Unenouvelle fois Love, Death and Robots (dont la saison 3 est disponible sur Netflix depuis le 20 mai) se distingue par la diversité des styles et des récits, uniquement reliés entre eux par un registre commun oscillant entre la science-fiction et

Netflix's NSFW anthological animated sci-fi series Love, Death + Robots is returning for a second season so expect more frightening creatures, wicked surprises and dark comedy from creator Tim Miller and director David Emmy Award-winning series, described by Netflix as a "genre orgy of NSFM [mainstream] stories", is comprised of 18 short films ranging from five to 15 minutes in length, each telling a unique and original story with a different animation style. It's executive produced by Fincher, known for Seven, The Curious Case of Benjamin Button, Mindhunter and The Social Studio, the award winning animation company founded by Deadpool director Miller, has led the production of the series. Love, Death + Robots has brought in directors, writers and animation studios from around the world, so each individual story is completely unique."Love, Death + Robots is my dream project, it combines my love of animation and amazing stories," co-creator Miller previously said. "Midnight movies, comics, books and magazines of fantastic fiction have inspired me for decades, but they were relegated to the fringe culture of geeks and nerds of which I was a part. I’m so f***ing excited that the creative landscape has finally changed enough for adult-themed animation to become part of a larger cultural conversation." series received a strong response from viewers and critical acclaim for the animation styles.“We couldn’t have been happier at the response to the show," Miller said of the excitement around season one and the appetite for more. "It was exactly the kind of passionate reception from animation fans David and I hoped for, but for many long years had been told wouldn’t happen."Here's everything we know so far about Love, Death + Robots season two...When is Love, Death + Robots season 2 released?Love, Death + Robots season 2 will launch on Netflix on May 14th, 2021, at 8am. Season one launched in March, first batch of episodes contained 18 short films so we can expect a similar amount of episodes when it will Love, Death + Robots season 2 be about?For season two, Miller has teamed up with Oscar-nominated director Jennifer Yuh Nelson, who helmed King Fu Panda 2 and 3, as supervising director. Netflix says that together they sought talented and diverse animation directors from around the world, to create a blend of styles and stories ranging from violent comedy to existential philosophy."It’s a tonal and stylistic Jenga game," Jennifer Yuh Nelson explained. "Trying to figure out which director might best handle what story."Ranging from tradition 2D to photo-real 3D CGI, the stories in season 1 featured everything from werewolf soldiers and demons from hell, to cyborg county hunters, and they traverse science fiction, fantasy, horror and comedy genres. Season two has everything from space whales to a gigantic foot, to a 218-year-old woman and explosive space the latest news and expert tips on getting the best deals this year, take a look at our Black Friday 2021 and Cyber Monday 2021 there a Love, Death + Robots season 2 trailer?There is indeed, and you can watch it belowCheck out our guide to the best series on Netflix and best movies on Netflix, or visit our TV Guide.

