Netflix's Love, Death and Robots Is a Sci-Fi Demo Reel For the Untapped Potential of Animation

An anthology series about sad salesmen, space marines, super-intelligent yogurt, and the national debt


Netflix/Blur Studio

Somewhere in the middle of Netflix's new animated sci-fi anthology series Love, Death & Robots, there's an episode about super-intelligent yogurt (yes, really) that proposes a plan to resolve the national debt—in a single year, and with no tax increases—if only America's politicians follow the plan exactly. America's politicians promise to do so, but, being politicians, don't. (Although the details are never specified, large spending cuts are presumably involved.) That's when the yogurt assumes total control—for our own good.

The six-minute short, closely adapted from a short story by the science fiction writer and internet wag John Scalzi, is representative of the series at its zany best: It's short, silly, bizarre, unexpected, frequently amusing, and even, from time to time, somewhat profound. Not every episode is as sharp as "When the Yogurt Took Over," and several are too dour and self-serious for their own good. Developed by David Fincher (Seven, The Social Network) and Tim Miller (Deadpool) as an outgrowth of their planned reboot of animated cult classic Heavy Metal, the series, like its predecessor, skirts the boundary between extremely juvenile and extremely adult, sometimes in the same episode. But there's plenty of variety, and more hits than misses. And even the least effective episodes work as beautifully rendered exercises in sci-fi and fantasy design.

Perhaps more than anything else, the series serves as a showcase for the largely untapped potential of smart, serious, animated storytelling aimed at adults. Animated filmmaking is, of course, already incredibly popular, with animated features regularly raking in some of the biggest box office hauls of the year. But in Hollywood, animation tends to fit one of two boxes: family-friendly features and series, ranging from big-budget Pixar and Dreamworks films to the wide array of cheaply animated series designed mainly to distract young kids; and adult comedy, often with an absurdist bent—shows like The Simpsons, Archer, or anything on Adult Swim.

These sorts of animated products often flirt with more serious dramatic elements. Pixar's features are designed to be appreciated by adults as much as children, and they are often surprisingly emotionally weighty. A show like Netflix's Bojack Horseman uses absurdist comedy as a vehicle for exploring depression and psychological vulnerability. And the best superhero cartoons, from Batman: The Animated Series to Young Justice, have long boasted a somewhat more adult sensibility.

But while these shows might stretch the conventions of American animation, they rarely break them. And while there have been occasional exceptions over the years, from the 2001 Final Fantasy feature film to HBO's adaptation of the comic book Spawn to the original Heavy Metal, the vast majority of American animation tends to fall into the categories of stuff-for-kids and stoner-comedy-for-adults.

This is different overseas, particularly in Japan, where there are decades' worth of anime films and TV shows that are fundamentally dramatic rather than comic and are generally targeted at adults. Although genre standards like Akira, Ghost in the Shell, and Cowboy Bebop have been available in the U.S. for decades, much of this material has been somewhat difficult to find. But thanks to online video streaming services such as Netflix and Amazon video, that's changing: Both services offer large libraries of both dubbed and subtitled anime.

That may help explain why American producers are finally starting to experiment with animated programming that doesn't fit the traditional molds. Netflix, in particular, has been wading into this territory, with original animated series like the clearly adult Castlevania, a video-game adaptation written by comics scribe Warren Ellis, and Neo Yokio, an absolutely delightful and wholly original series by Vampire Weekend's Ezra Koenig that might be best described as an ironic and R-rated cartoon riff on The Fresh Prince of Bel Air, but with robots and magic.

Even still, in the era of peak TV, with hundreds of scripted series produced each year and genre programming like Game of Thrones and Walking Dead among the most popular programs, it seems a little strange that there are so few examples of animated genre shows targeted at adults. That's part of what makes Love, Death & Robots so fascinating. It's basically a demo reel for different styles of genre-focused adult animation.

Some, like "Secret War" and "Beyond the Aquila Rift," feel a little too much like extended video game cut scenes. But there are several standouts as well. "Fish Night" is a character-focused vignette about two salesmen stuck in a desert that takes on fantastical properties in the evening. "Lucky 13" is a relatively straightforward but effective example of military s.f., based on a story by writer Marko Kloos. "Suits" is a fun, funny, and surprisingly affecting action comedy about redneck farmers fighting extra-dimensional invaders in hand-built mech suits; it hits all the major beats of a big-screen blockbuster in just 17 minutes.

Each of these shorts is animated in a different style, from the computer-generated photorealism of "Lucky 13" to the clean-lined comic-book style of "Suits" to the emotive, evocative computer-assisted sketch-work of "Fish Night." And each hints at the sort of animated offerings we're not seeing: Why isn't there already an all-CG show about space marines? Or a line-drawn series about the dreamlike adventures of two world-weary traveling salesman? Or a full-fledged feature about hearty farmers fighting monsters in homemade mechs?

Part of the answer, I suspect, is that some Hollywood gatekeepers still view animation as something for kids and odd teenagers. There's a lingering sense that adults just won't accept it, at least not for anything that isn't cloaked in a veneer of irony. But today's adults grew up with high-quality animated fare, which is one of the reasons Disney has spent so much money remaking its hand-drawn classics into "live action" reboots that are, for the most part, just CG animated features with a handful of human actors. Indeed, the prevalence of computer generated imagery in today's biggest productions may provide another answer: There's already plenty of dramatic, adult animation—it's just billed as live action.

