sounds amazing!

And Subaru saying he loves Emilia, even after Rem poured her heart out to him...well, yeah, of course he does. He just found out Rem loves him and has had no time to process it (he was trying to run away with her out of fear and guilt, thus why she turned him down). If his feelings for Emilia were that easily swayed then it'd be hard to say that they were ever that strong or real to begin with, and thus what would have been the point of everything he's been through? It's not like he said it to hurt Rem. Hell, here and in the anime he sounds pretty apologetic as he says it, because he knows it'll hurt her to hear it and he doesn't want that. But it is the truth. So I'm not going to get mad at him for it. It's consistent with his character and everything he's been through and lead to great character moments for both him and Rem. What's there to be angry about?

But yeah, there was a little bit of it in the last chapter but I'm soooooooo looking forward to next volume. I remember just the feeling of hype and "F**k yeah!" going through my chest on my first watch of the anime. Subaru, after hitting his absolute lowest point, pulling himself together with Rem's help and gathering up everything he's got to fight back against the previously hopeless situation and save the day. It made all that heartache and misery so worth the wait.

Original Reddit post: https://www.reddit.com/r/Re_Zero/comments/gr9y77/novels_first_time_read_through_light_novel_vol_6/

[icannotreadcursive]

Cats 2019, Dir. Tom Hooper

Overall Quality ⭐️1/5

Entertainment Value ⭐️1/5

Story ⭐️1/5

Visuals and Craft ⭐️⭐️2/5

There is so much potential for artistic and cinematic greatness in a modern, high budget film adaptation of Andrew Lloyd Webber's beloved, though admittedly peculiar, musical Cats. Tom Hooper's attempt squanders every drop of that potential. I expected it to be bad, just based on the trailer. I was prepared for it to be an unmitigated disaster. Somehow it managed to be worse that I ever imagined. It is the worst movie I have ever seen.

Cats is a very weird musical—among theatre folk it's pretty strictly a you love it or you hate it show, with some people falling in a third camp where it's not really their cup of tea and they're really not fans, but they can't help but acknowledge that the show is high quality theatre, regardless of how kitschy and odd it is.  There are a lot of people, myself included, though, who love this musical. They are a built in audience of thousands, possibly millions, and they are who this movie should have been made for. The filmmakers' first mistake among many was that instead of making a Cats movie for the people who love Cats as it is, they tried to make a Cats movie for the people who don't get it and don't like it. That was an incredibly stupid decision. You're never going to bring those people around, it's a waste of time and resources to try, and the most damning thing is that all the baffling changes the filmmakers made to the musical and its story to try and make it more palatable to those who don't like the show as it exists, only serve to alienate the diehard Cats fans who should have been their strongest supporters.

Every problem in Tom Hooper's Cats comes down to gross misunderstanding of the source material and what people enjoy about it, and a shocking degree of disrespect for the show and its characters.  I can comfortably call myself something of an expert on Cats in the theatre—I've seen several productions, been in one, written academic papers about the show, and the book of poetry upon which its based, Old Possum's Book of Practical Cats by T.S. Eliot, sits on the shelf about ten feet from me as I type this review. I do not expect anyone to have the same intensity of interest or depth of understanding for Cats as I do; it wouldn't be reasonable. But I do expect anyone making a film adaptation of anything to put effort and serious thought into their project, and to care for and appreciate the source material they're working with. No one in decision making positions on this film seems to have done that. I wouldn't be surprised if I learned that neither Tom Hooper nor screenwriter Lee Hall had ever even seen the show.

Where even to begin with all the bizarre and terrible choices that went into this dumpster fire of a film?  This is going to take a while; there's a lot bad filmaking to break down on several levels.

Broad strokes, the movie completely misunderstands what the plot of the stage show actually is, then proceeds to shoehorn in new and unnecessary scenes in what I can only imagine is an attempt to make the plot make more sense. This fails spectacularly, since they're wrong in the first place about what the plot is, thus they succeed only in destroying the actual story of the show, muddying the overcomplicated and misguided narrative they've hamhandedly cobbled together, and interrupt the natural flow of what is supposed to be a sung-through musical such that the entire thing drags on like a last hour math class on Friday before school break.  This is worsened by the fact that the film stops dead in the middle of musical numbers several times for the sake of uninspired, usually offensive, and extraneous gags.

