The first season of the series “Love, Death and Robots”Turned out to be a sudden hit from”Netflix“. Tim Miller and David fincher for many years nurtured the idea of transferring magnificent stories full of technophobia, dystopia and total superiority of deus ex machina over an ordinary person from the pages of the magazine Heavy metal… Despite the fact that not all eighteen episodes were able to keep the bar, viewers and critics alike were delighted with the mind-blowing fusion of different visual styles and sometimes shocking storyline ending.
The continuation was inevitable, and now Netflix pleased the audience not only with the return of loving and deadly robots, but also immediately with great news that next year there will be a third season. True, the second turned out to be much shorter than the first, offering only eight episodes instead of eighteen, but it did not grow in quality.
If last time memorable stories overlapped the plain ones, now the ratio is clearly not in favor of the former. Most of the new stories have one thing in common that does not allow them to sit in memory for a long time. It’s about the complete lack of development of the idea.
Like last season, each story of the second is unique and unrelated to the others. Insane universes appear on the screen in front of the audience, radically differing visually – from deliberately childish to brutally cruel, – with characters who often find themselves in unpleasant situations. But if before each story tried not only to show a thought, but also to try to form it and even complete it, now most of the series is just a superficial basis, except for which there is nothing. It has no end, it is too easy to describe and it always promises much more than what is given in the end. Imagine how in your mind you invent a fantastic world with its features, create a character with your inner conflict, put him in a critical situation, and end there. This is how much of the second season of Love, Death and Robots can be described.
Due to the inferiority of the scripts, the triumph of form over content takes place. Yes, of course, the presented paintings are incredibly beautiful, but apart from beauty there is nothing behind them. One of the best episodes is a slightly twisted retelling of the story about Santa Claus, and it is magnificent, not least because of its denouement. Most often, when watching and unexpectedly ending the next episode, you will involuntarily have the question “Is that all?”
The scripts this time resemble more premature ideas or even just sketches, and this is very frustrating, because the next season may well be a continuation of the narrative style chosen by the directors.
Author: Den Leshchenko (dozensnake)
6/10
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