Cara O'Doherty

And it's even, and it's not just the fact that things are getting darker and harder to see.

There's also a flatness.

The first of the two Wicked's, I mean, Wicked was supposed to be this amazing technicolor experience.

People went to the land of Oz to see bright colors.

But the director, John M. Chu, decided to have these really imaginative scenes quite flatly lit.

And he said it was because he wanted people to feel like they were really part of Glinda and Elphaba's world.

Nobody wants that.

You want colour, you want light, you want fun.

I'm never going to believe I'm part of their world.

So he took that lesson for the second one and it is far, far brighter than the first one.

So he listened to that.

There's other directors that sort of go, no, no, that was a choice and I'm standing by it.

Even, I mean, famously, the famous Game of Thrones episode, one of the most watched episodes of TV that every season led up to this moment, The Long Night, and people couldn't see it.

And afterwards, they came out and said, well, actually, we wanted it to look like that because we didn't want everybody to see all the bits going around.

We just wanted you to focus on the main characters.

Now, I'm sorry, we know who the main characters, we can still see them, but we'd like to know what's going on in the background.

Yes.

I mean, I think also there's the CGI effect and it's actually referred to as CGI sludge when it just becomes this blurry, dark mess.

Yes.

I mean, it is it is a problem because, like you say, we most of us go to films to escape, not not to squint and think, do we need a new pair of glasses?