The role that artificial intelligence (AI) should play in our everyday lives has become a hot topic over the last few years. As technology in the area rapidly progresses—and one too many tech CEOs use it to justify less regulation, worker layoffs, and data mining of original works without much credit given—it has definitely become more than just a thing of science fiction fantasy.
That doesn’t mean sci-fi stories can’t weigh in on the matter, though, as they’ve done so often before. The new Apple TV+ series Murderbot does just that, with a refreshing mix of heart, wit, and thrilling mystery for an entertaining dive into the human condition.
Written and directed by Chris Weitz and Paul Weitz and based on the popular book series of the same name by author Martha Wells, Murderbot is a sci-fi thriller/comedy about a self-hacking security construct (a humanoid robot that is equal parts organic material and machine) who is horrified by human emotion yet drawn to its vulnerable clients.
Our main character, labeled a SecUnit (Security Unit), has been able to secretly get rid of the part of its programming that forces it to obey the commands of its clients (whichever human is renting it at that time). SecUnit (which renames itself Murderbot) is soon rented out by an unsuspecting crew of progressive hippie-like individuals for an expedition to another planet.
A series of dangerous events soon shows that all is not as it appears, however, forcing Murderbot and the crew to figure out what’s happening before it’s too late. The overarching mystery is interlaced with the interactions between Murderbot and the crew as they all discover things about themselves and each other—much to Murderbot’s initial annoyance, as it thinks humans are “well…assholes.”
The series makes it a point not to waste time in its 30-minute episodes. There’s a lot packed in, but it’s well balanced enough that it never feels overwhelming. The plot doesn’t stop in order to exposition-dump for the sake of world-building. Instead, the world that the characters find themselves in is explained to the audience through the story.
It also helps that Murderbot (Alexander Skarsgård) narrates through voiceover for most of the episodes. A voiceover narration can sometimes feel gimmicky, like it’s a way for a show to fill in blanks that lackluster writing fails to do. Luckily, that is not the case with this series as Murderbot is an interesting enough character (and sometimes an intriguing if unreliable narrator), to the point where it adds to the story rather than just serving as a handholding mechanism for the audience.
Various themes play out in the episodes, co-mingling and intersecting with each other through the characters, resulting in sometimes fun, sometimes emotionally heavy moments. Corporate greed and capitalist exploitation still exist in the world of Murderbot. They serve as a driving force for many of the hardships humans face in that world. In this reality, AI is deployed in a number of fields—including security, surveillance, and sexual pleasure, among others—while social unrest rages across the galaxy. Slimey insurance companies are concerned with profits over people, and it would appear on the corporate side of things that the people in charge are about maintaining that status quo.
This is why Murderbot—who’s become so accustomed to an environment where most people seem depraved and cutthroat—has its worldview shaken up when it’s rented by a drastically different kind of crew. The latter are part of a group called the Preservation Alliance, a commune of people who attempt to live outside of the capitalist system, focusing more on community than individualism, progress instead of profit. They’re not perfect by any means, but it is through their various imperfections, quirks, and genuine qualities that some great moments are had throughout the series.
The standout performances of Murderbot belong to Skarsgård, Noma Dumezweni (who plays crew leader Mensah), and David Dastmalchian (who plays the resident scientist and augmented human, Gurathin). Each gives complexity and nuance to the three distinct views on life and existence that their characters represent.
I’d also imagine it can’t be easy playing an AI humanoid who has come to loathe humankind while still figuring out what kind of existence it wants among humankind. Not to mention, there is the challenge of effectively showcasing emotions in a believable and grounded way. Yet Skarsgård achieves this feat, bringing to life a unique character that manages to not fall into the often-repeated physical clichés that we’ve seen before when an actor attempts to portray how they think a humanoid robot might behave.
The entire cast really does come together, creating an ensemble with lots of chemistry and fun dynamics. Furthermore, this critic was very happy to see a science fiction series that relishes in the diversity of its cast (in age, race, sexuality, etc.) and goes beyond tokenism and checked boxes.
It’s also a hilarious addition to have a show within a show, as the audience is treated to Murderbot’s obsession with galactic television (one space soap opera, in particular, makes recurring appearances). This serves as both a distraction from their reality and a way to help them maneuver within it. Touching upon the reliance on mindless entertainment as a means of escapism definitely feels like a tongue-in-cheek bread-and-circuses commentary on our current state of over-consumption of “content” vs. meaningful art.
One could argue that the question at the heart of the series is whether artificial intelligence is capable of learning and growing to be sentient beings and therefore deserving of the same rights and freedoms afforded to humans. But I would argue that a complex, and frankly more intriguing, theme is the contemplation of what it means to be a conscious being who must cope with an existence of hardship and strife—the human condition.
Ideas like defeatism, optimism, pessimism, capitulation, and resistance appear in response to the ever-present existential crises that life presents. There are many points of view explored on that matter in the episodes in a crisp yet impactful way, all while maintaining witty humor throughout.
And it really is a funny show. The comedy never goes too over the top, and the characters always feel grounded, so that when things get serious occasionally, the weight of those moments is still felt.
The ten-episode first season is certainly binge-worthy, as the 30-minute episodes are fast-paced and engrossing. If you’re looking for a sci-fi series relevant to our current reality (and truly, those are the best kinds of sci-fi stories), then Murderbot is a must-watch.
Murderbot premieres globally on May 16, 2025, exclusively on Apple TV+. The trailer can be seen here.
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