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Re:Zero doesn't know the difference between mental anguish and parading characters around for personal amusement, nor does it understand that tossing ideas and lifting entire passages from other folktales don't mean it would work as a cohesive piece. There's a reason there's no cohesiveness between arcs; all it does is pattern storylines from works that preceeded it. A fairy tale whose identity can't exist without leaching off of others, and whose attempts at something different result in the aforementioned problems.
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When Hayao Miyazaki said that people "don't spend time watching real people" with industry, in-house anime creators being "humans who can't stand looking at other humans,” this is what he's referring to: shows that can't find inspiration outside of their own anime tropes because the people working on them don't see anything beyond anime. Re:Zero is a self-indulging anime with no worldly influence to speak of. Shinichirō Watanabe, Satoshi Kon, Mamoru Oshii, Yoko Kanno. What made these industry giants well-known was their ability to draw inspiration from influences outside of anime. They brought something new to the table, a claim that shows like Re:Zero can't prove. It's a product of its environment. Anime feeding into anime. It's Ouroboros incarnate.

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Anime News Network. Archived from the original on March 18, 2020. Retrieved March 9, 2020. ^ Pineda, Rafael Antonio (February 20, 2020). "Demon Slayer: Kimetsu no Yaiba Is 1st Manga to Take Japan's Entire Weekly Top 19". Anime News Network. Retrieved October 5, 2020. ^ "UPDATE: Funimation Titles Now Available on Crunchyroll (3/16)". Crunchyroll. March 1, 2022. Retrieved March 21, 2022. Like, the word "farce" has an actual meaning, and there is nothing in the show that fits it, it is not a farcical show, using this word for the name is just pretentiousness.
The only well-made part of the story is the banter between the protagonists (which is the single easiest step of the formula to imitate, even Bunny Girl Senpai had decent banter). Outside of banter, the writing is subpar. Including, but not limited to:
The characters aren’t developed and act nonsensically at times, like when an entire family barely flinches in response to their relative getting killed after being revealed as a murderer.
The dialogue often exists to dump plot points on the audience with no regard for how natural it is to actually say those things at the moment.
Old-timey murder mystery cliches, like telling a person’s entire life story based on the stains on their clothes, are mindlessly reproduced without anything meaningful done with them.
An abject failure of the murder mystery element, it’s full of contrivances and plot convenience. It even commits the biggest sin of detective fiction: not telling the audience all the information necessary to solve the case. For example, the circumstances of one murder depend on the mansion’s layout - a layout that wasn’t actually shown at any point before the reveal.
Every single memetic XIX-century character (Sherlock Holmes, etc. ) in existence is vomited into the same story arc with no sense of restraint.