 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 IR '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 to be recognisable by their pigmentation " . Cull , by contrast , considers the series largely progressive on the subject of race , arguing that it rejects negative stereotyping through the use of " positive non @-@ white characters " such as Kyrano and Tin @-@ Tin . However , he deems many of the one @-@ off villains derivative , commenting that these characters are typically presented as " corrupt businessmen , spivs and gangsters familiar from crime films " . 
 Thomas <a href='uninflect' title='1'><mark>argues</mark></a> that the world of Thunderbirds is similar to the 1960s to the extent that contemporary capitalism and class structures appear to <a href='been_done' title='2'><mark>have</mark></a> survived mostly intact . He also <a href='uninflect' title='3'><mark>observes</mark></a> , 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 <a href='null_genetive' title='4'><mark>'</mark></a>lasting popularity <a href='drop_aux' title='5'><mark>is</mark></a>the realism of IR <a href='null_genetive' title='6'><mark>'s</mark></a>machines . Newman , for his part , <a href='uninflect' title='7'><mark>suggests</mark></a> that " the point isn 't realism . The 21st century of Thunderbirds <a href='drop_aux' title='8'><mark>is</mark></a>detailed ... but also de @-@ populated , a high @-@ tech toyland " . He <a href='drop_aux' title='9'><mark>is</mark></a>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 <a href='uninflect' title='10'><mark>comments</mark></a> that he " would be happier if [ villains ] didn 't seem to be recognisable by their pigmentation " . Cull , by contrast , <a href='uninflect' title='11'><mark>considers</mark></a> the series largely progressive on the subject of race , arguing that it <a href='uninflect' title='12'><mark>rejects</mark></a> negative stereotyping through the use of " positive non @-@ white characters " such as Kyrano and Tin @-@ Tin . However , he <a href='uninflect' title='13'><mark>deems</mark></a> many of the one @-@ off villains derivative , commenting that these characters are typically presented as " corrupt businessmen , spivs and gangsters familiar from crime films " . 
Thomas argue that the world of Thunderbirds is similar to the 1960s to the extent that contemporary capitalism and class structures appear to done survived mostly intact . He also observe , 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 da realism of IR  machines . Newman , fir his part , suggest dat " the point isn 't realism . The 21st century of Thunderbirds detailed ... but also de @-@ populated , a high @-@ tech toyland " . He 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 comment that he " would b happier if [ villains ] didn 't seem to be recognisable by their pigmentation " . Cull , by contrast , consider the series largely progressive on tdasubject of race , arguing that it reject negative stereotyping through thdase of " positive non @-@ white characters " such as Kyrano and Tin @-@ Tin . However , he deem many of the one @-@ offf villains derivative , commenting tdatdese characters r typically presented as " corrupt businessmen , spivs and gangsters familiar from crime films " .