‘Love, Death & Robots’ Volume 2 Red Band Trailer Teases the Sensuality, Cussing & Gore in Store for Season 2

Netflix

Take a look at the red band trailer that Netflix has dropped for Volume 2 of animated anthology series Love, Death & Robots

As the first attention-grabbing line-up of short films showcased, Netflix was giving these creatives free reign over their works – from styles, to narratives, to content. The latter, meaning they could go hard out if they wanted with violence, gore and themes. The slickly-edited new red bad trailer below shows off just that, promising another array of visually incredible pieces with eyebrow-raising moments scattered throughout.

For more info on the second volume, scroll down to Netflix’s official rundown. And if you missed our review of Volume 1, take a look at what our writer, Adam, thought right HERE.

Counting the minutes: Love, Death & Robots Volume 2 arrives on Netflix on May 14th.





Netflix’s official rundown for Love, Death & Robots Volume 2:

SYNOPSIS LOVE, DEATH + ROBOTS is a blast of the future with its roots deep in the past. Show creator Tim Miller teamed up with director David Fincher after years of wanting to make adult animated features and short films at his animation house Blur Studio.

 

When his directorial debut DEADPOOL hit big, they saw their opportunity and the anthology series found a natural home at Netflix.

 

“We couldn’t have been happier at the response to the show,” recalls Miller, of the excitement around season one and the appetite for more. “It was exactly the kind of passionate reception from animation fans David and I hoped for, but for many long years had been told wouldn’t happen.”

 

For season two Miller was joined by Jennifer Yuh Nelson as Supervising Director. The Oscar-nominated director has vast animation experience – having worked in the industry for years and helmed Kung Fu Panda 2 and 3. Together they sought talented and diverse animation directors from around the world, for a blend of styles and stories ranging from violent comedy to existential philosophy.

 

“It’s a tonal and stylistic Jenga game,” says Jennifer Yuh Nelson, “Trying to figure out which director might best handle what story.”


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