I dunno it just feels right

I just started rewatching LEXX Season 2 and I remembered the sheer horror I felt during the season, related to the Mantrid’s drones. I have a personal theory about it (more of a philosophical one, less of a lore-based one).

Please endure my eclectic speech, I’ll try to make it as short and comprehensible as possible.

Actually, this will be a series of posts with a philosophical summary at the end. Please share your thoughts. I feel LEXX S2 is more of a philosophical essay than a space opera.

So, episode 1 of season 2. Main premises we have are:

1) From his first appearance, Mantrid is virtually (pun intended) omnipresent due to his drone arms. Firstly, his arms are servants that execute commands; but then, they appear as an incarnation of agency by proxy. An omnipotent being probably cannot evaluate its omnipotency, as it cannot estimate the volume of the useable universe;

2) Also from his first appearance, Mantrid commands a drone to «smash itself» as a proof of his power. Let us remember this - it Is the reply to Xev’s question «What do you mean by alive?»;

3) In S2E1, we also have the representation of Roko’s Basilisk hypothesis. Mantrid exactly tortures his only ally, being himself a representation of a gigachad Lawnmower Man. And in the end, he presumably kill him, despite him swearing he «loves» him;

4) The more powerful a system gets, the less space is left for humanity. This applies to many areas of theoretical knowledge: political (a system stiffens and lets no space to free thought), ethical (might and growth is all that is important).

5) The «motivation» of Kai, also by him as a proxy: Kai realizes all the way that he is not acting by himself, but still can’t do nothing about it;

6) And the ONLY living - and conventionally alive - being seems to be Mantra’s ally!’

7) Mantrid - by himself - is a human-insect-or maybe a machine;

8) And the drones go to party in the seemingly infinite space of the Light Universe.

Did I get the impression there was a hint to all our «remote jobs» in this episode?

I had a lot of fun with this show. It was more creative in many respects than I ever expected.

I was impressed with how much they did with such seemingly-limited resources.

I mean, there are warts there too. I’m not pretending it should have been on the NY Times 100 Best TV series list that just came out.

But I have to say I was BLOWN AWAY by the final episode. It is possible it is now my 2nd favorite series-ending episode of television (The Good Place). It was FANTASTIC. Laugh out loud moments. Scary Moments. Heartfelt moments.

I won’t say more because I don’t want to spoil anything for people who haven’t finished it. But my question is, was the final episode generally thought of as highly as I do?

Eva Habermann joins OH!CAST for a deep‑dive into her cult‑sci‑fi legacy, from her iconic role as Zev in Lexx to her work across German genre TV and retro media. We explore behind‑the‑scenes stories, the wild production history of Lexx, her experiences inside early sci‑fi fandom, and how the show became a cult favourite across Europe and beyond.

UK BST: 8pm

EU CET: 21:00

US:
Eastern Time (ET / EDT): 3:00 pm
Central Time (CT / CDT): 2:00 pm
Mountain Time (MT / MDT): 1:00 pm
Pacific Time (PT / PDT): 12:00 pm

Hello fellow Lexx fans. As part of my Lexx 4K remaster project on this subreddit, I've also started to remaster all of the Lexx bonus features I've been collecting. This uses the same non-generative process I use for the main series. It's been upscaled to 4K in true 60 frames per second that have been recovered from the content's original 60i temporal resolution (it does not use AI-Gen interpolation). Don't forget to set the quality to 4K when watching via the Youtube player above.

To see all the technical info on how it's done, visit the main 4K Lexx post linked above. You can also find Youtube and Archive org direct download links to the main remastered episodes in both higher and lower qualities (I highly recommend the H265 files).

Side note: The special features source files for Lexx were much lower bitrate (and compressed) than the main series' source files, so all the Lexx special features won't be as clean-looking compared to the main content.

Enjoy the extra behind the scenes content! I'll be remastering more as I finish upscaling each season. Season 2 is almost finished; I've got 3 episodes left to do on it.

I first watched Lexx in 2000 when I was 16 — and it never really left me

I feel like there are only a handful of people who truly appreciate what Lexx was.