“This is your life now, to hide and wander. Never a moment’s rest in this barren wasteland that is now your existence.” There’s a level of freedom to storytelling that anthology series allow that’s often impossible elsewhere. The format has exploded over the past decade, especially when it comes to genre storytelling. Love, Death & Robots doesn’t just benefit from the versatility of its anthology format, but also the limitless nature of animation, as well as the boundary-breaking nature of science fiction and horror. The first season of Love, Death & Robots hit the ground running and contained an incredibly eclectic collection of stories that effectively showcased the opportunities that a show like this allows. It’s absolutely valuable to have more Love, Death & Robots in production, but this second batch of episodes, while gorgeous and entertaining, feels more simplistic than its debut season. These eight new episodes are all set in very different worlds, but they approach comparable themes. “Automated Customer Service” and “Life Hutch” both approach the wonders and dangers that surround radical advancements in technology, albeit in tonally different contexts. They both unpack how the inherent security that technology provides can be a double-edged sword and more dangerous than it’s worth. This gets looked at in a mundane and extreme scenario, but both examples highlight the efforts that technology goes to in order to achieve their prime directive, even when that goal veers wildly off course or seems antithetical to the original mission. “Ice,” “Pop Squad,” and “Snow in the Desert” each explore fascinating questions over unique dystopias. Overpopulation, consumer culture, and the beauty of the individual versus the collective get broken down in creative ways. Several of these stories operate as cautionary lessons for society over the increasingly pervasive nature of technology and the progressive laziness of humanity. Alternatively, “The Tall Grass,” “All Through the House,” and “The Drowned Giant” all break down the fear and glory over the unknown. Paradigms that are both unexpected and reassuring get recontextualized through terrifying and surprising new lights, whether it’s the comforting image of Santa, monstrous invaders, or a beached giant. Despite these fantastical visuals, these stories are deeply interested in what’s familiar from these surreal images. They all experiment with pieces of humanity that have warped into frightening and challenging ideas. These stories embrace the unknown and how these changes point towards a future that feels both familiar and impossible. There’s a charming level of naivety to all of these segments, which begin in familiar ways, only to barrel into the untold. It’s almost as if the intention is that these episodes are artificial intelligence’s interpretation of these familiar human customs and touchstones. It doesn’t necessarily feel like this new addition of Love, Death & Robots squanders its opportunity, but there’s only so much that it can do across these episodes. There’s a more playful energy to a lot of the stories this time around and there’s considerably less focus on gender constructions, which is honestly helpful as it explores broader and more universal areas. All of these stories examine what it truly means to be alive and to live, and there’s incredible world building across the board. Some of these episodes are only a few minutes long, but they still feel like they could be fleshed out to contain entire movies or television series. There’s rampant death, murderous robots, and vicious beasts in these stories and a certain level of tension is ever-present. “The Tall Grass” and “All Through the House” are the only entries that feel like pure horror, the latter of which presents a creature that makes Krampus look like a Mogwai. However, the majority veer into hard, nihilistic sci-fi. The final installment, “The Drowned Giant,” may be the weirdest and most effective of the lot. Based on a short story by Ballard and the only entry in the season that’s written and directed by Tim Miller, it’s a stunning examination of the uncanny where the whole world feels only a few degrees off axis from our own, but that’s still enough to feature unbelievable changes. It’s also strangely the entry that has the least to do with robots and technology, with a perspective that almost views humanity itself as a cold and distant piece of machinery. Hopefully more of this ambitious weirdness will continue in the show’s future and it won’t feel the need to hide behind aggressive action and life or death stakes against machines. Sometimes asking the right gentle question is more than enough. Love, Death & Robots wears its love and passion for science fiction and horror on its sleeve, but the eye-popping animation is just