Netflix Season 2 of Love, Death & Robots

Netflix recently released Season 2 of Love, Death & Robots, an anthology show that adapts short stories into animated films. Science fiction author Zach Chapman thinks the new season is a big improvement over Season 1, with fewer episodes that feel silly or underdeveloped. “I wouldn’t say that there’s an episode that I didn’t like in this season, whereas there were quite a few that I didn’t like in Season 1.”

“And I don’t mind that especially, but I definitely would like the show to have more of the aesthetic of just representing what’s been going on in fantasy and science fiction short stories in the last few decades.” Unfortunately the show still feels like too much of a boy’s club, with every episode in Season 2 being adapted from a story by a male writer. Fantasy author Erin Lindsey hopes that’ll change in Season 3.

Humor writer Tom Gerencer hopes that future seasons will adapt stories from talented authors such as Robert Sheckley. I’m so psyched that there’s something like this out there, that it exists.” Listen to the complete interview with Zach Chapman, Erin Lindsey, and Tom Gerencer in Episode 469 of Geek’s Guide to the Galaxy (above).

Erin Lindsey on diversity: “For me—and I think for a lot of people—[the problem with Season 1] wasn’t boobs per se, or sex per se, or violence per se. It was about sexual violence and gratuitous sex and adolescent male gaze and all the rest of it, and there’s an important distinction between those. And kudos to them—I hope it’s not a coincidence—for taking that on board and really showing with Season 2 that you don’t need to do that.

I don’t know. One, I didn’t really see how that design could be useful from a maintenance perspective, and two, as brilliant as the solution is—where he figures out that what is triggering the targeting is motion, and so he uses his flashlight to create motion—what he’s essentially doing is the laser pointer trick, where you mess with your cat, against the wall. And the fact that the robot had a fairly feline design, I seriously expected the [episode] to break into absurd humor at the end, where he’s like, ‘Whee, I’m playing with my robot cat.’

Tom Gerencer on “Snow in the Desert”: “In the opening scene [Snow] goes to this kind of pawn broker-type seedy alien character to buy his ‘stuff,’ and you get the idea that it’s some kind of drug or it’s something that he needs, and then it turns out to be strawberries, and I thought that was really cool. There was a great moment where there was a shooting star that went over. Just so many great moments in this one.”

To me this is another one where I think if this were 20 or 25 minutes, it would have been great, but it was just too rushed.” More Great WIRED Stories

How Many Episodes Did Netflix Drop Last Week?

Last week, Netflix dropped the 18-episode series Love, Death + Robots, an anthology of short animated films produced by Seven director David Fincher and Deadpool director Tim Miller. For source material, Fincher and Miller turned to existing short fiction from well-known science fiction authors, including Marko Kloos, Alastair Reynolds, and John Scalzi. Adaptations for works like Iain M. Banks’ Consider Phlebas, Isaac Asimov’s Foundation, and Scalzi’s Old Man’s War are all in the pipeline.

Others are only available in published collections. The story can be read online here, as part of a preview for that collection. In the second, an artist pushes himself past his limits to discover his true self.

Both can be found in a variety of anthologies, including Zima Blue and Other Stories and Beyond the Aquila Rift: The Best of Alastair Reynolds. “Missives From Possible Futures #1: Alternate History Search Results” imagines the outsized results if Adolf Hitler had died in a variety of ways in alternate timelines. Both stories also appear in the collection Miniatures: The Very Short Fiction of John Scalzi.

On his blog, Scalzi notes that he got involved in the project in 2017, with “When The Yogurt Took Over” and “Alternate Histories” first picked up for adaptation, and with “Three Robots” coming later when Scalzi shared it with Miller. Love, Death + Robots also adapts two stories from horror author Joe Landsale. “Fish Night” has appeared in a variety of magazines, and ended up online at The Horror Zine.

Most of the short stories in Love, Death + Robots were written by men, but there are a few exceptions. It follows the story of an astronaut whose EVA goes terribly wrong. Other Love, Death + Robots stories can be found in Cohesion Press’ SNAFU anthologies: “The Secret War,” based off David Amendola’s short story, is in SNAFU: Hunters.

(He noted that he felt that the “adaptation stayed remarkably true to the original story.” And two of the shorts — “The Witness,” scripted by Alberto Mieglo, and “Blindspot,” written by Vitaliy Shushko — weren’t based on existing stories.