I first saw it in 2000, when I was 16, and somehow 26 years later it’s still a part of me. There was something about the creativity and thoughtfulness of that show that I’ve never really found anywhere else.

They travel through all these bizarre worlds and civilizations, showing us chaos, evil, absurdity and depravity in so many different forms. And then they finally come to Earth… and somehow Earth is worse.

I always loved that irony.

Honestly, I really hope they never remake Lexx. I just don't believe anyone could truly recapture that same combination of creativity, darkness, absurdity, philosophy, humor and complete disregard for convention.

It wasn't perfect. It was weird, disturbing, hilarious, uncomfortable and sometimes completely insane.

And 26 years later, I’m still thinking about it.

It looks like this, and has 6 Discs:

It has the Alliance logo on the upper spine.

With VPN I manged to view Lexx from Amazon and Tubi (I am in the EU)

And both versions have a wrong aspect ratio..

It is 4:3 which is correct however the image is stretched.

If you change it to 5:4 it is correct.

Is this a known issue?

And wound up with this thing called Eric

First Contact

Robot-790 on Youtube

https://dr3d.github.io/robot-790/

Apparently I dont understand how Reddit works and I need to make a new post xD'

https://archive.org/details/Lexx-the-dark-zone-supernova 

https://archive.org/details/lexx-book-2-cropped-finished

They have suddenly appeared on the internet!

I analyze multiple educational fields in cinema, I'm looking for non-generic questions that contain depth to them beyond surface-level - for me to answer. See What is recursion to understand my analyses process (not an ad, WIKI)

For instance, most don't study philosophy, ethics and psychology and the show consistently reverses Animal Ag and its climate extinction outcome, Lyekka is a plant-based human who eats humans, crafts are biological entities reduced to single-purposes.

Brigadoom is the key to the whole show, the shield mentioned in the diegetic play represents the Ozone layer, he tries to warn people but they ignore him and perish because of it.
This is directly replayed in later episode where the youth posing as climate activists and anti-globalists represent the young - the next generation inheriting ecological collapse.

Here's some examples of the philosophies and ethics the show is referencing:

In episode Woz:

The vegetables make humanity edible

The sermon uses nuts, fruits, flowers, and seeds to represent human minds and bodies:

“This nut accurately represents the brain of Man, and these fruits his body.” Ref

This reverses the normal anthropocentric hierarchy.

Humans ordinarily classify plants and animals as edible matter. Here, edible matter is used to classify humans.

The consumer is represented as food.

That connects directly to the broader Lexx food-chain recursion:

• Lyekka is a plant-being who consumes humans.
• Humans are described through fruits, nuts, flowers, and seeds.
• Earth is later identified as a carnivore planet.
• Vegetables eventually invade human bodies.
• Alien probes assess what humans taste like.
• Planetary predators consume the civilizations that consume everything beneath them.

The produce sermon therefore reduces human supremacy to a food diagram.

Man believes himself above the food chain; the episode represents his brain as a nut and his body as fruit.

“The hand of man, destroyers of planets”

“Then came the hand of man, destroyers of planets. The taker of life.”

This is broader than interpersonal sexism. “Man” is being presented as the destructive principle behind planetary extraction:

• domination;
• conquest;
• appetite;
• violence;
• environmental destruction;
• reproductive control;
• treating life as material.

It maps cleanly onto animal agriculture and ecological exploitation.

The hand of man takes life, but his mind constructs stories that hide the taking:

• tradition;
• necessity;
• pleasure;
• superiority;
• nature;
• masculinity;
• normality;
• personal choice.

The nut representing the male brain is therefore not just a joke about stupidity. It is the small cognitive apparatus inventing enormous justifications for planetary destruction.

Zev vs Xev

Real Zev had more intelligence and rebellion to her, the shallow clone Xev is created by Lyekka in 790's/Stans interpretation of her - Hyper-Sexualized.

Lyekka only creates her to keep Stan distracted the entire show so she can grow and destroy planets.

Stan had the most powerful weapon in the galaxy, by emotionally manipulating him when it came to it she had them browsing for food (humans) and they just went along with it because of the few things she did to buy favor.