as important to this series. There are some wildly varied art styles across these episodes that stand out even more when played back-to-back-to-back. “Ice,” by Passion Animation Studios, looks like a graphic novel come to life or a heightened Gorillaz music video, and it’s such a nice contrast to some of the more polished CG ventures like “Pop Squad” and “Snow in the Desert.” They’re honestly so pristine that they look live-action at times and often feel like the kind of fancy opening cutscene that would kick off a PlayStation era Final Fantasy game or Death Stranding, in the case of the latter. There’s this realistic approach to many of the segments that beautifully juxtaposes with the more stylized and cartoonish worlds that also get explored. ”Automated Customer Service” and “All Through the House” look like Pixar shorts that have smoked some bad weed. In contrast, the mottled, impressionistic, almost clay-like look in “The Tall Grass” is one of the most striking aesthetics of the lot. Love, Death & Robots looks beautiful, but one detriment to this new season is that there’s simply not enough of it. There are eight episodes here as opposed to the 18 from the first season. These eight episodes come out to just over 80 minutes, which makes this very easy to digest and play more like a sci-fi anthology film rather than a full season of television. This season doesn’t feature any stories that are markedly longer or shorter than anything from the first season. The longest entries hover around 15 minutes and the shorter is closer to five, but the majority sit comfortably in the middle at ten minutes. Every episode in this season is also a short story adaptation, which was the norm in season one, but not for every episode. This gives each episode a strong foundation since they pull from authors like Harlan Ellison, Ballard, and Joe Lansdale, but this direction hopefully doesn’t mean that there won’t be any completely original stories in the future for Love, Death & Robots. On the whole, this new dose of Love, Death & Robots feels slightly more disposable than what came before it. It makes for a quick, easy binge, but it’s still a lot of fun and offers a lot of variety across these eight episodes. Season three is set to be another eight episodes and it might have been a better strategy to release both of those installments at once instead of two shorter halves. That being said, hopefully the next installment aims even higher and gets increasingly playful with its approach to genre. There are some fantastic ideas and deconstructions of archetypes across these episodes. As a whole, it may feel somewhat empty, but specific visuals will linger with the audience long after. Love, Death & Robots doesn’t reinvent the wheel, but it allows that wheel to take over humanity and ignite a robot apocalypse. Season Two of Love, Death & Robots is now available to stream on Netflix. Daniel Kurland is a freelance writer, comedian, and critic, whose work can be read on Splitsider, Bloody Disgusting, Den of Geek, ScreenRant, and across the Internet. Daniel knows that "Psycho II" is better than the original and that the last season of "The X-Files" doesn't deserve the bile that it conjures. If you want a drink thrown in your face, talk to him about "Silent Night, Deadly Night Part II," but he'll always happily talk about the "Puppet Master" franchise. The owls are not what they seem.

Fri May 14, 2021 6 mins. Two children's Christmas Eve night unfolds in a sinister, unexpected way while vying to witness Santa Claus deliver their gifts. Where to Watch. Episode 7.

Watched in the following order 001 - Sonnies edge - 6/10 Kinda bland 002 - Three Robots - 8/10 Hit or miss humor. Robots are well designed. Cats are ugly af. 003 - The Witness - 7/10 Overplayed concept. Looks edgy just to be edgy. 004 - Suits - 10/10 ♥ Concept. ♥ Execution Looks kinda bland visually 005 - Sucker of Souls - 7/10 Meh. 006 - When the yogurt took over - 7/10 Ugly. Fun idea, even if underexplored. 007 - Beyond the Aquila rift - 9/10 ♥ Music. Great short. 008 - Good Hunting - 9/10 Beautiful. Lacks tension, weak pacing. 009 - The Dump - 5/10 Visually disgusting. Gross. Ew. 010 - Shape-Shifters - 6/10 Very interesting premise. Pathetic execution. 011 - Helping Hand - 8/10 Gravity but shorter. 012 - Fish Night - 7/10 Visually beautiful Do you even have a story ? Basically a tech demo. 013 - Lucky 13 - 10/10 10/10 would cry everytime. 014 - Zima Blue - 10/10 Best short out of the lot. Stunning. 015 - Blindspot - 8/10 Characters are very fun to watch. Looks good. 016 - Ice Age - 8/10 Only live action short. Simpsons did it. 017 - Alternate Histories - 5/10 High expectations going in. Dissapointed to no end. Would be the worst one if not for The Dump. 018 - The Secret War - 10/10 Great premise. Great execution.