To be clear, the plot of Andrew Lloyd Webber's Cats, as spelled out fairly explicitly by Munkustrap early in the show, is that every year, one night on the full moon, all the members of a tribe of cats called the Jellicles get together to have a big party called the Jellicle Ball, at the end of which their leader, Old Deuteronomy, selects one member of the tribe who has lived a full life and can now be reborn. Over the course of the Ball, several prominent members of the tribe get songs sung about them.  The general vibe is very much big family reunion where your uncles, siblings, grandparents, and cousins tell stories about what they've been up to since you last saw them, or about how things were back in their day, depending.

The plot of Tom Hooper's Cats is that every year, one night on the full moon, a bunch of cats get together, allegedly to have a party called the Jellicle Ball, even though most of the movie they seem to be more or less aimlessly wandering the same two or three streets, and over the course of the party some of them sing songs about themselves as part of a competition to try to convince their leader, Old Deuteronomy, that they are the one she should pick to be reborn so they can come back and be “who they really want to be.” This year, it just so happens that a completely unrelated cat has been abandoned in the exact back ally where the Jellicles are hanging out before the Ball. Oh, and this year this one other cat, Macavity, has decided to kidnap all of the other cats that are competing to be chosen to be reborn, so he'll be the only contestant left and Old Deuteronomy will have to pick him.

The idea that the cats with individual songs about them are competing to be chosen to be reborn is a pretty common misunderstanding of the show, but it's one that doesn't hold up to much scrutiny.  For one thing, several of the individual songs take place before Old Deuteronomy arrives at the Ball, so the songs clearly are not being presented to Deuteronomy for judgment. For another, most of the characters who have individual songs come across as quite young, only one (Gus) is elderly, and if you pay any attention to the lyrics of their songs, these cats are loving their lives. It makes no sense that they would want to die and give up the lives they are still living to their fullest. Clearly no one involved in this movie bothered to take even two seconds to think that through. As for the idea that the chosen cat comes back as “who they really want to be,” I have no idea where the filmmakers got that.

The central themes of Andrew Lloyd Webber's Cats are identity, community, and dignity. The film kind of, sort of keeps the theme of identity, at least as far as they kept in most of the song “The Naming of Cats,” which is about identity, sense of self, and the difference between how one is seen by others and how one sees oneself. They omit roughly half the song.

The theme of community is mostly lost, and what little of it remains is twisted strangely by the decision to make Victoria an outsider. In the stage show, all the cats are Jellicles, they are tribe, a family, and they are proud of it. Grizabella is ostracized because she left a long time ago and, it seems, abandoned the tribe. So, now that she's old and lonely and wants to come home, they don't want her back. The emotional climax of the show is when, after the iconic lament of lost youth and righteous demand to be respected as an individual that is “Memory,” Victoria reaches out and touches Grizabella, accepting her back into the tribe and recognizing her as a fellow with the first feline contact Grizabella has had the entire show. This moment is robbed entirely of its power in Tom Hooper's film, largely because all of Grizabella's agency has been taken from her and given to Victoria. Instead of Grizabella stepping up for herself and asserting that she is still a part of this community and deserves to be treated with respect, Victoria physically escorts her in and instructs her to sing. Bear in mind that in the context of the film, Victoria is not a member of the tribe, she's just been inexplicably allowed to tag along, and thus is in no position to be the one accepting Grizabella back.

When it comes to dignity, Grizabella suffers as well. Not only is she stripped of her agency, but “Memory” is turned into a melodramatic self-pitying mess. Bad directoral choices remove every bit of strength and self esteem Grizabella has, especially during that song, which is an unforgivable waste of Jennifer Hudson. Almost every other character is treated as badly, or worse.

Macavity is taken from a truly frightening and threatening—but sexy—figure of mystery and demoted to pathetic, desperate cartoon villain that I think was supposed to be funny. He wasn't funny. This was a waste of Idris Elba, an excellent actor who could have brought refreshing and terrifying depth to what is an often neglected character.

Rum Tum Tugger does not have his usual badboy rockstar jerk with a heart of gold persona, he's just an egotistical asshole.

Grizabella, Macavity, and Tugger are the only characters in the film who visually read as POC through all the CG. They are all pathetic, unlikable, or both. Intentional or not, that feels really racist.

Bombalurina loses her entire character. Instead of a lovable rogue, member of the tribe who knows a questionable amount about Macavity, which gives her her own air of mystery, she's reduced to a flat, weirdly sexualized henchman. This may in part be due to Taylor Swift being too expensive to give more screen time, so they couldn't allow the character to breathe. If that's the case, they should not have cast Taylor Swift—she's not a bad choice for the role, but she is not worth destroying the character for. She certainly hasn't helped the film so much as break even on its budget.