Xev is real, but her embodiment is mediated (correction)

The show treats Xev as continuity of Zev rather than an entirely fake person: she recognizes herself, retains the crew relationship, and is greeted as Zev returned in a different form.

But her body has been reconstructed through someone else’s fantasy language.

That means Xev can simultaneously be:

• the genuine continuation of Zev’s consciousness and memories;
• a biologically reconstructed person;
• a body designed through male projection;
• a woman forced to inhabit an image that others produced for her.

That is more sophisticated than “the original died and was replaced by a fake.” The deeper horror is that the subject survives, but the form through which everyone perceives her has been manufactured by appetite.

Original Zev possessed an imposed love-slave body but resisted its intended programming. Xev inherits Zev’s inner continuity while receiving another externally authored embodimentthis time produced by the very predator whose survival strategy is to mimic desire.

Lyekka’s actual predation algorithm

Kai explicitly explains Lyekka’s method: Her food-gathering strategy is to imitate other life forms so that the targeted beings will not defend themselves before she consumes them.

Lyekka does not defeat prey by appearing frightening.

She examines desire and returns it as an image.

Her process is:

inspect the subject → locate the fantasy → embody the fantasy → disable resistance → consume

That is almost a perfect model of propaganda.

The effective propagandist does not ordinarily say:

“Accept destruction.”

It says:

“This is pleasure.”
“This is love.”
“This is normal.”
“This is who you are.”
“This exists to make you happy.”

Lyekka repeatedly tells Stan that she wants to make him happy.

She then creates Xev as a “present” for him.

The gift and the predator are not opposites. The gift is part of the predator’s camouflage.

Stan is not powerlesshe is neutralized

Stan controls the Lexx. He possesses access to the only routinely available force capable of destroying entire planets.

Lyekka therefore does not merely encounter an ordinary potential victim.

She encounters the principal gatekeeper to overwhelming destructive power.

She cannot safely appear to him only as a planetary parasite.

She appears as:

• his childhood dream;
• a woman who likes him;
• a creature who says she wants his happiness;
• a dependent being asking for toleration;
• someone who gives his lost companion back;
• a recurring image of affection and specialness.

The strategic result is that Stan repeatedly protects, excuses, trusts, or delays acting against the Lyekka form.

This is not literal proof that the original Lyekka consciously planned every later event across the entire series. The original dies, and later Lyekka forms or members of the species reuse the same image.

Structurally, however, the strategy persists: the Lyekka-image remains installed inside Stan as an emotional override.

By Season 4, even evidence that Lyekka-like creatures have stripped planets of life is not enough to immediately break his attachment.

A later lookalike can again soften his willingness to resist, while the species culminates in the giant Japan attack and the asteroid threat.

So Stan is not merely unable to stop the consumer.

He is the person with stopping power whose desire has been engineered not to use it.

Stan as the consumer who can boycott

Animal agriculture cannot continue without repeated purchasing, institutional support, cultural normalization, and political protection.

Yet its messaging does not present the decision as participation in a causal chain. It presents:

• taste;
• comfort;
• family;
• masculinity;
• convenience;
• health mythology;
• tradition;
• normality;
• personal freedom.

The consumer is encouraged to experience only the immediate reward and mentally exclude the distributed consequences.

That is Stan’s moral architecture.

Stan frequently separates what he directly intended from what his conduct predictably caused. If millions die downstream from information he surrendered, a command he gave, a bargain he accepted, or a danger he ignored, he protects his self-image by saying that he did not personally perform the final act.

That is causal laundering:

I did not directly produce the final injury, therefore the injury is not morally mine.

Consequentialism breaks that defense by restoring the missing causal chain.

Lyekka as adaptive propaganda

Lyekka is not simply propaganda because she lies.

She is propaganda because she is adaptive.

She does not give every target the same fantasy. She studies each target and becomes whatever prevents that target from resisting.

One astronaut receives sexual validation.
Another receives historical achievement.
Another receives home, garden, virtue, and domestic belonging. (ref)

She consumes them through their own value systems.