What Is The Name Of Netflix’S Sci-Fi Anthology Series?

(Photo by Netflix) When Netflix’s eclectic animated sci-fi anthology series Love Death & Robots returns on Friday, it will unleash a new set of eight startling visions that recall anthology magazines like Heavy Metal in terms of well-rendered worlds and intense short subjects. Fortunately, executive producers Tim Miller and Jennifer Yuh Nelson spoke with Rotten Tomatoes about the new shorts and how the series uses animation to tell different kinds of stories. It Creates Lovingly Rendered Sci-Fi Worlds (Photo by Netflix) As Nelson pointed out, the second set of shorts have a common thematic tie: “showing the worlds” created by the various filmmakers and animation studios involved in the project.

It Utilizes Some Great Sci-Fi Short Stories As Jumping- Off Points (Photo by Netflix) Like the first volume, Love, Death & Robots continues to use some great and evocative short stories as the creative jumping-off point for each film. The tall grass story comes from a story written by Joe Lansdale and may constitute the most frightening tale of the second volume. “I feel such a debt to the authors.

“But it’s always been a respect to the original spirit of the story.” (Photo by Netflix) The short she directed, “Pop Squad,” features an altered ending from Paolo Bacigalupi’s story. It Very Nearly Crosses the Uncanny Valley … Even If the Producers Aren’t So Sure (Photo by Netflix) If you recall some of the early attempts at creating human characters in computer generated animation — Final Fantasy: The Spirits Within, for example — you may note that the program also highlights the breathtaking advancements in crossing the so-called Uncanny Valley: the limitation of 3D CG animation to convincingly render those characters without some form of abstraction.

Consequently, some will see the humans rendered in Volume 2 of the series as more successful than others. It Also Celebrates Other Animation as a Complex Form of Filmmaking (Photo by Netflix) While many of the shorts utilize a very realistic CG style, several of them go for something more stylized in terms of the characters, the overall design, or something the viewer might perceive as more arty. In the case of “The Drowned Giant,” the impulse was also to follow the tone as laid out by the story’s author, J.G. It’s told in the same way, it’s told with the same tone that Ballard did.

Nelson said the important thing is to create “entertainment value, optimism, [and] positivity,” where appropriate, but not the song-and-dance finale. Then again, who knows, maybe the next set of Love, Death & Robots shorts will feature a sci-fi musical with a showstopping ending. As with the melancholy of “The Drowned Giant,” anything is possible in the program’s format.

What Is Netflix’S Adult Anthology Series?

Netflix’s adult Anthology series Love, Death & Robots has returned with its second instalment, and as with the first season, the inspiration for each of the episodes mostly came from existing short stories from different writers and literature magazines. If you want to see what episodes in the first season of Love, Death & Robots were adaptations or originals, click here. Automated Customer Service Picture the scene.

Ice Ice is the story of two brothers, Sedgewick and Fletcher. One of them is cybernetically enhanced with modifications which improve his athleticism and allow him to tolerate the cold, while the other is a normal human, something which causes him to be cast out by his peers. The original story was published in October of 2015, in the 109th Issue of Clarkesworld Magazine, and can be read here.

There are two places you can find this story: either in Bacigalupi’s 2010 short story Pump Six and Other Stories, or in the 2013 collection Brave New Worlds: Dystopian Stories, edited by John Joseph Adams. It’s interesting how the season has gone for two stories focused on living forever, but while this episode of Love, Death & Robots focuses solely on the story of Snow, the 2011 book itself acts as an introduction to the rest of the Polity universe that Neal Asher has created. The story is the work of author Joe R. Lansdale, and you can find it in his 2014 short story collection The Tall Grass and Other Stories.

Sneaking around the house looking for presents, seeing if you could get a peak at the big jolly man in red? Well, what if he wasn’t exactly what you expected? Life Hutch Life Hutch was originally written by one of the biggest names in Science Fiction literature, Harlan Ellison.

The same feeling of tension and horror can be found in this story, when a star pilot survives a crash and has to deal with a malfunctioning robot, you can find it in a variety of different collections, including the Essential Ellison. The episode stands out because instead of the character facing the perils of a science fiction universe, it follows the account of a human scientist who finds a dead humanoid by the sea. The original version of The Drowned Giant can be found in the short story collection The Terminal Beach.

