All 9 Volume 3 Endings Explained Love, Death, and Robots!

With nine new episodes of Netflix’s cutting-edge animation anthology Love Death & Robots, the streaming site now offers a diverse selection of sci-fi and fantasy shorts ranging from future comedies to military horror to philosophical science fiction. Others leave viewers with a shocking cliffhanger or thought-provoking endings, while others are more straightforward entertainment.

In its present iteration on Netflix, Love, Death & Robots adapts a range of short stories with the odd original script made for the program and is executive produced by Tim Miller and David Fincher, who pitched a Heavy Metal anthology remake to James Cameron over a decade ago.

A total of 18 episodes were released on Netflix in the first volume, which sparked enough interest for an 8-episode second series and a 9-episode third season to follow. David Fincher makes his animation debut in Love, Death & Robots Volume III as well as the first sequel to the series. Star-studded actors such as Joel McHale and Seth Green are also featured in the shorts’ voice cast.


This particular siren’s song has no effect on a deaf knight in Jibaro, a minimalist retelling of the folktale of the siren song. This gold and jewel-encrusted siren enchant a company of knights in the woods, killing all but one deaf knight who is resistant to the siren’s song and dance. With their mutual desire for extravagant gold and diamonds, the siren and knight create a potentially lethal attraction that should be heeded at all costs.

Jibaro, on the other hand, adds a new element to the siren’s song by showing the knight and the siren as being attracted together by a toxic attraction that will ultimately lead to their demise. Finally, the Knight reaps the siren’s money and jewels from her corpse, but her blood cures his hearing, rendering him vulnerable to the siren’s song, which ultimately leads to his death. However, despite the fact that his deafness originally allowed him to escape the same destiny like his fellow knights, his greed ultimately brought him back to the siren and sealed his doom.

Three Robots: Exit Strategies

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When it comes to the quasi-cliffhanger ending in which the robots are surrounded by intelligent cats demanding to be petted, Three Robots: Exit Strategies ironically skips over that part. A fresh destination on their vacation tour of the annihilation of humanity is all that is shown when the episode opens instead.

Whereas in the first episode of Three Robots, the political undertones were mostly masked by the robots’ contextless description of human society, the sequel is a little more direct in its criticism of gun culture, referencing “liberal tears,” mocking survivalists for preferring “venison jerky and bullets” to “government-sponsored medical attention,” and class warfare.

When their hydroponic farms failed, the “tech millionaires” turned to cannibalism, which they called “extreme democracy,” in a bunker full of dead world leaders. To wrap things off, it’s revealed that the wealthiest humans were planning to leave Earth and populate Mars, which suggests that the money spent on rocket development and colonization could have been used to preserve Earth.

In a shot from the surface of Mars, an astronaut is sipping a margarita while keeping an eye on several colony bubbles. When he flips open the gold sun visor on his helmet, one of the clever cats appears and says, “Who were you expecting, Elon Musk?” However, it’s ironic because this episode was written years ago, so the writers had no way of knowing that it would be released in the thick of the online outrage over Musk.

Three Robots: Exit Strategies, in contrast to the first film, ‘s more simple “humans are silly” thesis, blames humanity’s demise on a variety of social, business, and political groups, naming Elon Musk, CEO of SpaceX, as the punchline that reveals that despite the resources devoted to space travel, Musk didn’t lead humanity to Mars after all.

Inconvenient Mode of Transportation

“Distant alien oceans” are the setting for director David Fincher’s tale of a Jable Shark hunting boat crew in “bad traveling.” When Jable Shark hunting boats fail to return from their perilous voyage, the term “Bad Travelling” is used to describe them.

Once the huge crab-like Thanapod makes its way onboard the ship, the reason for the name becomes immediately apparent as the crew attempts to deal with their predicament and kills several of their own before the Thanapod can descend below deck.