Gus the Theatre Cat is played by Sir Ian McKellen, who is probably the best actor alive on the planet for that role, they could not have cast anyone better, and yet they waste him as well. Gus is old, Gus is physically and mentally feeble, but—on stage—the tribe still love and respect him. In the film, he's framed as pitiable, even laughable.  The ageism isn't as overt as it could have been, but it is sickening.

Bustopher Jones (James Corden) and Jennyanydots (Rebel Wilson) are treated worst of all. Both characters are usually portrayed as on the heavy side. Bustopher is directly described in his song as “remarkably fat,” and Jennyanydots tends matronly by theatre tradition. Both characters are unambiguously described as very proper and clean freaks. The filmmakers elected to ignore this characterization in favor of making them both crude, messy, food obsessed slobs, which is shockingly fatphobic.

The only characters who come out more or less unscathed are Old Deuteronomy and Munkustrap. I personally do not agree with the casting of Dame Judy Dench as Old Deuteronomy, the gender flip strikes me as unnecessary and a cheap grab at woke points, but I love Dame Judy and she is a fantastic actor. She brings the grace and poise the role requires and embodies the character as well as anyone could in the middle of such a mess. For his part, Robbie Fairchild as Munkustrap benefits from neglect. The filmakers don't seem to have given Munkustrap much thought or much direction—the role is unchanged from the stage show, except, maybe in that the film doesn't allow him to be as central a character, since it's so obsessively focused on Victoria. Fairchild himself clearly studied Munkustraps in other productions. He feels like the same character, even in how he moves, while still making the role his own.

Several characters are simply deleted. Jemima is awkwardly combined with Victoria, who keeps getting other characters' agency and purpose bestowed upon her, yet isn't allowed to have her crowning moment of awesome in the White Cat Dance to herself. Demeter supposedly exists in the film, played by Daniela Norman, but gets left out of her main musical number so that Taylor Swift can hog it. Jellylorum is omitted entirely, which leaves Gus seeming both isolated and full of himself.

The visual effects are awful. Trying to make the cats look “realistic” was a horrible choice, and poorly executed. The faces are all far too human, and everyone looks uncomfortably naked.  The ears and tails aren't an inherently bad idea, but the tails are too long and move too much and just wind up being creepy. Frequently, characters' feet do not look like they're in contact with the floor—Gollum in Lord of the Rings was better rendered and incorporated eighteen years ago. On the subject of feet, some cats have shoes, all of which look somehow wrong, and those that are barefoot have extremely unsettling hybrids of human feet and cat paws. Once, Victoria seems to dance en pointe barefoot on those mutant toes, which illicited in me a visceral body horror. Much of the character design is just baffling. Victoria, whose defining physical characteristic is that she is the one white cat in the tribe, is not a white cat. She has spots now for some reason. Jennyanydots takes off her skin to reveal bedazzled fur, hot pants, and a halter top underneath. Skimbleshanks looks like a rejected member of the Village People. I can't tell if Deuteronomy's fur is supposed to be her fur or a coat.

The cats are inconsistent in size with relation to the world around them, and that world is inconsistent is seeming like it's for humans or for cats played by humans.

The music from the show is great, and should have been a redeeming quality in the film, but they managed to screw that up too. Almost every song has the life drained out of it, which is not the fault of the actors, all of whom I know from their previous work to be strong enough performers to carry their roles, if only they had been directed well. I've already discussed how “Memory” was ruined. “Mungojerrie and Rumpelteazer” is unrecognizable, the tune and many lyrics are changed. Despite the 1930s-ish setting, several songs have been pop-ified or hiphop-ified seemingly at random. There are weird lyric changes throughout, often taking the form of altered verb tense, that serve no discernible purpose. The film is apparently allergic to group musical numbers, so sections that are usually sung in groups get split up one line at a time, which does not work, and all the cats that have individual songs sing about themselves rather than their peers singing about them, which makes them all come across as self centered and narcissistic.

Cats is a musical usually marked by having a huge among of excellent dancing. The dancing here is all awkward and often unsettling. Additionally, the language of movement companies of actors performing cats usually exhibit that lets them read as feline is entirely lacking. Robbie Fairchild is the only one who seems to try at all. To his credit, he succeeds.

The best we can hope for this film is that it quickly fades of public memory. To the cast, I hope they at least had fun making fools of themselves. To T.S. Eliot, I'm sorry this happened. To Andrew Lloyd Webber, how did you let this happen? To Tom Hooper, your movie is bad and you should feel bad.

The worst thing about this unredeemable disaster of a film is the handful of times you can just catch a glimpse through all the bad decisions and worse CGI of how good it might have been.