Netflix recently released Season 2 of Love, Death & Robots, an anthology show that adapts short stories into animated films. Science fiction author Zach Chapman thinks the new season is a big improvement over Season 1, with fewer episodes that feel silly or underdeveloped. “I wouldn’t say that there’s an episode that I didn’t like in this season, whereas there were quite a few that I didn’t like in Season 1.”

“And I don’t mind that especially, but I definitely would like the show to have more of the aesthetic of just representing what’s been going on in fantasy and science fiction short stories in the last few decades.” Unfortunately the show still feels like too much of a boy’s club, with every episode in Season 2 being adapted from a story by a male writer. Fantasy author Erin Lindsey hopes that’ll change in Season 3.

Humor writer Tom Gerencer hopes that future seasons will adapt stories from talented authors such as Robert Sheckley. I’m so psyched that there’s something like this out there, that it exists.” Listen to the complete interview with Zach Chapman, Erin Lindsey, and Tom Gerencer in Episode 469 of Geek’s Guide to the Galaxy (above).

Erin Lindsey on diversity: “For me—and I think for a lot of people—[the problem with Season 1] wasn’t boobs per se, or sex per se, or violence per se. It was about sexual violence and gratuitous sex and adolescent male gaze and all the rest of it, and there’s an important distinction between those. And kudos to them—I hope it’s not a coincidence—for taking that on board and really showing with Season 2 that you don’t need to do that.

I don’t know. One, I didn’t really see how that design could be useful from a maintenance perspective, and two, as brilliant as the solution is—where he figures out that what is triggering the targeting is motion, and so he uses his flashlight to create motion—what he’s essentially doing is the laser pointer trick, where you mess with your cat, against the wall. And the fact that the robot had a fairly feline design, I seriously expected the [episode] to break into absurd humor at the end, where he’s like, ‘Whee, I’m playing with my robot cat.’

Tom Gerencer on “Snow in the Desert”: “In the opening scene [Snow] goes to this kind of pawn broker-type seedy alien character to buy his ‘stuff,’ and you get the idea that it’s some kind of drug or it’s something that he needs, and then it turns out to be strawberries, and I thought that was really cool. There was a great moment where there was a shooting star that went over. Just so many great moments in this one.”

To me this is another one where I think if this were 20 or 25 minutes, it would have been great, but it was just too rushed.” More Great WIRED Stories

How Many Episodes Did Netflix Drop Last Week?

Last week, Netflix dropped the 18-episode series Love, Death + Robots, an anthology of short animated films produced by Seven director David Fincher and Deadpool director Tim Miller. For source material, Fincher and Miller turned to existing short fiction from well-known science fiction authors, including Marko Kloos, Alastair Reynolds, and John Scalzi. Adaptations for works like Iain M. Banks’ Consider Phlebas, Isaac Asimov’s Foundation, and Scalzi’s Old Man’s War are all in the pipeline.

Others are only available in published collections. The story can be read online here, as part of a preview for that collection. In the second, an artist pushes himself past his limits to discover his true self.

Both can be found in a variety of anthologies, including Zima Blue and Other Stories and Beyond the Aquila Rift: The Best of Alastair Reynolds. “Missives From Possible Futures #1: Alternate History Search Results” imagines the outsized results if Adolf Hitler had died in a variety of ways in alternate timelines. Both stories also appear in the collection Miniatures: The Very Short Fiction of John Scalzi.

On his blog, Scalzi notes that he got involved in the project in 2017, with “When The Yogurt Took Over” and “Alternate Histories” first picked up for adaptation, and with “Three Robots” coming later when Scalzi shared it with Miller. Love, Death + Robots also adapts two stories from horror author Joe Landsale. “Fish Night” has appeared in a variety of magazines, and ended up online at The Horror Zine.

Most of the short stories in Love, Death + Robots were written by men, but there are a few exceptions. It follows the story of an astronaut whose EVA goes terribly wrong. Other Love, Death + Robots stories can be found in Cohesion Press’ SNAFU anthologies: “The Secret War,” based off David Amendola’s short story, is in SNAFU: Hunters.

(He noted that he felt that the “adaptation stayed remarkably true to the original story.” And two of the shorts — “The Witness,” scripted by Alberto Mieglo, and “Blindspot,” written by Vitaliy Shushko — weren’t based on existing stories.