Thesecond season of. Barack and Michelle Obama's production company, Higher Ground, is on board to produce Blackout, a new Love, Death + Robots has subverted expectations. So for Season 3, the NSFW anthology of animated stories is, again, doing something completely unexpected: a sequel. The new episode “Exit Strategies” welcomes back K-VRC, XBOT 4000, ^{StartseiteEntertainmentSerien LOVE, DEATH & ROBOTS Love, Death & Robots Deswegen besteht Staffel 2 aus nur 8 Folgen Die neue 2. Staffel von "Love, Death & Robots" fällt wesentlich kürzer aus als die Premiere. Die Gründe für die verkürzte Season erläutert Netzwelt. "Love, Death & Robots" Ausgabe 2 Quelle Screenshot Netflix "Love, Death & Robots" ist zurück auf Netflix, doch Season 2 besteht nur aus 8 Folgen. Eine 3. Staffel ist jedoch bereits in Arbeit und wird im Jahr 2022 erscheinen. Warum die nun erschienene Staffel so kurz ist, erfahrt ihr hier. Netflix' animierte Sci-Fi-Anthologie-Serie "Love, Death & Robots" ist am 14. Mai 2021 mit einer "Ausgabe 2" genannten 2. Staffel auf den Streaming-Dienst zurückgekehrt. Erneut erwarten Netflix-Abonnenten abgedrehte Kurzfilme voller Gewalt, Sex und Drogen, die alle auf Laufzeiten um die 10-15 Minuten kommen. Allerdings bemerken viele Fans der Sci-Fi-Storys mit viel Cyberpunk-Einschlag rasch, dass die nun neu erschienene 2. Staffel wesentlich kürzer daherkommt als noch die Premierenausgabe Statt 18 Episoden wie bei der Premiere im Jahr 2019 gibt es dieses Mal "nur" 8 Geschichten - aber warum ist das so? "Love, Death & Robots" Wo ist Folge 9 aus Staffel 2? "Love, Death & Robots" wurde, das machte vor Kurzem bereits der Trailer zur neuen Season klar, bereits für eine 3. Staffel verlängert, die dann folgerichtig "Ausgabe 3" genannt wird. Dies kündigte der Trailer bereits am Ende an "Love, Death & Robots" Ausgabe 3 erscheint 2022 Quelle Screenshot YouTube "Love, Death & Robots" Ausgabe 3 wird dann wiederum aus 8 Episoden bestehen, die im Jahr 2022 auf Netflix erscheinen. Darum besteht "Love, Death & Robots" Staffel 2 nur aus 8 Folgen Einige böse Zungen behaupten nun, dass bereits alle Episoden aus "Ausgabe 3" fertiggestellt wären und der Streaming-Dienst Netflix eine Veröffentlichung "zurückhält". Wahrscheinlicher ist hier jedoch, dass sich die neuen Episoden aus "Ausgabe 3" bereits in der Produktion befinden, jedoch noch nicht fertiggestellt sind. Bei Animation dieses Kalibers ist die Produktion mit erheblichem Aufwand verbunden. Außerdem hat die Corona-Pandemie hier höchstwahrscheinlich auch für Verzögerungen bzw. eine erschwerte Produktion gesorgt. Eine Veröffentlichung von 8 Episoden zum jetzigen Zeitpunkt verkürzt daher die Wartezeit. Die Folgen, die bereits fertig sind, hat Netflix eben nun veröffentlicht. Hätte "Ausgabe 2" von "Love, Death & Robots" hingegen aus 16 Folgen bestanden, hätten sich Zuschauer des Streaming-Dienstes eben länger gedulden müssen, bis diese erscheinen. Love, Death & Robots bewerten35 BewertungenGenreAnimation, Sci-Fi & in QuellenTMDBIMDbNetzwerkNetflix Produktion Blur Studios, Studio La Cachette Staffeln 01 02 03 Nichts verpassen mit dem NETZWELT-Newsletter Jeden Freitag Die informativste und kurzweiligste Zusammenfassung aus der Welt der Technik! Diese Seite wurde mit Daten von Amazon, Netflix, MagentaTV, Sky Online, iTunes, The Movie Database, Warner Home Entertainment, Sony Home Entertainment oder den jeweiligen Produktionsstudios und/oder Publishern erstellt. Bei Fehlern oder Problemen bitte das Kontaktformular benutzen. Labrillante série Love, Death + Robots a maintenant été confirmée pour une quatrième saison. Pas surprenant peut-être compte tenu de la quantité de récompenses que les trois précédentes}

