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Netflix recently released Season 2 Love, death and robots, an anthology show that adapts stories to animated films. Author of science fiction Zach Chapman he thinks the new season is a big improvement over season 1, with fewer episodes that feel silly or underdeveloped.
“I think these stories are in a more consistent way,” Chapman says in section 469 Guide to the Geek Galaxy podcast. “I wouldn’t say there are episodes I didn’t like this season that I didn’t like in season 1.”
Guide to the Geek Galaxy host David Barr Kirtley he was happy to see the show move in a more serious direction, especially after a first season aimed at teenage boys. “It started as an attempt to restart this show Heavy metalso he had that kind of aesthetic, “he says.” And I don’t care about that at all, but I’d definitely like the show to have more aesthetics of depicting what’s been happening in fantasy and science fiction stories in recent decades. “
Unfortunately, the show still feels like too many boys ’clubs, all the episodes of season 2 are adapted from a story written by a male writer. Fantasy author Erin Lindsey The hope that it will change in season 3 is “there is no excuse for the lack of diversity of voices,” he says. “There’s a bunch of science fiction written by women and people of color, including classic science fiction, that should be part of the mix here.”
But in general Love, death and robots it remains a rare delight for science fiction fans. Humorous writer Tom manages it he hopes that future seasons will adapt the stories of talented authors Robert Sheckley. “Please keep it that way,” Gerencer says. “I absolutely love this. I’m so psychic, there’s something like that, that it exists. “
Listen to the full interview with Zach Chapman, Erin Lindsey and Tom Gerencer in episode 469 of the episode Guide to the Geek Galaxy (above). And see some notable points in the discussion below.
About Erin Lindsey diversity:
“For me — and I think for a lot of people—[the problem with Season 1] they were not boobs in themselves, or sex in themselves, or violence in itself. It was about sexual violence and free sex and the gaze of teenage men and everything else, and there’s an important distinction between them. And congratulations to them — I hope it’s no coincidence — that you’ve taken that and shown that you don’t really have to do it with Season 2. But on the downside, having eight sections written by the guys later — and if I’m not mistaken, all white — seems to me to go beyond being deaf tones and feels like an almost deliberate middle finger. I do not know. Maybe I’m reacting too much, but I don’t think you can make that mistake twice and you don’t know it. “
Erin Lindsey on “Life Hutch”:
“I think they did a really nice job with that. The design of the robot threw me a bit for two reasons. One, I didn’t really see how useful this design could be from a maintenance standpoint, and the other two, as bright as the solution, where he guesses that what he’s focusing on is movement, so he uses a flashlight to create movement – basically doing the laser pointer trick is where you mess with your cat against the wall. And the robot had a pretty feline design, which I seriously expected [episode] to get into the absurd humor at the end, where he says “Whee, I’m playing with my robot cat.” And it kind of ripped me out of the mood. “
Tom Gerencer on “Snow in the desert”:
“In the opening scene [Snow] The pawn goes to this kind of mediator-type alien character to buy his “stuff,” and you think it’s a kind of drug or something he needs, and then they turn into strawberries, and I thought it was really good. I love the whole thing Mad Max atmosphere, I love the character. It’s just something about a character, and it’s recreated, so it’s not that hard for him; but something about a character who loses his hand and shakes it is very nice to me. There was a shooting star who had a great time. Just great moments in this. “
David Barr Kirtley “Pop Squad”:
“I basically felt like it was just that Blade Runner instead of replicating kids, and it has the same aesthetic Blade Runner, which made me feel, ‘I already saw it Blade Runner. I don’t know if I really need to see it. ‘ It is also a standard dystopian story Fahrenheit 451, you have a dystopia agent who realizes that what he is doing is wrong and that he joins the resistance. That was very predictable for me. … Then I read the story, and the story came out very well for me. If it were 20 or 25 minutes for me, it would be great, but it went really fast. “
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