![]() ![]() 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. ![]() We are then left with a long shot of Æon and the weird guy licking her feet for all of eternity. The kid pays for it, and the view zooms in on the currency, which bears Trevor's face. Fast-forward to present: A boy is buying a foot fetish magazine with Æon on the cover. Meanwhile, we learn Trevor has created a cure for the new disease, and becomes the most-loved man in the country. Inexplicably, she is then reborn, or another copy of her is created, and a really ugly guy is seen licking her feet. Someone from Æon's headquarters knows she is dead and terminates her body. Æon decides to move in for the kill but falls onto her death, when the object - a nail - that was suck onto her foot penetrates her heel, making her lose her balance. In back of them is a television, where we can't hear any voices, but we learn a bug that Trevor just took out of this body is spreading a new disease for which there is no cure. Fast-forward: Æon is now high atop one of the buildings and spies on Trevor and the woman. More people come into the room, making her retreat to another place. She hides just as Trevor and a woman enter. Æon reaches a room, which turns out to be a room for Trevor of some sort. She then throws it aside, unaware something is stuck to her boot. Proceeding even deeper into the base, she combines a bomb and a holder that was in the case. She kills them both and takes the suitcase. As Æon goes deeper into the base, she encounters two people - one enemy, another dressed in black like Æon - fighting over a suitcase. Lying in a pool of blood, with his last bit of strength the man sees Æon shooting his friend - possibly his lover. One of the enemy that Æon shot is still barely alive. Trevor notices a bug on his foot, and picks it up. Summary: Æon is in a shootout at the main base. ![]()
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