Adapting Martha Wells’ The Murderbot Diaries for television is a demanding task — and Apple TV+ has embraced the challenge with enthusiasm and dedication.
The original series is cherished for its main character’s introspective narrative: a witty, socially anxious cyborg referred to as Murderbot. Much of the action transpires through its internal dialogue and digital interactions, components that translate well on the page but present a distinctive challenge for a visual format like television. So, how does one animate a character that primarily exists within its own thoughts on screen?
Introducing Apple TV+’s Murderbot, brought to life by Paul and Chris Weitz (About a Boy). Following the path set by the platform’s other sci-fi adaptations such as Foundation and Silo, Murderbot embarks on the ambitious endeavor of reinterpreting the series’ reflective charm into a cinematic experience. For the most part, it achieves this — largely due to an exceptional performance from Alexander Skarsgård and a supportive cast of instantly appealing characters. While the narrative sometimes feels prolonged, the show effectively combines humor, emotion, and high-tech antics.
What is Murderbot about?
Murderbot revolves around a Security Unit (SecUnit) — a hybrid organic and mechanical entity leased by human clients from a dominant corporation. After clandestinely disabling its governor module, Murderbot attains independence but opts to continue its work to avoid detection. Rather than going off the rails, it dedicates its free time to binge-watching soap operas and silently critiquing the humans in its vicinity.
Everything shifts when Murderbot is tasked with safeguarding a group of scientists from the Preservation Alliance — a forward-thinking, non-corporate entity that shows it unexpected kindness and respect. This crew, known as PreservationAux, stands in stark contrast to the profit-focused Corporation Rim. They’re inclusive, emotionally aware, and quite uncomfortable with the notion of employing an enslaved being for protection. As they strive to treat Murderbot as an equal, it starts to encounter perplexing new feelings — including, potentially, affection.
A fresh take on a well-known sci-fi concept
Stories about robots discovering humanity are not new — ranging from The Iron Giant to The Wild Robot — but Murderbot distinguishes itself with a sharp sense of humor. Skarsgård’s voiceover captures the character’s dry humor and existential angst with just the right touch of sarcasm. Although voiceovers can feel like a fallback, here it’s crucial, providing insight into Murderbot’s thoughts that’s both amusing and enlightening.
The show also ingeniously depicts Murderbot’s internal systems — including camera feeds and messaging interfaces — by overlaying them onto the screen. It’s a straightforward yet effective method to represent what’s occurring in its mind.
However, the pacing doesn’t consistently maintain momentum. Season 1 adapts Wells’ initial novella, All Systems Red, which is a quick read. To stretch a 10-episode season (with each episode approximately 30 minutes long), the series introduces new subplots and characters. Some of these additions are effective — such as Anna Konkle’s entertaining new role — while others seem like filler, particularly when the central mystery lacks engaging antagonists or stakes.
One notable inclusion? Fully developed scenes from Murderbot’s favorite show, The Rise and Fall of Sanctuary Moon. This campy blend of Star Trek and daytime soap operas is an enjoyable in-universe show-within-a-show, complete with over-the-top costumes, melodramatic performances, and a catchy theme song. It serves as a fun juxtaposition to Murderbot’s grimmer reality and adds a layer of meta-commentary on the media we consume for escapism.
A cast worth rooting for
While Murderbot contains its share of action and corporate drama, its true strength lies in the connections among its characters. Skarsgård delivers a stunning performance in the title role, using nuanced facial expressions and body language to express Murderbot’s discomfort around humans. His deadpan voiceover contributes an additional dimension of humor and vulnerability.
The PreservationAux team is equally engaging. Noma Dumezweni exudes warmth and authority as team leader Dr. Mensah, who champions treating Murderbot as a sentient being. David Dastmalchian portrays the skeptical Gurathin with just the right level of edge, while Sabrina Wu, Tattiawna Jones, Akshay Khanna, and Tamara Podemski enhance the ensemble with charm and chemistry. Their interactions feel genuine and lived-in — precisely what’s necessary to render Murderbot’s emotional journey believable.
In the end, Murderbot triumphs because it recognizes that its narrative is not solely about a robot learning to be human — it revolves around the significance of community, empathy, and connection. Even with its sporadic pacing issues, the show is a clever, amusing, and heartfelt adaptation that embodies the essence of Wells’ cherished books.
Murderbot debuts May 16 on Apple TV+.