are often "formulaic" and are sometimes "stretched to snapping point" by the extended running time. Cornell, Day and Topping are critical: they consider the writing at times "woefully poor" and argue that Thunderbirds as a whole is "often as clichéd as previous Anderson series". Peel, despite praising the storylines and characterisation, suggests that the "tongue-in-cheek" humour of Stingray is less evident. Where Thunderbirds improves on its predecessor, Peel believes, is in its rejection of fantasy plot devices, child and animal characters, comical and stereotyped villains and what he terms the "standard Anderson sexism": female characters, marginalised in earlier series, are more commonly seen to play active and sometimes heroic roles. Noting the attention to detail of the series' launch sequences, Jonathan Bignell argues that part of the motivation for dedicating large amounts of screen time to the Thunderbird craft is the need to compensate for the limited mobility of the puppet cast. The focus on futuristic machines has also been explored by cultural historian Nicholas J. Cull, who comments that of all the Andersons' series, Thunderbirds is the most evocative of a recurring theme: the "necessity of the human component of the machine", whereby the failures of new technology are overcome by "brave human beings and technology working together". This makes the series' vision of the 2060s "wonderfully humanistic and reassuring". O'Brien similarly praises this optimism, comparing the Tracy family to guardian Übermensch. Writing for Wired UK magazine, Warren Ellis asserts that the series' scientific vision could inspire the next generation of "mad and frightening engineers", adding that Thunderbirds "trades in vast, demented concepts ... immense and very beautiful ideas as solutions to problems." Thomas argues that the world of Thunderbirds is similar to the 1960s to the extent that contemporary capitalism and class structures appear to have survived mostly intact. He also observes, however, that wealth and high social status are often depicted as character flaws rather than strengths. According to Thomas, a contributing factor to the series' lasting popularity is the realism of International Rescue's machines. Newman, for his part, suggests that "the point isn't realism. The 21st century of Thunderbirds is detailed ... but also de-populated, a high-tech toyland". He is more negative in his comparisons of contemporary and future values, noting the "square, almost 50s" attitudes to race, gender and class. With regard to stereotyping, Hood comments that he "would be happier if [villains] didn't seem