It’s weird, before I write these I’ll watch all of the episodes I’m covering twice. Once spread out, over a few days or so, so that I can pay attention and get the experience of actually watching for the first time, and the second will be running through the four and taking notes right before I actually get to throwing my thoughts down. Usually my recollection is pretty good, this time between the two my brain invented a bunch of images that I guess never existed.
These next four episodes are split two ways again, 13 and 15 seem to be interested in drilling down into objective reality, 14 and 16 go in the exact opposite direction, interrogating these character’s subjectivity. It feels odd to describe them out of order like this, but it’s really the only way that writing like this is going to flow.
Nine episodes in and it seems like things have finally settled down into a good rhythm, although I’m assured by reputation that it’ll be shaken up before too long.
I guess I basically decided to cover these episodes in blocks of four because I got to the end of the fourth and decided it was such an amazing piece of filmmaking that I had to write about it.
So this is a show with a main character who is suicidally depressed. It’s confirmed at episode four, but the whole thing’s been building to that point.
I guess this kinda represents an anticlimax then, the last episode isn’t the show’s worst or its best. It hangs somewhere around the middle, barely managing to escape the fog of mediocrity that it is mired in. Maybe i’m just exhausted, Netflix has just uploaded Neon Genesis: Evangelion and I kinda just wanna get this over with.
Okay, this one is an extended six riffs on the same joke none of which are funny. Like, oh my god it’s so fucking bad.
Mary Elizabeth Winstead and Topher Grace are between them charming enough to make me almost forget that this is a live action adaptation of a Treehouse of Horror segment. Yeah, I guess when series creator Tim Miller gets to make his own episode and can call in his famous friends the format gets to be broken a little.
After one episode that just about pushed enough past the realm of ‘okay’ that I actually struggled to write about it, Love, Death & Robots returns back to its core content. Execrable garbage.
I was watching and then reviewing all of these a while ago but had to stop here because it broke me. It’s the first one of these shorts to actually be good, and I didn’t quite know how to deal with that.