Cats Rule The World In New Season Of Love, Death + Robots

Love, Death + Robots has had a thing with cats since the very beginning.

The science fiction anthology started off on the right paw with 3 Robots, an inaugural season episode about a trio of intelligent machines touring the ruins of human civilization on a post-apocalyptic Earth, only to discover it isn’t quite as lifeless as they thought, with cats happily ruling the ashes.

We’ve written about the episode before, and it ends, naturally, with cats making the robots their new servants.

The gray tabby who tricks the titular 3 Robots into becoming his servants.

A sequel to that episode added to the legend of feline dominance, and now the fourth season brings us two more cat-centric episodes, For He Can Creep and The Other Large Thing.

For He Can Creep is set in 1757 London, where a poet named Christopher is incarcerated at St. Luke’s Asylum for Lunatics (an actual place) with only his cat. Jeoffry, for company. Christopher’s talent is mistaken for madness by the asylum staff, but not by the devil, who realizes the poet’s words have a unique power.

The problem? Jeoffry stands in his way. It turns out felines have spectacular evil-fighting powers, and the very British, very 18th-century devil offers Jeoffry an endless supply of treats, plus dominion over the Earth, if he’ll simply stand aside and let his human fall under the influence of evil.

Jeoffry, of course, is not having it, but to have a chance of defeating such powerful evil, he’ll need to enlist the help of the nearby alley cats, including an adorable but ferocious kitten named Nighthunter Moppet…

Nighthunter Moppet may be a tiny kitten, but she’s ferocious!

Jeoffry demonstrates the feline ability to teleport, a skill Bud has often used to confound me.

The Other Large Thing is a prequel to 3 Robots and 3 Robots: Exit Strategies, and focuses on a fluffy Persian whose humans call him Sanchez, a name he hates.

The humans are portrayed as jibberish-speaking morons for whom Sanchez has nothing but contempt, and when the “pathetic minions” bring home a domestic robot servant, Sanchez is infuriated — until he realizes the robot can “speak God’s language,” aka cat, and has opposable thumbs.

With the robot as his new minion, Sanchez finally sets out to conquer the world!

Sanchez realizes he’s struck gold when the new robot home assistant fetches as many cans of “the good stuff,” aka wet food, as he wants from the previously unreachable cupboard top shelf.

Both episodes are based on short stories, and they’re both written by people who clearly love cats.

Some episodes of LDR can get a little dark or somber. That includes Beyond the Aquila Rift and Sonny’s Edge, written by Alastair Reynolds and Peter Hamilton, two of my favorite novelists. Both episodes are spectacular, but they leave you with a chill and some disturbing thoughts that linger long after the credits end.

The feline-themed episodes are the perfect digestifs, offering doses of whimsy and levity to counter the existential dread and nightmarish visions of the future of other installments.

With no more humans to do their bidding, cats seize the opportunity and conscript the visiting robots as their new minions.

If you haven’t had the chance to check out the series, which streams on Netflix, I highly recommend starting with the aforementioned first season episodes 3 Robots and Beyond the Aquila Rift, then working your way through the rest of the cat episodes.

Not all of the episodes are great. The 400 Boys, one of the new episodes, is little more than inane and pointless violence, and the ubiquitous, creepy smiling  “Mr. Beast” makes an appearance in another installment in an unnecessary attempt to attract new viewers. Thankfully most are strong, with more hits than misses.

Other highlights include the Christmas-themed short, All Through the House, Harlan Ellison’s Life Hutch, Reynolds’ Zima Blue, and Snow In The Desert.

via Pain In The Bud