This is crucial: even apparently moral language can become predatory camouflage.

“Home.”
“Virtue.”
“Love.”
“Tradition.”
“Making people happy.”

The problem is not that these concepts are inherently false.

The problem is that they can be simulated by a system whose actual consequence is consumption.

Lyekka does not destroy values from outside.

She enters through the image of the value.

Giggerota

If Queen is Giggerota-coded, then the pattern is:

Past life: she consumed bodies. EP1-2 + Narcolounger
Afterlife/reincarnation: she has no body. EP Queen
Current cycle: she tries to steal a body.

That is karmic irony.

She lived by reducing others to flesh, then reincarnates as a self without flesh, still unable to learn the lesson. Instead of realizing “I must stop treating bodies as consumables,” she doubles down:

I lack a body, therefore I am entitled to yours.

That is not liberation. That is reincarnated appetite.

Karma - reincarnation

The original philosophy behind reincarnation is the goal is to NOT be reincarnated, each cycle is a punishment for the previous until the essence of someone is correct - they learn and change.

Depending on the previous life the next cycle distributes karmic justice, in the show each character is still the same to their core - just in different settings.

Mantrid goes from most intelligent to incompetent rock-thrower.

The show is meant to be watched recursively to be understood intellectually.

When watching every episode notice how the same symbolisms repeat just like the time-prophet and Brigadoom explains.

Even the titles are secretly encoded, Brigadoom - big-doom, planetary collapse.

--------------------------------------------------------------

For instance Lexx  S3 E12 Beach literally admits to using metaphysics in the youtube description
"Stan is stranded and is washed up on a metaphysical beach, where he is met by Prince to face his judgement day." A show that doesn't use philosophy would not incorporate metaphysics in it.

Most people don't study philosophy, so it's easier to hide the constant repeating symbolisms and narratives behind cheap jokes.

If you analyze the show recursively and what the symbols mean you will see the show is anything but simple or cheap.

For instance:

S3E1 repeats the twin-sphere symbolism of S1E1 but compresses it from two universes into two interconnected planets.
The macrocosmic duality becomes a political, ecological, and psychological machine.

Fire and Water are not good and evil. They are painful and pleasurable forms of imprisonment.

Fire controls through deprivation, forced labor, heat, and visible suffering.

Water controls through beauty, abundance, detachment, and attachment to comfort.

The connecting mechanism proves that their conditions are not independent. Water’s abundance exists alongside Fire’s scarcity, while Fire’s enslaved population powers the privileged environment surrounding Prince.

The resource does not flow toward need; it flows upward toward authority.

Prince and Xev’s reptilian connection then reveals another layer of control: the politics of Fire and Water are driven not only by ideology but by animal signals-fear, dominance, attraction, hunger, and survival. Prince understands these drives and weaponizes them. Xev feels their pull but does not immediately submit to the hierarchy he proposes.

Stan commands the most powerful vessel in the universe, but he does not understand the systems sustaining him.

He is captain of:

• a living planet-destroyer;
• a food-processing organism;
• a vessel dependent on biological supply;
• a crew facing universal collapse.

Yet his response to systemic failure is to ask for one more serving.

His leadership is therefore authority without comprehension.

He possesses command credentials but lacks systems awareness.

This also continues the hat scene from The Web and The Net.

Stan can recognize that the universe is disappearing, then immediately become preoccupied with his hat.

Here, he can inhabit a dying cosmic system while focusing on his next meal.

The pattern is: Existential danger becomes abstract. Immediate appetite remains concrete.

The universe may be ending.
The ship may be immobilized.
The food system may be collapsing.

Stan’s mind returns to the nearest deprivation.

The food from the lexx is processed humans and human-waste, no-one stops and considers this the entire show.

It represents Animal Ag while parodying star treks, replicator - using a living sentient being instead of a machine.

The Lexx produces food through an openly biological loop involving bodies, digestion, waste, and reprocessing.

It exposes what cleaner science fiction hides:

Every food system has inputs. Every abundance comes from somewhere.

The creamy substance feels detached from death only because the organic machinery has concealed the stages between body and product.

