Cyberpunk and reflexivity. Review of the third season of the series “Love. Death. Robots

Cyberpunk and reflexivity. Review of the third season of the series “Love. Death. Robots

Things are not looking good for Netflix these days. After news about a possible increase in subscription prices, the platform lost $50 billion, shareholders are suing, Elon Musk is running, and subscribers are merging in a big way… but Netflix still is active and continues to release quality content – in some places. Anyway, the third season of “Love”. of death. Robots” is worth watching this “Titanic” from the world of streaming.

Remember that “Love.Death.Robots” is an anthology series, with each episode (besides the plot, of course) varying in animation style and timing. Each season has a different number of episodes: the first has eighteen, the second has eight, and now has nine. Over time, each episode runs from 7 to 20 minutes. The fact that the series doesn’t fit into one timeline is just a plus. For each story, exactly as much time (and money) is used as is necessary, without the “let’s at least finish something before these wretched forty minutes.” hour-long episodes into a comprehensible whole. can be well compressed into meters. Looking at the studio’s latest films, they’re probably kidding like that, but still. Besides, such nonlinearity creates plot: everything. Can end at any moment, and not when the “bell rings”.

Fight Club creator David Fincher is executive producing the project, along with Deadpool creator Tim Miller. That season, Fincher also directed an episode of “Bad Journey,” about how you can negotiate with someone. Well, well, the series isn’t really about that, but about the complications of seafaring with a giant crab in the hold. It’s immediately clear that this could be a movie, but the director must have said something in that category to himself: “Well, who are you kidding, if you’ve ever heard of the events on the boat. Some shoot, so with just one. mocap, because you’re never going to sail the goddamn barge filming the whole thing on Zanaflex. You’re too smart for that!” In general, Fincher thinks that no one should really make movies on the high seas. Well, how to argue with that?

The script for the series was written by Andrew Kevin Walker, with whom the director worked on the films “Seven” and “Panic Room”. An epic collab emerged then and now. It’s a good thing that the second series, because having it at the beginning of the season would be like Metallica opening for Placebo, and not the other way around, as it actually was. Although, on the contrary, the idea is controversial, as Brian Molko later argued, talking about those who dare to perform in front of Metallica – God help them!

But metaphor is damned, the season strikes a perfect balance between thrash episodes, philosophical and light, like the first three Robots: Exit Strategies, based on a story by John Scalzi. Everything about it is beautiful, from the tech millionaires to the extreme democracy, and in the level of seriousness, a robot resembles Sarah from Star Trek: Discovery if that means anything. In a word, a series about a trio of curious robots is as simple as possible, but not in a disturbing sense. It’s just that it’s somewhat introductory, giving the illusion that it won’t cover us later. Yeah yeah…

Another “unloading” episode is “Mason’s Rats” about a 24th century Scottish farmer and his bloody battle against rats. What is striking in this regard is how systematically cruelty and mercy, militancy and pacifism are combined.

Returning to episodes with a “what a movie” vibe, next on our fantasy list is Machine Plus, based on a short story by Michael Swannock that Emily Dean worked on. People who aren’t usually well-versed in fantastical topics will probably blow their minds, but let’s not kid ourselves. With a couple of characters and a parish, such a drama unfolds that you have to “sit down and think” a simple person. A rare aftertaste against the backdrop of the latest box office films. A lot of meaning can be squeezed from the series, but usually, it all boils down to the question: Is the lack of time, all our tragedies and failures, a gift or just a series of events that lead to death?

The comparison with the potential of a complete meter is very conditional because the episodes give such an effect in exactly the form in which they are issued, and it is not known how the plot would have shown itself after the global change. But the Swarm series can definitely become a movie, because there you can grab and spin the same idea that the question of survival is not always connected to the rationality of existence, or not connected to it at all. And if you twist the meanings of intervention, control, the highest good, compromise, and freedom, you can fly into space on such ideas. By the way, in the first episode of LSR’s third season, Elon Musk jokes that apparently, ambitions are punishable, regardless of what happens in The Swarm.

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