Netflix recently released Season 2 of Love, Death & Robots, an anthology show that adapts short stories into animated films. Science fiction author Zach Chapman thinks the new season is a big improvement over season 1, with fewer episodes that feel silly or underdeveloped.
“I think these stories are a lot more cohesive,” Chapman says in episode 469 of the Geek’s Guide to the Galaxy Podcast. “I wouldn’t say there is an episode that I didn’t like in this season, while there are quite a few that I didn’t like in season 1.”
Geek’s Guide to the Galaxy host David Barr Kirtley was happy to see the series move in a more serious direction, after a first season that seemed primarily aimed at teenagers. “This show started off as an attempted reboot Heavy metal, so he had that kind of aesthetic, ”he says. “And that doesn’t particularly bother me, but I would really like the show to have more of the aesthetic of just portraying what’s going on in fantasy and sci-fi news over the past few decades.”
Sadly, the show still looks too much like a boy’s club, with each season 2 episode adapted from a story by a male writer. Fantastic author Erin Lindsey hopes that will change in season 3. “There is no excuse for the lack of diversity in voices,” she said. “There is a ton of science fiction, including classic science fiction, written by women and people of color who have to be part of the mix here.”
But overall Love, Death & Robots remains a rare treat for science fiction fans. Humor writer Tom manages hopes future seasons will adapt stories from talented authors such as Robert sheckley. “Please keep up the good work,” Gerencer says. “I love it. I’m so excited that there is something like that out there, that it exists.
Listen to the full interview with Zach Chapman, Erin Lindsey and Tom Gerencer in episode 469 of Geek’s Guide to the Galaxy (above). And check out some highlights from the discussion below.
Erin Lindsey on Diversity:
“For me – and I think for a lot of people -[the problem with Season 1] wasn’t breasts per se, or sex per se, or violence per se. It was about sexual violence, gratuitous sex, adolescent male gaze and everything in between, and there is an important distinction between these. And kudos to them – I hope it’s not a coincidence – for taking that into account and really showing with Season 2 that you don’t have to do this. But on the other hand then having eight episodes that are all written by dudes – and if I’m not mistaken, all white dudes – it seems to me that goes beyond being deaf and almost sounds like a major deliberate. I do not know. Maybe I’m overreacting, but I don’t think you can make this mistake twice and not know it.
Erin Lindsey on “The cage of life”:
“I think they did a really good job with it. I was a bit overwhelmed by the design of the robot for two reasons. First, I didn’t really see how this design could be useful from a maintenance standpoint, and second, as brilliant as the solution is – where he finds out that what triggers targeting is movement, and so he uses his flashlight to create movement – what it basically does is turn the laser pointer, where you play with your cat, against the wall. And the fact that the robot has a pretty feline design, I seriously expected that [episode] to get into absurd humor at the end, where he says, “Whee, I’m playing with my robot cat.” And that kinda tore me away from the atmosphere.
Tom Gerencer on “Snow in the desert”:
“In the opening scene [Snow] goes to that kind of seedy pawnshop-type alien character to buy his “stuff”, and you get the idea that it’s some kind of drug or it’s something he needs, and then he s’ turns out to be strawberries, and I thought was really cool. I like the whole Mad Max atmosphere, I love the character. Just something about a character – and okay, he’s regenerating, so it’s not that hard for him, but something about a character losing a hand and getting rid of it, that is. is really cool for me. There was a great moment when there was a shooting star that passed. So many good times in this one.
David Barr Kirtley on “Pop squad”:
“I felt it was right Blade runner with children instead of replicants, and it has the same aesthetic as Blade runner, which gave me the impression “I have already seen Blade runner. I don’t know if I really need to watch this. This is also the standard dystopian story, as in Fahrenheit 451, where you have the dystopia agent realizing that what he’s doing is wrong and joining the resistance, so it was very predictable to me. … Then I read the news, and the news worked really well for me. For me it’s another one where I think if it was 20 or 25 minutes it would have been great, but it was just too rushed.