A neighboring Phaiden island is the preferred destination for the Thanapod, but the first mate, Torrin, is worried that it will cause mayhem among the island’s inhabitants. Due to Torrin’s fortitude in facing a mutiny after his captain’s death, the crew votes in secret on whether to transport the therapod to Phaiden or attempt to fool it into landing on another island near Phaidon.

This justifies Torrin’s death of only two crew members he claims to have voted to dump the therapod at Phaidon because they were willing to sacrifice the island’s innocent residents to rescue themselves. After Torrin has killed the remaining crew members and revealed that they had all voted in favor of bringing the therapod to Phaiden island, he ignites the Jable shark oil in the hold and burns down the ship, before leaving in a rowboat with the Jable shark oil still in the hold.

Making each member of the crew feel they were the only ones who opposed Phaiden’s plan may seem like a complicated scheme, but it kept the crew split long enough for him to divide and conquer. Even if Torrin’s method may have been the best option to keep the island secure in a morally ambiguous position in which he lied, cheated, and killed in cold blood, the crew’s fear-driven attempt to preserve their own lives is understandable.

The Very Pulse Of The Machine

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Based on a Hugo Award-winning short story by Michael Swanwick, The Very Pulse of the Machine follows two female astronauts who are exploring Io on Jupiter’s moon when their rover is destroyed by a blast, killing one of the astronauts, Burton. Martha Kivelson is left to battle her injuries as she attempts to bring Burton’s body back to base before she runs out of oxygen.

While under the influence of painkillers, Kivelson begins to hear poetry, which she believes to be from a book called “Poems of Old Earth” (attributed to Michael Swanwick), narrated by the voice of Io, telling her to take a leap of faith and rise above her mortal existence.

The journey of discovery, the human experience, the nature of reality, and an individual’s place in this cosmos are all themes explored in the novel The Pulse Of The Machine. Her trauma and possible hallucinations make it difficult to tell how much of this story takes place in Kivelson’s head, but she discovers the planet Io is a sentient machine with its primary job being “to know you.”‘

To save Kivelson, Io suggests that she be engulfed by the planet’s molten lake, which would retain her “neural structure” while killing her physically. Her ultimate surrender to the universe symbolizes her acceptance of herself as a small part of a greater whole and marks the next step in her journey into the unknown. Even though the short’s final shot works as a metaphor for Kivelson’s ascension, it suggests that her consciousness may have survived to make contact with humanity and guide them on their own path of discovery.

Mini-Death Night

Aliens, zombie monsters, and other sci-fi and horror motifs appear in every volume of the show, despite the title Love, Death & Robots. Director Tim Miller, who previously worked on Love Death & Robots, puts a fresh twist on the traditional Zombie tale in Night of the Mini Dead.

For Miller’s short, he uses a “tilt-shift” lens that warps perspective on real-world locations to make them look like miniature sets, adding CGI to recreate a number of classic zombie tropes to comical effects, pitching up the humor.

Tilt-shift lenses are a staple of the zombie genre, and Night of the Mini Dead doesn’t deviate much from the norm in terms of its subject matter. However, the short’s main focus is on its ability to make light of its subject matter by using a lens that distorts what it sees.

People’s increasing and extreme attempts to stop the fast zombies from taking over each location are completely ineffectual, in contrast to the President of the United States, who is protected in a peaceful white house until the threat is on his front lawn, at which point he resigns to his doom (which apparently also means the doom of the planet) and unleashes a full-out nuclear attack, trigger It’s the final view, which zooms out from Earth to see the entire galaxy when a little flash is punctuated by a fart noise, that contrasts the ego-driven demise of humanity.

The Killer Team

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Love, Death & Robots has a number of episodes that ask big, thought-provoking topics, and then there’s Kill Team Kill, which tries for maximalist absurdism at every turn, refusing to approach any aspect of its plot with a shred of seriousness.

As if to capitalize on the irony of the testosterone, gore, and vulgarity-fueled short, Kill Team Kill is directed by Love, Death & Robots supervising director and director of Kung Fu Panda 2 and 3. Jennifer Yuh Nelson also directed Kung Fu Panda.