“Love, Death & Robots” doesn’t make a terrible amount of sense as a title. For one thing, it’s repetitive part of the inherent appeal of fictional robots is that they feast on our uncomfortable relationship with death. We’re usually either afraid of robots that could possibly kill us or attracted by the implication of a robot incapable of dying. And that’s all even before addressing the idea that love is an emotion tied to caring about someone so much that you’re afraid to live without where does that leave Netflix’s anthology collection of animated shorts, each ostensibly drawing on at least one of that trio? “Love, Death & Robots,” debuting an eight-episode Season 2 over two years after its first, continues to be a vague, mystifying catch-all. Heralded around its premiere as reflecting the sensibilities of its two high-profile executive producers — David Fincher and “Deadpool” director Tim Miller — most of the original 2019 batch hewed toward the kind of “adult animation” that really wants you to be conscious of both parts of that from IndieWireLove 'Jupiter's Legacy'? Here Are 5 Comics You Should Own'The Marksman' Takes the VOD Lead at Reduced Price as 'North Hollywood' Makes a Surprise DebutSo throughout the first 18 episodes of “Love, Death & Robots” — largely overseen by Miller with a handful produced by his Blur Studios — there are plenty of times where someone shows a little extra skin, takes an extra kill shot, lets the blood splatter a little closer to the frame. As IndieWire’s Ben Travers wrote in his review at the time, much of Season 1 boils down to a different set of three ideas “masculine, violent, Season 2 tamps down a lot of the impulse that in the first group of episodes had many an animated woman do things like pour a bunch of champagne over her naked breasts for no discernible reason. Though as a treat for those who are missing that vibe, one of the opening credits icons for one episode features an upside-down heart with nipples.With Jennifer Yuh Nelson — director of the second and third “Kung Fu Panda” movies — taking over as Season 2’s Supervising Director, there’s a slight widening of the show’s scope, even with 10 fewer shorts to consider and a bit of the show’s earlier DNA still intact. Some of that comes from reintroducing past contributors who managed to break out of the show’s constricting atmosphere before. Robert Valley’s “Zima Blue” was a Season 1 highlight, swimming in the existential nature of artificial consciousness rather than chaining it to a bazooka. His follow-up effort, “Ice,” is a little more of a visual showcase, but even those without a close eye on the credits list should be able to track the creative connections between the two first season of “Love, Death and Robots” notably jumbled its episode order, as part of what was eventually confirmed as a massive platform-wide A/B test. However these chapters are presented this time around, if your menu serves you “Life Hutch” and “The Drowned Giant” last, it’s finishing the season former, directed by Alex Beaty and based on a Harlan Ellison story, is a claustrophobic, largely wordless story involving a crash-landed space pilot played by Michael B. Jordan and, well, a robot. Following a template set out by Season 1’s “Lucky 13,” “Life Hutch” finds plenty of creative value in taking the season’s biggest on-screen star and sending them to an inhospitable far-off sci-fi habitat. Without any lines of dialogue to work with, Jordan and the animation team bring a level of physicality to the short that few others of its mo-cap peers are able to then Season 2 culminates with something completely different. Miller turns in a skillful adaptation of J. G. Ballard’s classic “The Drowned Giant,” one marked by a shocking level of calmness given the 25 chapters that precede it. Meditative and quiet in all the ways that so many other “Love, Death & Robots” segments are not, there’s a certain kind of freedom that “The Drowned Giant” finds in watching a seaside community respond to the sudden appearance of a football field-sized corpse washing up on the shore. There’s no formal trickery, no last-second twist. It technically falls into the second category of the show’s title, but not in the confrontational, violent way that the rest of these two seasons an antidote of sorts to some of the pitfalls of Nelson’s own high-concept “Pop Squad” and the windswept-landscape “Snow in the Both are gorgeous in the almost-tactile nature of their dystopian worlds, beset by the darker sides of escaping mortality. One tells of a society riddled with extreme wealth inequality and the systematic extermination of children, another paints a tale of a man sought after for the value of his physical abilities. Yet, for all its vivid imagination, each are locked into a narrative idea that death comes