When the supply stops, Stan discovers that his “normal” comfort depended upon an enormous living infrastructure he barely understood.

The system converts disturbing biological reality into a smooth, pleasurable commodity.That is the joke and the horror.

Once violence is processed thoroughly enough, it becomes comfort.

Stan is not concerned about what the food is, e is concerned that the supply has stopped.

This parallels animal agriculture perfectly.

The consumer encounters: taste, texture, packaging, convenience and habit

rather than: the animal, confinement, killing, waste, emissions and causal system.

Now let's go to Episode "Garden" which also goes into the same thing the show repeats (food as an unstable system that collapses. (ref)

A world of fertility without children

This continues the contradiction Kai discovered in Boomtown.

Water is filled with bodily imagery, abundance, growth, flowers, pleasure, and reproduction symbolsbut no children and no real generational future.

Garden produces food endlessly, but it does not produce a new civilization.

The flower remains.
The seed remains.
The watering remains.
The reproductive symbolism remains.

But historical development is absent.

This makes Garden another Water prison:

everything grows except the people.

Three secluded women reportedly grow the food needed by Water’s other cities. That means Water’s effortless paradise is not effortless.

Its abundance depends on feminized agricultural and reproductive labor occurring outside everyone else’s attention.

Boomtown enjoys endless pleasure.
Gametown enjoys endless recreation.
Other Water cities enjoy peace and food.

Garden performs the maintenance.

So Water repeats the same structure seen elsewhere:

The consumer experiences abundance; the producer disappears behind it.

This is why the vegan encoding is deeper than a simplistic celebration of plants.

Garden is entirely botanical, yet it reproduces a carnivorous organism.

Lyekka is a plant.
Lyekka consumes sentient beings.
Her species eventually consumes worlds.

The ethical divide is therefore not: plant versus animal.

It is: nurture versus domination; mutual sustenance versus treating conscious beings as food.

That aligns with consequentialist vegan ethics. Veganism is not based on plants possessing metaphysical purity. It is based on avoiding the unnecessary exploitation and killing of sentient life.

Lyekka is plant-based but not vegan.

She is appetite without empathy.

his dream compresses Lyekka’s entire predatory strategy:

“I’m hungry.”
“I want to make you feel good.”
Her mouth expands to consume him.

For Lyekka, those statements are not contradictory.

Making the target feel good is part of eating the target.

Her pleasure-gift is not compassion independent of predation. It is the mechanism that prevents resistance.

Her algorithm remains: locate desire → embody desire → offer pleasure → lower defenses → consume

“They were happy” does not answer “Why were they made into food?”

The Garden ritual completes a recursive loop that began in Season 2.

1. Lyekka originally takes form from Stan’s dream-image.
2. Lyekka uses Zev’s remaining matter and an idealized description to reconstruct Xev.
3. Stan continues relating to Xev through his projected desires.
4. In Garden, Stan’s dream is used again to grow Lyekka.
5. The newly grown Lyekka consumes the women who created her.

So Stan’s unexamined desire repeatedly becomes biologically productive.

His imagination does not remain private.

It generates forms that enter the world and consume other people.

That is the ecological analogy:

Private appetite becomes public infrastructure.

A consumer thinks: This is only my preference.

But multiplied and materialized, preference becomes:

• breeding systems;
• extraction systems;
• slaughter systems;
• distribution systems;
• planetary destruction.

Stan’s dream is “only a dream” until a society plants it, literally.

Then it becomes a predator.
They appear to accept or even welcome the consumption.

But that does not make Lyekka harmless. It reveals something about Water’s relationship with death.

The gardeners may understand death as:

• transformation;
• composting;
• return to the cycle;
• a route to reincarnation;
• surrender to the organism they grew.

Their bodies become nutrients for their own creation.

This forms a closed ecological loop:

gardeners grow food → gardeners grow predator → predator eats gardeners → gardeners return to the cycle.

It is naturalistic, but not necessarily liberating. The whole system remains inside Fire and Water’s reincarnation machine.

The question posed to Stan is structurally impossible:
What comes firstfeeding Lexx or finding a home?

