Finally, the moment we’ve all been waiting for is here. It’s time for a new Cats trailer! When the first trailer for the Tom Hooper-directed musical dropped, everyone stopped what they were doing to marvel at how weird and kind of creepy the movie looked. Rather than dress his cast up in furry cat costumes, Hooper employed digital fur technology to conjure up mutated half-human/half-cat creatures. And now we get to see them in action all over again! Watch the latest Cats trailer below!
I am not kidding when I say I am very excited to see Cats. Do I think the movie will be good? I have no idea. But I do know it’ll be fascinating to watch. No matter how this turns out, Cats is destined to be one of the year’s most memorable films. Of course, it’ll probably be memorable for all the wrong reasons, but hey – let’s try to stay positive.
In Cats, “Over the course of a single night, a tribe of cats called the Jellicles make what is known as ‘the Jellicle choice’ and decide which cat will ascend to the Heaviside Layer and come back to a new life.” The Cats stage production had its world premiere at the New London Theatre in 1981, where it played for 21 years. In 1983, the Broadway production arrived and ran for 18 years. And now, at last, her ewe are, with the Cats movie. The film “reimagines the musical for a new generation with spectacular production design, state-of-the-art technology, and dance styles ranging from classical ballet to contemporary, hip-hop to jazz, street dance to tap.”
James Corden, Judi Dench, Jason Derulo, Idris Elba, Jennifer Hudson, Ian McKellen, Taylor Swift, Rebel Wilson, and Francesca Hayward all star in the film, which adapts Andrew Lloyd Webber‘s famous Broadway musical to the big screen. On stage, the cats of Cats are actors wearing feline costumes. And while it probably would’ve been perfectly acceptable for director Tom Hooper to dress his cast up in similar garb, he instead opted to use CGI to slap human faces on digital bodies. The results are…well…you can see for yourself. What say you? Does the digital fur technology look better here than it did in that first trailer? Or is it just more of the same?
Although “The L Word: Generation Q” may have tried desperately to speak to a “new generation” of queer women and non-binary folks, fresher creative voices quickly rose to the top in its place. Though people still watched. Showtime’s “Work in Progress” was the best queer comedy of the year, Netflix’s “Feel Good” was an unexpected delight, and “Vida” is returning just in time for queer audiences to catch up on the best show about queer women of color on TV. Yet another contender released a promising first trailer today: “Betty” is a stylish and youthful portrait of Brooklyn teen skaters that already appears extremely queer.
The six-part half-hour arrives on HBO from filmmaker Crystal Moselle, who quickly made waves in 2015 with her her riveting documentary hybrid “The Wolfpack.” “Betty” is adapted from her second feature, the similarly hybridized “Skate Kitchen,” which followed a group of teenage girl skaters in New York City. The film premiered at the 2018 Sundance Film Festival to positive reviews and was released by Magnolia Pictures that year.
In his B+ review of “Skate Kitchen” out of Sundance, IndieWire’s Eric Kohn wrote: “The streetwise alternative to ‘Girls,’ the movie weaves together such a complete vision of its subjects that the rest of the world barely exists. Of course, there's a long-standing precedent to capturing this subculture — ‘Kids’ did it, with more adventurous storytelling twists, more than 20 years ago — but Moselle's subjects hold their own with the surprising ability to clarify their emotions through the cathartic process of hanging out.”
“Betty” features many of the film’s original stars, most of whom had not acted before, including Kabrina Adams, Dede Lovelace, Nina Moran, Rachelle Vinberg, and Ajani Russell. All accomplished skaters in their own right, the first trailer shows the charismatic crew navigating various crushes and friendship trials with compelling panache and humor.
“Betty” is directed, co-written, and executive produced by Moselle. Lesley Arfin and Patricia Breen are also co-writers. Arfin, who also EPs, is a comedy writer best known for co-creating the Netflix series “Love” with Judd Apatow and Paul Rust.
HBO will release “Betty” beginning May 1 at 11 pm ET. Check out the exciting first trailer below:
A rumor cropped up online recently that Cats, Tom Hooper‘s huge flop featuring horny cat people introducing themselves for 110 minutes, originally had CGI buttholes on all the feline behinds. And even though Cats is already a fever-dream to begin with, we weren’t entirely sure how much credence to lend that story. Now, an intrepid journalist has done the legwork, and turned up the true story of the Cats butthole cut.
It’s official: the Cats butthole cut did, indeed, exist. The Daily Beast has the scoop, and let’s just say the true story is even wilder than we could’ve predicted. Per their report, Cats was halfway complete when someone finally noticed the buttholes. “We paused it,” a source who worked on the film’s visual effects said. “We went to call our supervisor, and we’re like, ‘There’s a fucking asshole in there! There’s buttholes!’ It wasn’t prominent but you saw it… And you [were] just like, ‘What the hell is that?… There’s a fucking butthole in there.’ It wasn’t in your face—but at the same time, too, if you’re looking, you’ll see it.”
What the hell is that, indeed. The source goes on to state that no one flat-out ordered buttholes added to the digital cat people – it just sort of happened. They materialized organically – as buttholes do sometimes. Unfortunately, when the buttholes started to be noticed, it fell upon one visual effects artist to go through and erase every sphincter.
Beyond the story of the butthole cut, The Daily Beast story paints a portrait of a terrible behind-the-scenes process for the visual effects folks working on the film. One source even goes so far as to compare it to “slavery.” And director Tom Hooper only made things worse, primarily because he didn’t seem to understand how VFX even worked:
Before visual effects artists fully render sequences for animated films, they normally show directors playblasts—preview renderings that feature characters without color or texture. That allows the director to evaluate the motion before hours of work are done to flesh out things like color, texture, and lighting. Hooper, however, did not seem to grasp that process. Any time the visual effects team wanted to show the director any animatics, the source said, they had to fully render it. Otherwise, he’d say things like, “What’s this garbage?” and “I don’t understand— where’s the fur?”
Sources describe Hooper as “disrespectful,” “demeaning,” “condescending,” and “horrible,” and add that he talked to everyone like “garbage.” In short, the experience of working with Hooper does not seem like it was the cat’s pajamas. It wasn’t even the cat’s meow.