What Is The Name Of Netflix’S Sci-Fi Anthology Series?

(Photo by Netflix) When Netflix’s eclectic animated sci-fi anthology series Love Death & Robots returns on Friday, it will unleash a new set of eight startling visions that recall anthology magazines like Heavy Metal in terms of well-rendered worlds and intense short subjects. Fortunately, executive producers Tim Miller and Jennifer Yuh Nelson spoke with Rotten Tomatoes about the new shorts and how the series uses animation to tell different kinds of stories. It Creates Lovingly Rendered Sci-Fi Worlds (Photo by Netflix) As Nelson pointed out, the second set of shorts have a common thematic tie: “showing the worlds” created by the various filmmakers and animation studios involved in the project.

It Utilizes Some Great Sci-Fi Short Stories As Jumping- Off Points (Photo by Netflix) Like the first volume, Love, Death & Robots continues to use some great and evocative short stories as the creative jumping-off point for each film. The tall grass story comes from a story written by Joe Lansdale and may constitute the most frightening tale of the second volume. “I feel such a debt to the authors.

“But it’s always been a respect to the original spirit of the story.” (Photo by Netflix) The short she directed, “Pop Squad,” features an altered ending from Paolo Bacigalupi’s story. It Very Nearly Crosses the Uncanny Valley … Even If the Producers Aren’t So Sure (Photo by Netflix) If you recall some of the early attempts at creating human characters in computer generated animation — Final Fantasy: The Spirits Within, for example — you may note that the program also highlights the breathtaking advancements in crossing the so-called Uncanny Valley: the limitation of 3D CG animation to convincingly render those characters without some form of abstraction.

Consequently, some will see the humans rendered in Volume 2 of the series as more successful than others. It Also Celebrates Other Animation as a Complex Form of Filmmaking (Photo by Netflix) While many of the shorts utilize a very realistic CG style, several of them go for something more stylized in terms of the characters, the overall design, or something the viewer might perceive as more arty. In the case of “The Drowned Giant,” the impulse was also to follow the tone as laid out by the story’s author, J.G. It’s told in the same way, it’s told with the same tone that Ballard did.

Nelson said the important thing is to create “entertainment value, optimism, [and] positivity,” where appropriate, but not the song-and-dance finale. Then again, who knows, maybe the next set of Love, Death & Robots shorts will feature a sci-fi musical with a showstopping ending. As with the melancholy of “The Drowned Giant,” anything is possible in the program’s format.

What Is Netflix’S Adult Anthology Series?

Netflix’s adult Anthology series Love, Death & Robots has returned with its second instalment, and as with the first season, the inspiration for each of the episodes mostly came from existing short stories from different writers and literature magazines. If you want to see what episodes in the first season of Love, Death & Robots were adaptations or originals, click here. Automated Customer Service Picture the scene.

Ice Ice is the story of two brothers, Sedgewick and Fletcher. One of them is cybernetically enhanced with modifications which improve his athleticism and allow him to tolerate the cold, while the other is a normal human, something which causes him to be cast out by his peers. The original story was published in October of 2015, in the 109th Issue of Clarkesworld Magazine, and can be read here.

There are two places you can find this story: either in Bacigalupi’s 2010 short story Pump Six and Other Stories, or in the 2013 collection Brave New Worlds: Dystopian Stories, edited by John Joseph Adams. It’s interesting how the season has gone for two stories focused on living forever, but while this episode of Love, Death & Robots focuses solely on the story of Snow, the 2011 book itself acts as an introduction to the rest of the Polity universe that Neal Asher has created. The story is the work of author Joe R. Lansdale, and you can find it in his 2014 short story collection The Tall Grass and Other Stories.

Sneaking around the house looking for presents, seeing if you could get a peak at the big jolly man in red? Well, what if he wasn’t exactly what you expected? Life Hutch Life Hutch was originally written by one of the biggest names in Science Fiction literature, Harlan Ellison.

The same feeling of tension and horror can be found in this story, when a star pilot survives a crash and has to deal with a malfunctioning robot, you can find it in a variety of different collections, including the Essential Ellison. The episode stands out because instead of the character facing the perils of a science fiction universe, it follows the account of a human scientist who finds a dead humanoid by the sea. The original version of The Drowned Giant can be found in the short story collection The Terminal Beach.