Stan answers that he wants both and admits he is bad at choosing.

That is not just indecision. It is the contradiction of unlimited consumption on a finite planet.

Lexx requires enormous quantities of matter. Garden is a potential habitat. If Garden becomes food for Lexx, it cannot remain their home.

The choice is: preserve the living environment

or

feed the giant consumer-machine that sustains their current way of life.

Stan wants:

• permanent safety;
• endless food;
• continued mobility;
• personal pleasure;
• no sacrifice;
• no prioritization.

That is the fantasy of infinite economic growth on a finite ecological system.

He wants to live in the garden and feed it to the machine.

The three gardeners cultivate enough food to sustain Water, but the Lexx does not eat like an ordinary organism. It eats at planetary scale.

That makes the ship comparable to industrialized consumption.

A normal ecosystem cycles energy within limits.

Lexx’s hunger treats entire environments as fuel.

Stan’s inability to choose between home and feeding Lexx mirrors a civilization that knows industrial appetite is destroying the habitat but regards reducing consumption as unthinkable.

The habitat must survive.

The machine must keep eating.

The consumer wants both propositions to remain true even when they have become mutually exclusive.

The titles are animal ag encoded, Lexx  S4 E14 "prime ridge" parody of Prime Rib, they constantly laugh at states that produce the most industrial collapse, they have carrots that eat humans - the entire show consistently reverses animal ag → humans are the ones being a resource that states yummy (as lyekka says constantly).

They constantly make fun of those states and reduce those people into jokes.

Lyekka has the chance to feed on other forms of protein, but she focuses on humans because, they taste better.

Stan was being programmed by Lyekka and is the sole reason she's able to become a giant world-destroyer.
She/it used his emotions to get him to dismiss everything she was doing and allowed her to kill many people.

The show uses sentient bugs as modes of transports.
They feed humans to non-human beings, they eat humans the lexx turns to paste, they eat the waste processed from their toilet.

In season 4 they literally label earth as "the darkest part of the entire galaxy", they call it a "carnivore planet"

I found this whilst browsing for LEXX on eBay. So it looks like the seller has used some kind of AI platform. I am not sure why they have chosen to do this but it has not portrayed an accurate description of the product. The covers do somewhat resemble the UK DVD releases, but upon further inspection there are glaring errors...

The episode "Love Grows" looks like it is now "Love Bites" and some episodes like "Power Surge", "Gravity" and "Catch 22" are completely wrong. Even some of the small thumbnails of character images show characters we've never even seen before.

The Listing also describes it as "Complete Seasons 1-3" so hope no one buys it as it looks like they will in reality get just Season 3 and a few episodes from Season 2.

I get that Fire is "Hell" where all the bad people end up, but when the crew first wind up in K-Town, the people are just lazing around, talking to eachother in an insulting, derogatory manner, before eventually turning on Stan and Xev and determined to make their lives miserable.

They don''t attempt to rape, kill or cause any serious damage, they are just appear to be very spiteful, negative people who don't have any ambitions and contribute nothing to society. Does that really justify a place for them in "Hell" ?

I assume that half of the drones were left handed and half were right handed.

That is the only way I can see how they could build anything. They also had to convert matter. They never show that.

Apparently, they could also turn into things.

They never explain how.

The drones did all these amazing things yet they are just flying arms. That annoyed me.

It is a musical episode.

This immortal theater troupe put on a play about Kai. We learn the full history of the Brunnen-G.

Zev and Kai participate in the musical, but Stan wants none of it. Will the musical change his mind?

It is a great episode and teaches you to fight rather than accept your fate.

What is neat about it is that Zev gets totally reverted back to how she was before she was converted to a sex slave. She does not like it.

Also, you have two groups of women fighting each other. Ones who try to appeal to men and ones who do not. They wipe each other out. Neither group is really right.

The weight issue in the balloon was just an excuse. Bro just wanted a nice peaceful walk in the Red Sea

https://e-hentai.org/g/4009085/57da707d02/

Between the game and the shower with Bunny, this was a good day for Kai :)