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Love Death And Robots Nude
Love, Death & Robots and the Rise of NSFW Netflix
The animated anthology is not for the faint of heart, but it's a wild ride for the curious of spirit.
The animated anthology isn't for the faint of heart—but it's a wild ride for the curious of spirit. Netflix
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If you haven't figured it out by the time you see a young Hitler being fellated by a Viennese sex worker, Love, Death & Robots isn't your average Netflix show.
Of course, if you haven't figured it out, you probably haven't been paying attention: "Alternate Histories," which features said act being performed upon said icon of evil, is the 17th of 18 episodes in the animated anthology. By that point, you'll have seen full frontal nudity (male, female, and demonic); you'll also have seen a zero-G rendition of 127 Hours that deserves every Foley Art award possible, plentiful crushed heads, and even more plentiful arcing ichorous spews, and a sex scene that looks like the result of Cinemax becoming a game developer. You may not want to watch with your youth group leader is all I'm saying.
The anthology, from a team of executive producers that includes David Fincher and Deadpool director Tim Miller, is a viscerally enjoyable (and just plain visceral) conflagration of the senses. It does a great many things very well, a few not so well, and takes absolutely nothing seriously. But most importantly, it signals that Netflix isn't just paying lip service to the spirit of experimentation. The more naked and gleaming the streaming platform is willing to become, the more urgent its programming will be—and the better it will withstand the coming challenges brought by its competitors.
Netflix's push into gleeful prurience began in earnest in 2017, with the tweens-in-crisis animated comedy Big Mouth . Masturbation jokes and talking pubic hair were only the beginning: the next year, anime Devilman Crybaby evolved to hentai-inflected hardcore sex and ultraviolence. Yet both were episodic series; if you were in them, you were in them for the long haul. Love, Death & Robots carves out entirely new ground, its aesthetic and tonal diversity offering up a dip-in approach. You can watch from the beginning, certainly—opener "Sonnie's Edge" frames an underground fight club as a conduit for cathartic vengeance, and "Three Robots" cleanses the palate with sardonic droids—or you can choose based on an episode's look and log line.
Because episodes range from six to 17 minutes, you can watch a handful in the time that it would take to watch a single installment of any other show, and there's much to enjoy. Most of the episodes adapt science-fiction and horror short stories from the likes of John Scalzi (three episodes derive from his work, including "Alternate Histories" and "Three Robots") and Joe Lansdale (two episodes). While some marry perfectly with their director—like Oliver Thomas' 2D take on "Good Hunting," Ken Liu's steampunk tale of objectification and redemption, or Jon Yeo's adaptation of Claudine Griggs' "Helping Hand" —others fall into a sea of generic videogame-engine photorealism, turning otherwise compelling source material into an extended cutscene. (Even if, as in "Beyond the Aquila Rift," certain carnal moments are destined to be rewatched more than Black Mirror: Bandersnatch .)
Depending on the order you watch them, you may find yourself frustrated by what feels like an endless parade of stoic supermen and the women who deceive or escape them. Miller has called the show a "love letter to nerds," and at times it feels as though he's aiming at a particularly retrograde subset of genre fans. But sequence the show yourself, and you'll find an endlessly inventive wellspring of ideas and visuals. (One suggested order can be found below.)
Genre television has exploded in recent years, especially on deep-pocketed streaming services, and there's much more to come . This is a world that historically has had to make due with small budgets and smaller expectations, but now success has bred a spirit of abandon—and that abandon can now find outlet beyond midnight movies and animation festivals. It's a relationship that benefits creators and viewers, especially those looking to shake up their prestige TV watching. Not everything needs to be The Crown or Russian Doll .
Sometimes, you just want to see Adolf Hitler suffocated by a giant mound of gelatin.
"The Witness": A breathtakingly original work from director/writer Alberto Mielgo.
"When the Yogurt Took Over": Victor Maldonado and Alfredo Torres (who collaborated on Trollhunters ) directing from a John Scalzi story
"Suits": Farmer-piloted mechs versus interdimensional beasties in the heartland.
"Ice Age": Tim Miller's lone directed episode, starring Topher Grace and Mary Elizabeth Winstead in a live-action-heavy adaptation of Michael Swanwick's 1984 short story. If you liked Lisa Simpson's "Treehouse of Horror" science project , you'll love this.
"Helping Hand": A lone astronaut makes a desperate choice.
"Good Hunting": Oliver Thomas' version of a Ken Liu steampunk tale.
"Three Robots": Scalzi's eulogy for humanity, delivered via deadpan robots.
"Blindspot": If Speed Racer teamed up with Furiosa to pull off a Fury Road heist.
"Beyond the Aquila Rift": A space crew wakes up from cryo-sleep to find they've gone way, way off course.
"Alternative History": Watch Hitler die in increasingly ridiculous ways. (Including, yes, being "fornicated to death.")
"Sonnie's Edge": Vengeance in a fight club.
"The Dump": Short, silly, and terribly scented.
"Sucker of Souls": Another reason I'll never be an archaeologist.
"The Secret War": Evil lurks behind the Iron Curtain.
"Lucky 13": Samira Wiley ( Orange Is the New Black ) stars in this adaptation of a Marko Kloos military sci-fi story .