While the story certainly has a level of social commentary, not there’s any kind of secret meaning behind the story, where anything it has to say is simply screamed out loud by a muscle-bound Special Forces operatives as they fire every conceivable firearm at a CIA designed indestructible rage-fueled genetically engineered cybernetic grizzly bear equipped with razor-sharp spider legs, mechanical jaws, and any other deadly weapon you can imagine.

One by one, the soldiers are slaughtered one by one by a ferocious bear until the final survivor is forced to intervene and stop him from unleashing the nuclear self-destruction that wipes out the mountain. The short’s tale is a compilation of traditional genre cliches blasted at full intensity and accompanied by similarly loud hard-rock music. There is no mystery to the finish of Kill Team Kill.


According to the short tale by Bruce Sterling, Swarm is about two human scientists trying to harness the genetic abilities of a symbiotic alien swarm in order to produce non-autonomous workers and a military that will serve the growth of humanity.

Automated Swarm alien castes generated by a single queen, together with a variety of other species, have been integrated into the organic network over time. Despite the scientists’ belief that their use of the Swarm does not violate any moral or ethical boundaries, the Swarm’s queen gives birth to a new caste of intelligent swarmers, which the scientists believe is a form of self-defense.

For the purpose of turning other races against themselves, the caste employs its “millions of years” of “racial intelligence.” The Swarm warns the scientists that “knowledge is not a winning survival quality,” in a satirical take on scientific arrogance.

However, it turns out that the Swarm wasn’t stupid; it had just developed beyond intellect, with each caste only existing to serve its symbiotic duty of keeping peace within the hive and only manifesting the intelligence caste to deal with external threats.

Even if the humans had taken into account ethical considerations in their plan to use the Swarm’s genetic abilities in a humane manner without violence or oppression, their real failure was due to their overconfidence in their own intelligence, a “flaw” the Swarm had long since evolved out of its symbiotic caste system to overcome.

The Swarm asks the scientist if he acknowledges humanity’s intellectual superiority in order to emphasize the scientist’s naivete “the scientist responds, “I accept your challenge, humans are different. We’re not going to be a parasite, “in spite of the Swarm’s defeat, continuing to put his trust in humanity’s intelligence.

Those are Mason’s Rats!

According to Neal Asher’s tale, Mason’s Rats is about a Scottish farmer who goes to extreme measures to get rid of raccoons that have been stealing his maize, only to find the rats’ cunning, courage, and tenacity were greater than he had anticipated.

Following the terrible killing of the rats by a robotic scorpion, he destroys the robot and discovers the rats had been distilling his maize into alcohol, which he then shares a drink with the survivors of the scorpion. As the farmer comes to realize in Mason’s Rats, his message is that he may have mistaken the rats as simple nuisances, depending on a kind of prejudice from his earlier experiences that stopped him from realizing that they were also simple persons attempting to create their own livelihoods.

This may seem extreme, but their willingness to forgive him and move on and his awareness of the quality of the booze they might make with his maize are valuable lessons in learning to appreciate the “humanity” in others rather than assuming they’re simple pests.

Entombed in Vaulted Halls

While searching a cave for a hostage in Afghanistan, an American special forces squad discovers an old powerful entity imprisoned in a mountain. The short story that inspired the film, In Vaulted Halls Entombed, by Alan Baxter, was nominated for an Edgar Award.

Only one soldier is left alive after the Lovecraftian nightmare uses psychic control on the soldiers in order to force them to free it from its prison. “Fear infected” Green Berets are shown to be a formidable force of nature in In Vaulted Halls Entombed, despite the lack of depth in the psychological experiment that it is.

Eventually, the team is reduced to a single member, and the beast once more demands that she release it. A bloody knife is shown in the soldier’s hands as she walks through the desert alone, her eyes and ears removed in order to reject the creature’s demands. As seen by the soldier’s gruesome self-mutilation, it is clear that the beast’s power to control the soldiers stemmed from looking into its eyes and hearing its demands.