exclusively at the wrong end of a sharp or loaded weapon. On its own, that can be potent. As part of a series-long pattern hammered home by so many of these shorts, season after season, the overall power of how the show sees its own title gets blunted over show isn’t made inherently better by the smaller episode order, but from a curation standpoint, Season 2 has weeded out more of the chapters that offer little besides an aesthetic. The least satisfying episodes of “Love, Death & Robots” are transparent technical exercises, designed around proving that something can exist on screen rather than proving that it should. In Season 2, most of these shorts at least have an idea that they’re wrestling with, even if the execution of the animation itself is more successful than the performances and characters that make up part of isn’t necessarily better in the world of “Love, Death & Robots,” though some of these shorts continue to be breathtaking in their amount of detail. Sparseness or simplicity don’t guarantee quality, either. “Life Hutch” and the early-season “Automated Customer Service” have roughly the same plot mechanic, but the latter is trapped in an ineffectual midpoint between farce and genuine danger. The best part of the Joe Lansdale adaptation “The Tall Grass” aside from offering a distinct visual style is when it evokes the same feeling of panicked helplessness that last season’s “Helping Hand” crafted in the vast vacuum of Through the House” might be the most curious entry of Season 2. It’s a Christmas-themed story that, without divulging too much, is the most tangential “Love, Death & Robots” entry. Like last season’s “Beyond the Aquila Rift” — source of the aforementioned creative use of sparkling wine and directed by the team that returns for “Snow in the Desert” — most of its value is contained in its parting, unsettling visual idea. And of course, in the case of “All Through the House,” it’s an idea preceded by the season’s most obvious nod to the film work of the show’s most famous executive producer.The show remains an anthology, but look hard enough and you’ll see at least one hint that these shorts might not be occupying wholly distinct universes after all. Then again, that idea is dangled in a way just casual enough to be a possible afterthought. Whether a production in-joke or a signal that any future additions to the collections could become more interconnected, it’s one last signal that “Love, Death & Robots” usually ends up trying to explode its cake and eat it B-“Love, Death & Robots” Season 2 is now available to stream on Netflix. Best of IndieWire2020-2021 Network TV Shows What's Renewed, What's Canceled, What's in Limbo‘The Lord of the Rings’ Everything You Need to Know About Amazon’s Big Money Adaptation'The White Lotus' to Premiere at 2021 ATX TV Festival — HBO, HBO Max Add 'In Treatment,' 'Hacks'Sign up for Indiewire's Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.

LoveDeath + Robots est disponible sur Netflix ! Si vous souhaitez connaitre toutes les explications de la fin concernant l’épisode 4 de la Saison 2, lisez la suite ! Dans l’épisode 4 de la saison 2 de Netflix , un vagabond solitaire se retrouve la cible de chasseurs de primes qui veulent une partie particulière de son anatomie et ils ne sont pas les seuls.

^{17 mai 2021 - MAJ 17/05/2021 1806 Science-fiction Comédie Fantastique Horreur Animation Après l'échec artistique et commercial de Terminator Dark Fate, Tim Miller a définitivement fini de surfer sur la vague Deadpool. La saison 2 de Love, Death & Robots, série créée par ses soins et co-produite par David Fincher en personne, était donc moins attendue que la première, même si ses ambitions affichées titillaient sérieusement les amateurs d'animation et de science-fiction. Les 8 épisodes sont désormais disponibles sur Netflix. La nature anthologique de Love, Death & Robots lui garantissait de diviser. Ainsi, notre critique de la première saison témoigne des désaccords qui ont agité la rédaction. Mais si cette première salve de courts-métrages laissait transparaître autant de qualités que de défauts, elle avait pour elle, comme toutes les oeuvres du genre, une diversité épatante. Entre réflexions métaphysiques, brefs sketchs parodiques et