"Zima Blue": The second of two Alastair Reynolds adaptations , after "Beyond the Aquila Rift."
"Shape-Shifters": Another Kloos story.
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Review by Charles Bramesco
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It’s an anthology – some of it has to be good, right?
Less of this is good than one might hope.
By the final short, you’ve already forgotten which ones were good.
This NSFW animated anthology sees Tim Miller and David Fincher team up to disastrous effect.
F rom the algorithmic favour generated by the popularity of Black Mirror comes Netflix’s newest anthology showpiece, likewise situated at the intersection of technology and imagination. Under the auspices of executive producers Tim Miller (of Deadpool notoriety) and David Fincher (who is David Fincher), 18 different animation teams convened for a collection of shorts pertaining in one way or another to automatons, cyborgs, or androids.
The wide variance in visual styles, thematic concerns, and baseline competence makes the Love, Death & Robots difficult to assess as a whole. But even when considered in aggregate, the common throughlines that emerge do not flatter the enterprise. Most glaring among them: the many, many anime tits. Several segments have been transparently conceived as flimsy excuses for digital artists to ponder the mechanics of jiggling and proper cel-shading technique for nipples.
So numerous and prominently featured are the cartoon breasts – one part sends a sex worker scrambling nude for her life through a futuristic bordello, another renders a sapphic hookup with the sweaty leer of a peeping tom, a third visualises the pendulous prow of an anthropomorphised fox-babe – that one questions the utility of platforming the series on a machine already capable of googling up two-dimensional mammaries with a few keystrokes.
An emphasis on hollow technical accomplishment at the expense of story unites the remainder of the selections, which move through their beats with the mechanical lifelessness of, well, a robot. ‘Sonnie’s Edge’ exists for the sake of its centrepiece spectacle, a dogfight between telepathically controlled behemoths that forgets to first convince the audience to give a damn about the outcome.
‘Sucker of Souls’ and ‘Lucky 13’ also do little beyond providing a vessel for an intricate bit of show-offery that an emerging director can use as their calling card; short-form cinema, streamlined into a sizzle reel.
The segments not preoccupied with proving their own badassery have a better go of their brief time slots, capitalising on the elasticity of the project’s loose premise. The rules (of which there appear to be none, really; ‘Sucker of Souls’ and the exponentially more intriguing ‘Ice Age’ don’t even have any circuitry-based entities) can allow for an infomercial for a service simulating the outcome of alternate timelines, or a wryly funny tour through the wreckage of civilisation.
“You’ve seen one post-apocalyptic city, you’ve seen ’em all,” goes the musing of one cybernetic vacationer, in an unwitting indictment of approximately twelve of the other episodes. ‘Suits’ forges a truly novel farmland-of-the-future aesthetic, ‘Fish Night’ uses rotoscoping to synthesise an ocean of neon ghosts, and ‘The Dump’ looks like a Pixar’s Up mired in cozy garbage.
Still, that leaves plenty of others to dissolve into a homogeneous soup of slickness and gratuitous violence. The self-contained arms race of photorealism raging between ‘Helping Hand’, ‘Lucky 13’, and others lays bare that the fact some crews simple had access to superior equipment. This contrast doesn’t make the sharper footage look any better, it only makes the rest look primitive.
The general lack of sophistication cues up all manner of cute, situationally appropriate wordplay: they’ve got problems with faulty wiring, bugs to work out, glitches in the code. The real issue cuts deeper than that, though, to the same barrier that modern robotics strives in vain to overcome even today.
However advanced our technology, it means nothing without compassion to guide its use. To quote a truly great work about the hazards of robotics, “There can be no understanding between the hand and the brain unless the heart acts as mediator.”
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Anime
David Fincher
Netflix
Tim Miller
It’s an anthology – some of it has to be good, right?
Less of this is good than one might hope.
By the final short, you’ve already forgotten which ones were good.
Look out for Eiichi Yamamoto’s transgressive epic from 1973, Belladonna of Sadness.
Ryan Reynolds’ merc with a mouth returns to the big screen for another instalment of X-rated antics.
The director’s true-crime chiller is as tricky and compelling as ever.
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The Latest 'Love, Death & Robots' Trailer Gets Extremely NSFW
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The Latest 'Love, Death & Robots' Trailer Gets Extremely NSFW
By Chris Evangelista / March 3, 2019 10:00 am EDT
Love, Death & Robots , the new anthology series from David Fincher and Tim Miller, may be animated – but it's definitely not for kids. To hammer that point home, Netflix released a new Love, Death & Robots trailer, and let's just say this thing is extremely NSFW. So send the kids out of the room, put on some headphones, and enjoy the naughty cartoon hijinks!
Honestly, this trailer should just be the word "SEX!" flashing across the screen for a full minute, because that's what they're selling here. Love, Death & Robots is going for a Heavy Metal vibe – the 1981 animated adult sci-fi film adapted from the magazine of the same name. That film was loaded with sexual situations and more, all in cartoon form. And clearly, based on this trailer, so is Love, Death and Robots .
However this series turns out, it's going to be visually stunning. Love, Death & Robots "brings together world-
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