Indeed, some, like Good Hunting, appear to be hand-drawn. Neither of these episodes are similar, either visually or thematically. They also direct the more irreverent Alternate Histories, in which Adolf Hitler meets a premature death in six hilarious scenarios, and alters the course of world history. This episode’s directors, Victor Maldonado and Alfredo Torres, are also responsible for two more palate cleansers - Three Robots, about three robots taking a tour of a post-apocalyptic city and pointing out the flaws in humanity that led to our downfall. People of all shapes, colours and sizes gaze stupidly as a bowl of yogurt becomes sentient, offers sane political counsel, takes over the presidency and promptly self-destructs. The five-minute-long episode, conveniently titled When The Yogurt Took Over, tells a stop-motion-inspired story about humanity’s hubris (and its resulting fall) in the most ridiculous manner. But while Brooker has of late developed a tendency to break away from his miserable worldview and write optimistic stories such as San Junipero, the most levity you can expect from Love, Death & Robots is from its brief forays into the world of satire. Every episode of Love, Death & Robots begins with a similar title card, and is largely self-contained. There are, however, numerous hat-tips to its more successful cousin, Charlie Brooker’s Black Mirror. It plays more like a sizzle real for the various studios that are involved, rather than make any overarching point about humanity and its relationship with technology. But what sticks out in Love, Death & Robots is how unwaveringly it favours the animation over the story. Like most anthology series, it is uneven beyond measure.
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