divertissement de gros calibre, elle balayait le spectre de la science-fiction avec une régularité inversement proportionnelle à sa générosité. D'emblée, la saison 2 défait ce système efficace les 18 épisodes sont réduits à 8. Et bien qu'un très relatif mélange des techniques et des styles visuels soit garanti par les chapitres 2, 5 et 6, il se dégage du panel présenté une impression d'uniformisation à laquelle échappait déjà de justesse la première saison. L'animation 3D est devenue la norme, les drames technologiques à twists une structure narrative réglementée deux courts-métrages reposent sur l'exacte même mécanique !. Peu de ces aventures s'éloignent d'un schéma trop sage, qui n'impressionne plus personne. Quand un robot domestique se retourne encore contre toi Ainsi, certaines histoires, pourtant passionnantes sur le papier Snow et le désert, s'avèrent finalement très prévisibles. Les deux seuls essais humoristiques Le Robot et la vieille dame, La surprise de noël sont quant à eux bien trop timorés pour briller. Enfin, la triste embardée horrifique De si hautes herbes est d'une telle faiblesse qu'elle s'impose peut-être comme le pire des épisodes. Les différentes visions de la science-fiction qui s'entrechoquaient avec fracas dans les 18 premiers chapitres laissent place au minimum syndical. La pression du flux a-t-elle sacrifié Love, Death & Robots ? Suite au succès de la saison 1, Netflix a peut-être précipité la production de la suite, sans prendre en considération que l'animation, ça prend du temps. Surtout quand des studios comme Blur poussent à ce point le sens du détail. Difficile d'en être sûr, mais la série pourrait bien être une nouvelle victime du culte de l'immédiateté, particulièrement présent sur des plateformes de SVoD harcelées par des abonnés en manque de leur prochaine séance de binge-watching. Brushing photoréaliste Death and robots Et si cette saison 2 sabote sa prédécesseure en sapant son ambition, elle accroit du même geste son plus grand défaut. Les démonstrations technologiques époustouflantes sont toujours au coeur de la série d'ailleurs, la gestion impressionnante de la lumière de Module de secours rappelle forcément le photoréalisme ahurissant de L'âge de glace. Mais leur vacuité n'en est que décuplée. Pourtant parfois très belle, la majorité des courts proposés est totalement vide, si bien que seul le dernier épisode - le meilleur - semble raconter quelque chose. Quoi de plus logique, puisqu'il est adapté de la nouvelle du monstre Ballard ? À force de viser l'esbroufe visuelle, la perfection animée, Love, Death & Robots perd peu à peu son identité. Il lui manque une pépite comme L'oeuvre de Zima, ou un gros spectacle ultra-jouissif. Il lui manque quelques gags bas du front et deux ou trois métaphores bien senties. Il lui manque une bonne dizaine d'effusions gore ou ne serait-ce qu'une fraction de bons sentiments. Bref, il lui manque l'humanité promise par son titre et qu'un simili-Blade Runner tout lisse ne saurait émuler. Ice, parfois sublime Heureusement, quelques instants de grâce viennent faire relativiser le néant. Outre la poésie macabre du Géant noyé par ailleurs réalisé par Tim Miller, directement héritée de la nouvelle dont il est adapté, la beauté glaciale de Ice transcende, par exemple, un scénario lui aussi très classique. De même, le monde post-apocalyptique de Snow et le désert étonne par sa richesse. Des preuves qu'avec un peu plus d'émotion et surtout beaucoup plus de temps, la série peut s'émanciper d'un carcan technique sans âme pour toucher son spectateur une nouvelle fois. Malgré la déception, on attend donc la saison 3 de pied ferme. La saison 2 de Love, Death & Robots est disponible sur Netflix depuis le 14 mai en France. La saison 1 est également disponible sur Netflix. Résumé La générosité qui caractérisait la saison 1 a fondu en même temps que le nombre d'épisodes. Malgré quelques fulgurances visuelles, il ne reste plus de la série qu'une enfilade de démonstrations techniques vides. Newsletter Ecranlarge Recevez chaque jour les news, critiques et dossiers essentiels d'Écran Large. Vous n'êtes pas d'accord avec nous ?Raison de plus pour vous abonner ! Je soutiens la liberté critique} .

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