![]() ![]() More contemporary incarnations of the genre (including Love, Death,& Robots) could learn from the precedent that creator Peter Chung and his team set nearly 30 years ago. Ballard and Harlan Ellison, and the addition of Jennifer Yuh Nelson ( Kung Fu Panda 2), who joins series creator Tim Miller ( Deadpool) as co-executive producer and directs “Pop Squad,” one of this season’s standout installments, all seems to have helped the series to grow.īut there’s still the issue of classifying Love, Death & Robots as “adult” animation, a description that, however well meaning, inadvertently frames the medium as one intended “for kids.” How then do we even go about defining “adult” animation, let alone good “adult” animation? My definition comes from one particular series: Peter’s Chung’s avant-garde sci-fi series Æon Flux. Luckily, Love, Death & Robots season 2 improves upon the first, with eight shorts that cut down on the gratuitous nudity and violence and are speculative in a way that’s actually mature. There was nothing beneath their shiny surfaces. For a series that claims maturity, the majority of season 1’s otherwise beautifully animated shorts felt like exercises in adolescent hyper-fixation, with only blood, boobs, and gore as a thematic through-line. ![]() I enjoyed some of the first wave of episodes, especially Albert Mielgo’s “The Witness” and Robert Valley’s “Zima Blue,” but the sales pitch of animation for “mature, messed-up” adults made me cringe. My reaction to a second season of Netflix’s animated anthology series Love, Death & Robots was preemptive exhaustion.
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