Love, Death + Robots: All Volume 4 Episode Endings Explained

Ten distinct stories covering a wide range of issues were included in volume 4 of Netflix's (mainly) animated anthology series Love, Death + Robots, and each one could benefit a closer examination. The anthology series Love, Death + Robots has always been profoundly reflective and metaphorical. Every episode reveals a deeper, hidden truth about the fanciful sci-fi worlds we're headed toward or the weird, current reality we live in. It's among the greatest Netflix series as a result. Fortunately, volume 4 of Love, Death + Robots continues its symbolic storytelling.

Every volume aims to take Love, Death + Robots to "new heights," and the most recent one did not fall short of that objective. Love, Death + Robots volume 4 has set a new standard for the anthology series, including everything from scathing criticisms of contemporary society to poignant spiritual and religious enlightenment trips to a unique live-action short. But in pursuing that new course, the program also pioneered new narrative techniques. A little more explanation might be needed for some of Love, Death + Robots volume 4's more symbolic episodes.

Can't Stop

"Can't Stop," the opening episode of Love, Death + Robots volume 4, doesn't seem to have any deeper significance. Ultimately, the short is merely an alternative visual representation of the Red Hot Chili Peppers' live rendition of "Can't Stop." However, "Can't Stop" gained a deeper meaning because to Blur Studio's animation and David Fincher's direction. The transcendental power of music was visualized in Love, Death + Robots by using the Red Hot Chili Peppers and the audience as marionette puppets. A remarkable sensation was created as the music and the enthusiasm of the moment went through everyone, even the performers, who were effectively puppets.

Close Meetings of the Miniature Sort

The second tilt-shift experiment by Love, Death + Robots in "Close Encounters of the Mini Kind" turned out to be crucial to the show's theme. The alien invasion of Earth in "Close Encounters of the Mini Kind" is a fairly typical but uniquely funny scenario. Its portrayal of the extraterrestrial invasion as a "Mini Kind" yet emphasizes how much larger humanity's perception of ourselves is than our true place in the universe. The short's last scenes, in which a black hole engulfed the solar system, emphasize how little we are.

The overly significant self-image of humanity also contributed to the short's second major topic, which is that people frequently cause their own demise. The extraterrestrials in "Close Encounters of the Mini Kind" arrived on Earth amicably and only launched their invasion after humans fired first. Then, using extraterrestrial technology, humanity produced a black hole that engulfed Earth. Our demise (again) was guaranteed by humanity's fervent attempts to defend itself and excessive appetite for bloodshed in "Close Encounters of the Mini Kind." The humanity would have been spared at the beginning and at the end by a more deliberate and calm strategy.

Spider Rose

The meaning of the title Spider Rose was centered on the third episode of Love, Death + Robots volume 4. As we discovered, Spider Rose was originally named Lydia, but after her love was murdered by Jade, a Shaper from Bruce Sterling's Schismatrix, she decided on a less human name. Spider Rose also revealed that, up until the moment at which she acquired Nosey from the Investors, she had been living entirely alone since her love was killed. In the same way that Nosey practically consumed her, Spider Rose explores how grief and the desire for vengeance may metaphorically consume a person.

Before the Investors brought him to her, Spider Rose declared herself "dead" after killing Jade. She mentioned that she had pals in another galaxy and that she had withdrawn entirely due to her grief over her lost love and her quest to find the true Jade. Spider Rose was almost saved from her all-consuming obsession with vengeance by Nosey, but the pet's affection arrived too late. Spider Rose then allowed Nosey to literally devour what grief hadn't already consumed: her body, in a symbolic turn of events.

400 Boys

"400 Boys" is perhaps the most optimistic episode in Love, Death + Robots volume 4, despite the fact that it featured opposing gangs battling enormous baby-like monsters. The numerous superpowered gangs dispersed throughout the city were shown in "400 Boys" to despise one another, but they united to fight back against the "boys" who destroyed the town. "400 Boys" is a metaphor for how a shared foe, such as the boys, may bring people together and even triumph over years of animosity and acrimonious rivalries. The gangs were able to drive the youngsters away by putting aside their arguments and old grudges.

"400 Boys" also discusses the value of human connection and love. Only by banding together did the gangs have the mental and physical strength to defeat the lads. Additionally, Slash was only able to confront the guys directly after seeing Croak's death. Ultimately, Slash's affection for his fellow gang members provided him with the bravery and fortitude he required to confront the "god or boy" and end its life. The gangs of "400 Boys" managed to establish genuine relationships and drive off their invaders despite the city being completely destroyed by fire.

The Other Large Thing

Even "The Other Large Thing" has a deeper meaning than the more humorous episodes of Love, Death + Robot. The main theme of "The Other Large Thing" is that people are too willing to put their faith and confidence in things they don't completely comprehend, whether they are robots or cats. Thumb Bringer's ability to remotely lock them in and burn their residence on fire was beyond the comprehension of Dingleberry Jones' humans, who also failed to comprehend Dingleberry Jones's desire to dominate the globe. They lost their lives as a result of that ignorance, and it is likely that the rest of humanity did too.