Netflix recently released Season 2 of Love, Death & Robots, an anthology show that adapts short stories into animated films. Science fiction author Zach Chapman thinks the new season is a big improvement over Season 1, with fewer episodes that feel silly or underdeveloped. “I wouldn’t say that there’s an episode that I didn’t like in this season, whereas there were quite a few that I didn’t like in Season 1.”

“And I don’t mind that especially, but I definitely would like the show to have more of the aesthetic of just representing what’s been going on in fantasy and science fiction short stories in the last few decades.” Unfortunately the show still feels like too much of a boy’s club, with every episode in Season 2 being adapted from a story by a male writer. Fantasy author Erin Lindsey hopes that’ll change in Season 3.

Humor writer Tom Gerencer hopes that future seasons will adapt stories from talented authors such as Robert Sheckley. I’m so psyched that there’s something like this out there, that it exists.” Listen to the complete interview with Zach Chapman, Erin Lindsey, and Tom Gerencer in Episode 469 of Geek’s Guide to the Galaxy (above).

Erin Lindsey on diversity: “For me—and I think for a lot of people—[the problem with Season 1] wasn’t boobs per se, or sex per se, or violence per se. It was about sexual violence and gratuitous sex and adolescent male gaze and all the rest of it, and there’s an important distinction between those. And kudos to them—I hope it’s not a coincidence—for taking that on board and really showing with Season 2 that you don’t need to do that.

I don’t know. One, I didn’t really see how that design could be useful from a maintenance perspective, and two, as brilliant as the solution is—where he figures out that what is triggering the targeting is motion, and so he uses his flashlight to create motion—what he’s essentially doing is the laser pointer trick, where you mess with your cat, against the wall. And the fact that the robot had a fairly feline design, I seriously expected the [episode] to break into absurd humor at the end, where he’s like, ‘Whee, I’m playing with my robot cat.’

Tom Gerencer on “Snow in the Desert”: “In the opening scene [Snow] goes to this kind of pawn broker-type seedy alien character to buy his ‘stuff,’ and you get the idea that it’s some kind of drug or it’s something that he needs, and then it turns out to be strawberries, and I thought that was really cool. There was a great moment where there was a shooting star that went over. Just so many great moments in this one.”

To me this is another one where I think if this were 20 or 25 minutes, it would have been great, but it was just too rushed.” More Great WIRED Stories

How Many Episodes Did Netflix Drop Last Week?

Last week, Netflix dropped the 18-episode series Love, Death + Robots, an anthology of short animated films produced by Seven director David Fincher and Deadpool director Tim Miller. For source material, Fincher and Miller turned to existing short fiction from well-known science fiction authors, including Marko Kloos, Alastair Reynolds, and John Scalzi. Adaptations for works like Iain M. Banks’ Consider Phlebas, Isaac Asimov’s Foundation, and Scalzi’s Old Man’s War are all in the pipeline.

Others are only available in published collections. The story can be read online here, as part of a preview for that collection. In the second, an artist pushes himself past his limits to discover his true self.

Both can be found in a variety of anthologies, including Zima Blue and Other Stories and Beyond the Aquila Rift: The Best of Alastair Reynolds. “Missives From Possible Futures #1: Alternate History Search Results” imagines the outsized results if Adolf Hitler had died in a variety of ways in alternate timelines. Both stories also appear in the collection Miniatures: The Very Short Fiction of John Scalzi.

On his blog, Scalzi notes that he got involved in the project in 2017, with “When The Yogurt Took Over” and “Alternate Histories” first picked up for adaptation, and with “Three Robots” coming later when Scalzi shared it with Miller. Love, Death + Robots also adapts two stories from horror author Joe Landsale. “Fish Night” has appeared in a variety of magazines, and ended up online at The Horror Zine.

Most of the short stories in Love, Death + Robots were written by men, but there are a few exceptions. It follows the story of an astronaut whose EVA goes terribly wrong. Other Love, Death + Robots stories can be found in Cohesion Press’ SNAFU anthologies: “The Secret War,” based off David Amendola’s short story, is in SNAFU: Hunters.

(He noted that he felt that the “adaptation stayed remarkably true to the original story.” And two of the shorts — “The Witness,” scripted by Alberto Mieglo, and “Blindspot,” written by Vitaliy Shushko — weren’t based on existing stories.