In any case, Love, Death & Robots is a step in the right direction. Not every episode works, but the diversity of tones and styles keep things interesting and helps the series serve as a helpful reminder of all the things that animation could—and should—be doing but isn't. And along the way, it also offers a larger lesson or two about the nature of life, human and otherwise. Among them: We probably should have listened to the yogurt.

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29 responses to “Netflix's Love, Death and Robots Is a Sci-Fi Demo Reel For the Untapped Potential of Animation

  1. super-intelligent yogurt (yes, really) that proposes a plan to resolve the national debt?in a single year, and with no tax increases?if only America’s politicians follow the plan exactly. America’s politicians promise to do so, but, being politicians, don’t. (Although the details are never specified, large spending cuts are presumably involved.) That’s when the yogurt assumes total control?for our own good.

    The twist is the yogurt was already in control – it was just offering the illusion of self-determination.

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  2. I really liked this article, Pete. I’d like to see more of this kind of thing.

  3. Been watching these, some are excellent, so some are pretty good. One of the most visually stunning episode was The Witness which I highly recommend.

    1. I’ve heard mixed reviews. One reviewer’s complaint was that some segments look like Heavy Metal mag…which is a plus for me.

      Watched the promo for it and it was edited much too chopped to get an idea of the style.

      1. I’ve watched the whole thing twice.

        There are numerous styles. There were numerous styles in Heavy Metal mag, too.

        Some of them look amazing and have kind of lame story lines. Some of them don’t have good story lines. On a couple of them, they’ve got both. One of them is truly horrifying . . . .like still thinking about the implications days later, the unknown . . . different forms of life . . . curiosity or AHHHHHHHHHHHHHHHHH!

        I highly recommend “The Witness”, “Suits”, “Lucky 13”, and, especially, “Beyond the Aquila Rift”.

      2. Watch it. They’re short and you can watch three or four within an hour. And if you don’t like one, you might like the next one. Because they’re so short, it doesn’t have the commitment a normal series carries.

      3. I am about halfway through. So far, I enjoyed most of them. Highly recommended.

        1. “Highly recommended”

          So like everything you think is good, such as your posts, it’s garbage.

      4. The nice thing about them is that they are short stories. A few were just average but it’s 10 minutes or so. Some were really good.

      5. Mongo, I hope you’ve watched them all by now! The series, taken as a whole, was outstanding! I had several favorites, “The Witness” being number one, and only a couple I could have done without. Again, as a whole, OUTSTANDING!

  4. Way to check off the normie box picking GiTS, Akira and Bebop as the three mandatory anime examples for Westerners.

    1. Grave of the Fireflies is the uplifting, feel good Anime of the season!

      1. I’ve only watched Kemono Friends season 2 thus far for this season.

        1. Appleseed, opening scene ever.

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  6. Good article, but I’m not a fan of John Scalzi.

    He’s a left wing SJW crusader, that’s not above lying and bragging about it later.

    “And Hoyt told me in our email interview last spring that her personal worst example of the Hugos’ political corruption was a 2013 win for a white male: the Best Novel award to “Redshirts” by John Scalzi, a satirical riff on “Star Trek.” Hoyt, who dismisses the novel as “bad fanfic,” thought the award was blatant cronyism on behalf of Scalzi, a recent president of the Science Fiction and Fantasy Writers of America and one of the fandom’s high priests of “social justice” ideology.”


    Yeah, I tried to read “Redshirts”. Bad fanfic is a reasonably accurate description. That novel winning a Hugo was in my mind a clear example of cronyism.

    1. His other novels, while well written, are basically rip offs of Joe Haldeman. “Redshirts” was a tasty but non- nutritious read.

      As far as your other comments – I wouldn’t be surprised if Scalzi equates himself to “Yogurt” in his head…

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  8. I’m about half way through the episodes and I really like them. Great format for sci-fi writers to get their work made.

  9. I’m about half way through the episodes and I really like them. Great format for sci-fi writers to get their work made.

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  11. I just “stumbled upon” this series this weekend. I have a bad habit of getting bored quickly, so I surf my phone while watching sometimes. So I ditched the phone and started the series over with episode 1, Sonnie’s Edge. I was hooked! After watching nearly all of them, a work buddy texted me and gave me a link for Netflix with “Check this out!” ! And a link to this series. I msg him back stating I was already watching it.

    FX are just beautiful, and have come a long way since Avatar. The totally different stories melded well, and were quick enough, or short enough, that if you didn’t like it, the next one would be on soon. I was watching alone, and would have been a little uncomfortable with kids or younger family members. Definitely NSFW content. Hard R. My favorite was “The Witness”. It had all the characteristics described below. The series as a whole was superb. Some were cartoonish, others anime-esque, and yet others full out FX that looked so “real”, someone just walking in the room and seeing a screen grab of a scene would have swore it was live actors. I hope we dont have to wait a full year for the next “season”! I’m a Heavy Metal fan from the past, and I loved this !! Great job, NETFLIX!

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