‘Murderbot’ review: Alexander Skarsgård leads a charming adaptation of a sci-fi favorite

When it comes to adaptation, Martha Wells’ Murderbot Diaries series is a tricky beast.

The series’ main appeal is its titular character’s inner monologue, a charming blend of snark and social awkwardness. That all this commentary happens internally — alongside key story action taking place on internal monitors — works perfectly in a written medium. But how would Murderbot’s trademark voice translate to a visual medium like television?

Enter Apple TV+’s Murderbot, created by Paul and Chris Weitz (About a Boy). The latest in Apple TV+’s string of sci-fi adaptations, others of which include Foundation and Silo, Murderbot finds itself with the difficult task of bringing the internally rich, externally stoic character of Murderbot (Alexander Skarsgård) to the screen. And despite the challenge, it succeeds — for the most part. Anchored by a wonderfully awkward turn from Skarsgård and an instantly likable ensemble, Murderbot is pure sci-fi fun, even if its slight story occasionally stretches too thin.

What’s Murderbot about?

Alexander Skarsgård in “Murderbot.”
Credit: Apple TV+

Meet Murderbot, a cyborg Security Unit (or SecUnit) loaned out to space expeditions by “the company” — one of many companies who make their home in the Corporation Rim. Grown weary of humans who see it as nothing more than a prop, Murderbot has hacked its governor module and essentially freed itself from human control. It could go rogue and kill its human masters, as its self-chosen moniker of “Murderbot” would suggest, but that would only attract unwanted attention and wind up getting it flung in an acid bath. Instead, Murderbot remains on the job, but secretly spends its time judging all humans and streaming thousands of hours of TV. (Relatable.)

But what happens when Murderbot meets humans who don’t treat it like an object? That’s exactly what occurs on its latest assignment, ensuring the safety of the science team known as PreservationAux on their environmental survey of an uninhabited planet.

Murderbot is used to working for associates of the Corporation Rim, who put profit over people. However, the PreservationAux crew, who hail from the independent Preservation Alliance, are the complete opposite. They’re basically space hippies: free-spirited and rejecting the capitalist focus of the Corporation Rim. They also practice polyamory, are respectful of all genders, and, most crucially for the series, feel conflicted over bringing what they view as an enslaved being in Murderbot along with them. The more they try to treat Murderbot as an equal, the more confused it gets. Yet among all this confusion come more unfamiliar emotions, like attachment. Is Murderbot learning to care for the humans it holds so much disdain for?

Murderbot puts a snarky twist on a familiar story.

Alexander Skarsgård in “Murderbot.”
Credit: Apple TV+

Stories of robots developing a sense of self and deep bonds with others are familiar at this point, from The Iron Giant to The Wild Robot and beyond. Murderbot plays with our expectations of that tried-and-true storyline thanks to Murderbot’s deeply sarcastic inner monologue, rendered in almost constant voiceover from Skarsgård.

While voiceover is a tool I prefer TV and movies to use sparingly, it is absolutely crucial here (even if it might take some getting used to right from the jump). Murderbot’s musings on humanity are both withering and strangely perceptive, but most importantly, they’re funny. Every simple interjection of a deadpan “humans are so stupid” is a welcome punchline, as are its panicked calculations about holding eye contact or being forced to make a speech on the spot. Perhaps the acid bath really would be a better option?

The inner monologue is definitely the biggest adaptation challenge Murderbot has to face, but there are several other hurdles for it to clear. Murderbot’s functions, like its camera feeds or messaging channels, are superimposed on the screen in a simple yet effective choice that makes the internal external.

Less effective is the overall handling of Murderbot‘s pacing. Season 1 covers the entirety of Wells’ first Murderbot novella All Systems Red, which, like much of the Murderbot series, is short and sweet. So short and so sweet, in fact, that Murderbot adds some new material in order to pad its 10-episode run. (Each episode is a half hour.) While much of the new material is enjoyable — including Anna Konkle’s appearance as a brand-new character — it can also feel like the show is spinning its wheels trying to elongate itself. That can be a problem when the best aspect of the show remains the simple Murderbot-PreservationAux interactions, as opposed to a mystery plot where our team’s adversaries are neither particularly interesting nor particularly developed.

One bit of added material that definitely works? Fully shot scenes from Murderbot’s favorite TV show, The Rise and Fall of Sanctuary Moon. Think Star Trek crossed with a soap opera, complete with costumes that are just the right amount of cheesy and guest stars who are clearly having a blast hamming it up. From its banger theme song to its bright color palette, Sanctuary Moon serves as an extra-weird, extra-heightened counterpoint to the rest of Murderbot‘s grittier sci-fi.

Murderbot‘s ensemble is a blast to watch.

Akshay Khanna, Tattiawna Jones, Sabrina Wu, David Dastmalchian, Noma Dumezweni, and Tamara Podemski in “Murderbot.”
Credit: Apple TV+

Murderbot may boast intense robot action sequences and a larger plot involving corporate intrigue, but at the end of the day, it’s at its best when you’re watching Murderbot and its clients hanging out.

Skarsgård proves delightful as Murderbot, nicely juxtaposing his own imposing physical appearance with Murderbot’s awkwardness around humans. With just a flit of his eyes or a twitch of his mouth, Skarsgård conveys all of Murderbot’s emotional discomfort. Pair that with his much more sarcastic voiceover to get even more hilarious contrast.

The PreservationAux crew are a wonderful ensemble as well. Noma Dumezweni brings warmth to team head Mensah, who leads the charge on treating Murderbot as a member of the group. Elsewhere, David Dastmalchian’s distrustful scientist Gurathin is a formidable adversary to Murderbot, with just the right touch of cattiness. Rounding out the team are Sabrina Wu, Tattiawna Jones, Akshay Khanna, and Tamara Podemski, all of whom have such an instant rapport (and their fair share of drama) you’ll feel as if you’ve been traveling with PreservationAux for years.

That sense of built-in community is what’s so crucial for Murderbot, as Murderbot’s entire emotional arc hinges on the welcoming nature of the group. (Well, apart from the ever-suspicious Gurathin.) You need to believe Murderbot would become attached to them, and you’ll also become attached to them yourself. At the end of the day, Murderbot isn’t just a sci-fi adventure — it’s a fun hang.

Murderbot premieres May 16 on Apple TV+.