What Is The Name Of Netflix’S Sci-Fi Anthology Series?

(Photo by Netflix) When Netflix’s eclectic animated sci-fi anthology series Love Death & Robots returns on Friday, it will unleash a new set of eight startling visions that recall anthology magazines like Heavy Metal in terms of well-rendered worlds and intense short subjects. Fortunately, executive producers Tim Miller and Jennifer Yuh Nelson spoke with Rotten Tomatoes about the new shorts and how the series uses animation to tell different kinds of stories. It Creates Lovingly Rendered Sci-Fi Worlds (Photo by Netflix) As Nelson pointed out, the second set of shorts have a common thematic tie: “showing the worlds” created by the various filmmakers and animation studios involved in the project.

It Utilizes Some Great Sci-Fi Short Stories As Jumping- Off Points (Photo by Netflix) Like the first volume, Love, Death & Robots continues to use some great and evocative short stories as the creative jumping-off point for each film. The tall grass story comes from a story written by Joe Lansdale and may constitute the most frightening tale of the second volume. “I feel such a debt to the authors.

“But it’s always been a respect to the original spirit of the story.” (Photo by Netflix) The short she directed, “Pop Squad,” features an altered ending from Paolo Bacigalupi’s story. It Very Nearly Crosses the Uncanny Valley … Even If the Producers Aren’t So Sure (Photo by Netflix) If you recall some of the early attempts at creating human characters in computer generated animation — Final Fantasy: The Spirits Within, for example — you may note that the program also highlights the breathtaking advancements in crossing the so-called Uncanny Valley: the limitation of 3D CG animation to convincingly render those characters without some form of abstraction.

Consequently, some will see the humans rendered in Volume 2 of the series as more successful than others. It Also Celebrates Other Animation as a Complex Form of Filmmaking (Photo by Netflix) While many of the shorts utilize a very realistic CG style, several of them go for something more stylized in terms of the characters, the overall design, or something the viewer might perceive as more arty. In the case of “The Drowned Giant,” the impulse was also to follow the tone as laid out by the story’s author, J.G. It’s told in the same way, it’s told with the same tone that Ballard did.

Nelson said the important thing is to create “entertainment value, optimism, [and] positivity,” where appropriate, but not the song-and-dance finale. Then again, who knows, maybe the next set of Love, Death & Robots shorts will feature a sci-fi musical with a showstopping ending. As with the melancholy of “The Drowned Giant,” anything is possible in the program’s format.

What Is Netflix’S Adult Anthology Series?

Netflix’s adult Anthology series Love, Death & Robots has returned with its second instalment, and as with the first season, the inspiration for each of the episodes mostly came from existing short stories from different writers and literature magazines. If you want to see what episodes in the first season of Love, Death & Robots were adaptations or originals, click here. Automated Customer Service Picture the scene.

Ice Ice is the story of two brothers, Sedgewick and Fletcher. One of them is cybernetically enhanced with modifications which improve his athleticism and allow him to tolerate the cold, while the other is a normal human, something which causes him to be cast out by his peers. The original story was published in October of 2015, in the 109th Issue of Clarkesworld Magazine, and can be read here.

There are two places you can find this story: either in Bacigalupi’s 2010 short story Pump Six and Other Stories, or in the 2013 collection Brave New Worlds: Dystopian Stories, edited by John Joseph Adams. It’s interesting how the season has gone for two stories focused on living forever, but while this episode of Love, Death & Robots focuses solely on the story of Snow, the 2011 book itself acts as an introduction to the rest of the Polity universe that Neal Asher has created. The story is the work of author Joe R. Lansdale, and you can find it in his 2014 short story collection The Tall Grass and Other Stories.

Sneaking around the house looking for presents, seeing if you could get a peak at the big jolly man in red? Well, what if he wasn’t exactly what you expected? Life Hutch Life Hutch was originally written by one of the biggest names in Science Fiction literature, Harlan Ellison.

The same feeling of tension and horror can be found in this story, when a star pilot survives a crash and has to deal with a malfunctioning robot, you can find it in a variety of different collections, including the Essential Ellison. The episode stands out because instead of the character facing the perils of a science fiction universe, it follows the account of a human scientist who finds a dead humanoid by the sea. The original version of The Drowned Giant can be found in the short story collection The Terminal Beach.

