‘Love, Death and Robots’ grow up

Netflix recently released the second season of Love, Death and RobotsAn anthology adapting short stories into animated films. science fiction author Zach Chapman The new season is believed to be a huge improvement over the first season, with fewer episodes looking silly or backward.

“I think these stories are more consistent,” Chapman says in Episode 469 of the magazine. A geek’s guide to the galaxy Audio notation. “I wouldn’t say there were episodes I didn’t like in this season, while there were a few I didn’t like in season one.”

A geek’s guide to the galaxy Host David Bar Kirtley We were pleased to see the show move in a more serious direction, after a first season that seemed to be aimed primarily at teenage boys. This show started as an attempt to restart heavy metal, so it had that kind of aesthetic,” he says. “And I don’t particularly mind that, but I certainly would like the show to have more of an aesthetic of just representing what’s going on in the fiction and science fiction short stories of the past few decades.

Unfortunately, the show still feels like a big part of the boys’ club, with every episode of season two being adapted from a male writer’s story. fantasy author Erin Lindsey She hopes that will change in season three, as she says: “There’s no excuse for not having a variety of voices.” “There is a lot of science fiction – including classic science fiction – written by women and people of color that should be part of the mix here.”

but generally Love, Death and Robots It remains a rare treat for science fiction fans. humor writer Tom runs She hopes that future seasons will adapt the stories of talented authors such as Robert Chickley. “Please keep up the good work,” Gerser says. “I absolutely love this. I am so excited that such a thing exists.”

Listen to the full interview with Zach Chapman, Erin Lindsey and Tom Gerencer on episode 469 of A geek’s guide to the galaxy (above). And check out some of the highlights in the discussion below.

Erin Lindsay on diversity:

“For me – and I think for a lot of people -[the problem with Season 1] It wasn’t breast per se, or sex per se, or violence per se. It was about sexual violence, gratuitous sex, the adolescent male gaze and all the rest, and there is an important difference between those. And kudos to them – I hope it’s not a coincidence – because they took that on board and really showed with Season 2 that you don’t need to do that. But on the flip side, to have eight episodes written by men—and if I’m not mistaken, all white men—seems to me that it goes beyond being deaf and feels like a deliberate middle finger. I do not know. Maybe I’m overreacting, but I don’t think you can make that mistake twice and not know it.”

Erin Lindsey in “Life Hutch”:

“I think they’ve done a really great job using it. I was a bit impressed with the robot’s design for a couple of reasons. One, I didn’t really see how useful this design could be from a maintenance perspective, and two, great as the solution – finding out that what drives targeting is movement, so I used His flashlight to create motion – basically what he does is a laser pointer trick, where you mess with your cat the wall.And the fact that the robot had a rather diagonal design, I seriously expected [episode] To break into the silly humor at the end, where he says, “Whee, I’m playing with my robot cat.” And it kind of ripped me off my mood.”

Tom Jenner on “Snow in the desert”:

In the opening scene [Snow] He goes to that kind of weird pawn-broker character to buy his “stuff”, you get the idea that it’s some kind of drug or something he needs, and then it turns out to be a strawberry, and I think that was really cool. I love all crazy max His vibe, I love the character. Just something about a character – and giving her regeneration, so it’s not that hard for him and mdsh; But something about a character who loses her hand and kind of dumps it, is really cool to me. There was a wonderful moment as a star meteor passed. Just so many great moments in this moment.”

David Bar Kirtley in “pop band”:

“It basically just felt like Blade Runner With children rather than copying, and has the same aesthetic Blade Runner, which made me feel, ‘I’ve already seen Blade Runner. I don’t know if you really need to watch this. It’s also the standard dystopia story, as in Fahrenheit 451, where you have a dystopian agent who realizes what he’s doing is wrong and joins the resistance, so that was pretty predictable to me. …and then I read the short story, and the short story worked really well for me. For me, that’s another thing where I think if it had been 20 or 25 minutes, it would have been great, but he was so rushed.”

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