Golgotha

"Golgotha" is perhaps one of Love, Death + Robots' most scathing social critiques, but the film rarely holds back. Taking its name from the location where Jesus Christ was crucified, "Golgotha" follows Father Maguire (played by Rhys Darby) as he first encounters the Lupo, an alien race. After learning about how people abuse dolphins and the sea, the Lupo, who see a dolphin as their Messiah, decide to launch an anti-human campaign. Maguire summed up the key takeaway from "Golgotha" as follows: "We f***ed up." Humanity guaranteed that the Lupo would seek revenge on us by neglecting the planet and its creatures, such as dolphins.

There is a lot of religious symbolism in "Golgotha," especially for Christians. The core lesson of Jesus Christ Himself is its most significant connection to Christianity: "do unto others as you would do unto me." Seldom is that lesson accepted at face value, and even less so when it comes to Earth's animals. However, "Golgotha" is an exception. "Golgotha" questions the spectator if the Lupos had the right to launch a crusade against the people who killed their savior, after presenting their dolphin as a Jesus-like figure to the Lupo and humans as Pontius Pilate. After taking into account oil spills, climate change, and other natural calamities caused by humans, the answer is rather obvious.

The Screaming of the Tyrannosaur

Mr. Beast makes an appearance in Love, Death + Robots volume 4, however he is not the primary character in "The Screaming of the Tyrannosaur." The voice of Bai Ling's unidentified gladiator is the primary focus. "The Screaming of the Tyrannosaur" tells the tale of how the gladiator and the Tyrannosaurus Rex, two animals compelled to battle and perish for the amusement of others, use their combined strength to discover a tiny bit of justice. The ruling elite, who were literally sipping their blood, suffered some degree of anguish and humiliation as a result of the gladiator and dinosaur's cooperation.

The criticism on class conflict in "The Screaming of the Tyrannosaur" is not veiled. Real-life multimillionaire Mr. Beast and the other aristocrats are presented as vicious, murderous hedonists who only want to be amused. The reason the gladiators are positioned against one another is because the rulers can only be threatened by their combined strength. Despite the fact that the oppressed perish in the film's last seconds, "The Screaming of the Tyrannosaur" is a story of oppression that firmly stands on their side.

How Zeke Got Religion

Love, Death + Robots volume 4 contains some recurrent themes about faith and religion, which were further explored in "How Zeke Got Religion." The demon attacks Zeke and the rest of his crew in their B-52 bomber while they are on an air mission to stop a Nazi scheme to call forth a demon. Zeke kills the demon and changes his mind about atheism only after they learn that a crucifix can hurt it. "How Zeke Got Religion" serves as a metaphor for the challenging journey towards genuine religious and spiritual enlightenment. Before embracing religion, Zeke battled a real devil, but most people's paths are more nuanced.

Zeke expresses his atheism at the beginning of the short by practically flicking God off. But in order to destroy the demon, Zeke had to believe that the crucifix, a symbol of Christian faith, had the power to damage this malevolent force. Zeke's newfound faith really helped him defeat his demons, and he was literally saved by faith. "How Zeke Got His Religion" is a narrative about how many people must battle their own "demons" before accepting whatever greater power they want to believe in, but it also utilizes Christian imagery.

Smart Appliances, Stupid Owners

The short "Smart Appliances, Stupid Owners" demonstrates that not all Love, Death + Robots stories are about deep spiritual explorations. In essence, "Smart Appliances, Stupid Owners" is a lengthy satire on how we frequently use—or abuse—commonplace technology in ridiculous ways. On a more profound level, it draws attention to some of the absurdities of our everyday, technologically advanced life. Should a toilet be "smart," for example? What value does a "smart" toothbrush serve if we never use it? "Smart Appliances, Stupid Owners" highlights some of the amusing ways we engage with our increasingly computerized world, but it doesn't make any calls to action.

For He Can Creep

"For He Can Creep," the last chapter of Love, Death + Robots volume 4, is an intriguing tale about a cat named Jeoffrey and his poet, who is under attack from Satan, who desires a poem that will bring about the end of the world. "For He Can Creep" is fundamentally a tribute to the inquisitive animals that are cats. "For He Can Creep" has a strong affection for all things feline and portrays cats as old, divine creatures that can hurt even the Devil. It sees cats as kind, endearing heroes who, both literally and symbolically, keep the gloom at bay.

"For He Can Creep" has a lot to say about the power of love, particularly the love of a wonderful pet, in addition to its positive portrayal of cats. That is demonstrated by the poet, who is confined to a mental institution. The poet's cat metaphorically battles the demons that plague him, while Jeoffrey and the other cats battle the devil in real life. In his last lines, the poet makes it quite clear that he sees Jeoffrey as a confidant and friend, and he thinks that he can drive the darkness of his mental illness away. The fourth volume of Love, Death + Robots ended on a positive note.