Netflix recently released Season 2 of Love, Death & Robots, an anthology show that adapts short stories into animated films. Science fiction author Zach Chapman thinks the new season is a big improvement over Season 1, with fewer episodes that feel silly or underdeveloped. “I wouldn’t say that there’s an episode that I didn’t like in this season, whereas there were quite a few that I didn’t like in Season 1.”

“And I don’t mind that especially, but I definitely would like the show to have more of the aesthetic of just representing what’s been going on in fantasy and science fiction short stories in the last few decades.” Unfortunately the show still feels like too much of a boy’s club, with every episode in Season 2 being adapted from a story by a male writer. Fantasy author Erin Lindsey hopes that’ll change in Season 3.

Humor writer Tom Gerencer hopes that future seasons will adapt stories from talented authors such as Robert Sheckley. I’m so psyched that there’s something like this out there, that it exists.” Listen to the complete interview with Zach Chapman, Erin Lindsey, and Tom Gerencer in Episode 469 of Geek’s Guide to the Galaxy (above).

Erin Lindsey on diversity: “For me—and I think for a lot of people—[the problem with Season 1] wasn’t boobs per se, or sex per se, or violence per se. It was about sexual violence and gratuitous sex and adolescent male gaze and all the rest of it, and there’s an important distinction between those. And kudos to them—I hope it’s not a coincidence—for taking that on board and really showing with Season 2 that you don’t need to do that.

I don’t know. One, I didn’t really see how that design could be useful from a maintenance perspective, and two, as brilliant as the solution is—where he figures out that what is triggering the targeting is motion, and so he uses his flashlight to create motion—what he’s essentially doing is the laser pointer trick, where you mess with your cat, against the wall. And the fact that the robot had a fairly feline design, I seriously expected the [episode] to break into absurd humor at the end, where he’s like, ‘Whee, I’m playing with my robot cat.’

Tom Gerencer on “Snow in the Desert”: “In the opening scene [Snow] goes to this kind of pawn broker-type seedy alien character to buy his ‘stuff,’ and you get the idea that it’s some kind of drug or it’s something that he needs, and then it turns out to be strawberries, and I thought that was really cool. There was a great moment where there was a shooting star that went over. Just so many great moments in this one.”

To me this is another one where I think if this were 20 or 25 minutes, it would have been great, but it was just too rushed.” More Great WIRED Stories

How Many Episodes Did Netflix Drop Last Week?

Last week, Netflix dropped the 18-episode series Love, Death + Robots, an anthology of short animated films produced by Seven director David Fincher and Deadpool director Tim Miller. For source material, Fincher and Miller turned to existing short fiction from well-known science fiction authors, including Marko Kloos, Alastair Reynolds, and John Scalzi. Adaptations for works like Iain M. Banks’ Consider Phlebas, Isaac Asimov’s Foundation, and Scalzi’s Old Man’s War are all in the pipeline.

Others are only available in published collections. The story can be read online here, as part of a preview for that collection. In the second, an artist pushes himself past his limits to discover his true self.

Both can be found in a variety of anthologies, including Zima Blue and Other Stories and Beyond the Aquila Rift: The Best of Alastair Reynolds. “Missives From Possible Futures #1: Alternate History Search Results” imagines the outsized results if Adolf Hitler had died in a variety of ways in alternate timelines. Both stories also appear in the collection Miniatures: The Very Short Fiction of John Scalzi.

On his blog, Scalzi notes that he got involved in the project in 2017, with “When The Yogurt Took Over” and “Alternate Histories” first picked up for adaptation, and with “Three Robots” coming later when Scalzi shared it with Miller. Love, Death + Robots also adapts two stories from horror author Joe Landsale. “Fish Night” has appeared in a variety of magazines, and ended up online at The Horror Zine.

Most of the short stories in Love, Death + Robots were written by men, but there are a few exceptions. It follows the story of an astronaut whose EVA goes terribly wrong. Other Love, Death + Robots stories can be found in Cohesion Press’ SNAFU anthologies: “The Secret War,” based off David Amendola’s short story, is in SNAFU: Hunters.

(He noted that he felt that the “adaptation stayed remarkably true to the original story.” And two of the shorts — “The Witness,” scripted by Alberto Mieglo, and “Blindspot,” written by Vitaliy Shushko — weren’t based on existing stories.

