In dystopian London, a young woman named Sonnie participates in underground "Beastie" fights — remotely controlled bio-engineered gladiator beast battles.

However, Sonnie's voice is heard through surrounding speakers, revealing that her human body is only a 'bioware processor spliced to a spine' and that her consciousness was always inside Khanivore, the fear of death in combat being her real "edge".

The Blue Goose spaceship's crew members, Thom, Suzy, and Ray, are returning home from a successful mission, but an error in the hyperspace routing causes unexpected events to happen.

Thom is revealed to be an emaciated old man; their ship caught in an enormous web with countless others; his crew either dead or trapped in their own trances; and "Greta" an alien arachnid creature.

Yan informs him that she was drugged by the governor of Hong Kong, a client of hers, who surgically switched her real legs with cyborg parts before she killed him during an altercation.

As the disinterested inspector attempts again to get Dave to sign his eviction papers, Otto arrives and eats him alive, severing one of his hands in the process.

During a spacewalk, her old-model EVA suit is hit by a stray screw from orbital debris, casting her hopelessly adrift with only 14 minutes of oxygen.

Journalist Claire Markham is invited to interview the reclusive artist Zima Blue, who wishes to tell his story before unveiling his final work.

A cyborg crew — Hawk, Kali, Sui, and Rookie — attempt to rob a convoy for a heavily guarded microchip as it is in motion to a tunnel.

After an hour, and afraid they did not make it, they open the freezer and find the civilization has rebuilt and has moved further into its future with technology evolving at an unprecedented level.

Multiversity, an alternative history research simulation app, shows a user six different timelines involving the death of Adolf Hitler in 1908 instead of 1945.

Potential consequences of each death include different outcomes from WWI and WWII; various individuals reaching the Moon first; time travel paradoxes; and post-apocalyptic scenarios.

Following a bloody victory, Scout Okchen finds the decomposed corpse of a fallen Secret Police agent, Boris Grishin.

In a future version of Scotland, a farmer named Mason is distressed to discover the rats in his barn are bigger than before, standing upright on two legs, using tools and attacking him with crossbows as they pilfer his genetically modified supplies.

He makes peace with the rats; the group raises a glass of brandy, distilled from Mason's grain, and watches the sunset together as he cancels a check for Traptech.

The duo finds a glowing light and follows a mysterious sound into a deeper chamber, revealed to be a prison containing a gigantic, eldritch deity.

The project evolved from a late 2000s meeting whereby David Fincher and Tim Miller decided to make a remake of the 1981 film Heavy Metal.

The directors lineup included Miller, Fincher, James Cameron, Zack Snyder, Kevin Eastman, Gore Verbinski, Guillermo del Toro, Mark Osborne, Jeff Fowler, and Rob Zombie.

[22] The film was switched to Sony division Columbia Pictures, due to an ongoing fight between the former studio and Fincher during the production of The Curious Case of Benjamin Button.

[31][32] While working in Netflix for the series House of Cards and Mindhunter, Fincher discussed his wish to break free of the half-hour and hour-long format for the animated series: "We have to get rid of the 22-minute [length of a half-hour show with commercials] and 48-minute [length of an hour-long show with commercials] because there's this Pavlovian response to this segmentation that to me seems anathema to storytelling.

[34] Miller primarily wrote outlines and drafts for each short and allowed for scripts to be changed as studios saw fit in order to aid the production.

[55][52] On April 19, 2021, Netflix released the teaser trailer for the second season;[56] it featured Colin Stetson's track "Reborn" from the Hereditary film soundtrack.

The website's critical consensus reads, "This animated anthology has enough creative Death to satisfy cyberpunk aficionados who Love their Robots to have some Heavy Metal influence, but the series' lofty ambitions are often undercut by a preoccupation with gore and titillation.

[67] Writing in The Daily Beast, Nick Schager described the series as "Black Mirror for the ADD-addled video game crowd" and praised the show for its "diverse affair rife with violence, humor, and a healthy dose of sensuality".

[15] Peter Rubin of Wired magazine praised the show and its boundary-pushing nature, saying that "sometimes, you just want to see Adolf Hitler suffocated by a giant mound of gelatin".

[69] Abby Robinson of Digital Spy called the series problematic in its portrayal of women as primarily sexual objects and victims of trauma, labeling it as "firmly rooted in the past".

The website's critical consensus reads, "The quality of shorts can be uneven, but Love, Death + Robots' sophomore volume is a well-oiled machine of creativity.

[72] Steve Green of IndieWire praised the season's quality though he was critical over the shorter amount of episodes, "The show remains an anthology, but look hard enough and you'll see at least one hint that these shorts might not be occupying wholly distinct universes after all.

"[75] Writing for The Verge, Andrew Webster called volume III "arguably the strongest collection yet" praising the stories and various animation styles used in each short.

"[77] Tara Bennet from IGN considered that the stories for each episode weren't strong enough as the craftmanship though she praised the animation, "Love, Death and Robots Vol.