What Is The Name Of Netflix’S Sci-Fi Anthology Series?

(Photo by Netflix) When Netflix’s eclectic animated sci-fi anthology series Love Death & Robots returns on Friday, it will unleash a new set of eight startling visions that recall anthology magazines like Heavy Metal in terms of well-rendered worlds and intense short subjects. Fortunately, executive producers Tim Miller and Jennifer Yuh Nelson spoke with Rotten Tomatoes about the new shorts and how the series uses animation to tell different kinds of stories. It Creates Lovingly Rendered Sci-Fi Worlds (Photo by Netflix) As Nelson pointed out, the second set of shorts have a common thematic tie: “showing the worlds” created by the various filmmakers and animation studios involved in the project.

It Utilizes Some Great Sci-Fi Short Stories As Jumping- Off Points (Photo by Netflix) Like the first volume, Love, Death & Robots continues to use some great and evocative short stories as the creative jumping-off point for each film. The tall grass story comes from a story written by Joe Lansdale and may constitute the most frightening tale of the second volume. “I feel such a debt to the authors.

“But it’s always been a respect to the original spirit of the story.” (Photo by Netflix) The short she directed, “Pop Squad,” features an altered ending from Paolo Bacigalupi’s story. It Very Nearly Crosses the Uncanny Valley … Even If the Producers Aren’t So Sure (Photo by Netflix) If you recall some of the early attempts at creating human characters in computer generated animation — Final Fantasy: The Spirits Within, for example — you may note that the program also highlights the breathtaking advancements in crossing the so-called Uncanny Valley: the limitation of 3D CG animation to convincingly render those characters without some form of abstraction.

Consequently, some will see the humans rendered in Volume 2 of the series as more successful than others. It Also Celebrates Other Animation as a Complex Form of Filmmaking (Photo by Netflix) While many of the shorts utilize a very realistic CG style, several of them go for something more stylized in terms of the characters, the overall design, or something the viewer might perceive as more arty. In the case of “The Drowned Giant,” the impulse was also to follow the tone as laid out by the story’s author, J.G. It’s told in the same way, it’s told with the same tone that Ballard did.

Nelson said the important thing is to create “entertainment value, optimism, [and] positivity,” where appropriate, but not the song-and-dance finale. Then again, who knows, maybe the next set of Love, Death & Robots shorts will feature a sci-fi musical with a showstopping ending. As with the melancholy of “The Drowned Giant,” anything is possible in the program’s format.

What Is Netflix’S Adult Anthology Series?

Netflix’s adult Anthology series Love, Death & Robots has returned with its second instalment, and as with the first season, the inspiration for each of the episodes mostly came from existing short stories from different writers and literature magazines. If you want to see what episodes in the first season of Love, Death & Robots were adaptations or originals, click here. Automated Customer Service Picture the scene.

Ice Ice is the story of two brothers, Sedgewick and Fletcher. One of them is cybernetically enhanced with modifications which improve his athleticism and allow him to tolerate the cold, while the other is a normal human, something which causes him to be cast out by his peers. The original story was published in October of 2015, in the 109th Issue of Clarkesworld Magazine, and can be read here.

There are two places you can find this story: either in Bacigalupi’s 2010 short story Pump Six and Other Stories, or in the 2013 collection Brave New Worlds: Dystopian Stories, edited by John Joseph Adams. It’s interesting how the season has gone for two stories focused on living forever, but while this episode of Love, Death & Robots focuses solely on the story of Snow, the 2011 book itself acts as an introduction to the rest of the Polity universe that Neal Asher has created. The story is the work of author Joe R. Lansdale, and you can find it in his 2014 short story collection The Tall Grass and Other Stories.

Sneaking around the house looking for presents, seeing if you could get a peak at the big jolly man in red? Well, what if he wasn’t exactly what you expected? Life Hutch Life Hutch was originally written by one of the biggest names in Science Fiction literature, Harlan Ellison.

The same feeling of tension and horror can be found in this story, when a star pilot survives a crash and has to deal with a malfunctioning robot, you can find it in a variety of different collections, including the Essential Ellison. The episode stands out because instead of the character facing the perils of a science fiction universe, it follows the account of a human scientist who finds a dead humanoid by the sea. The original version of The Drowned Giant can be found in the short story collection The Terminal Beach.