If you’re in search of a delightful sci-fi comedy infused with clever humor and an engaging mystery, look no further than Apple TV’s Murderbot. The series adapts Martha Wells’ acclaimed Murderbot Diaries, featuring Alexander Skarsgård in the role of the titular character. This rebel cyborg security unit has achieved sentience and grapples with the complexities of human interaction while concealing its newfound autonomy.
(Some minor spoilers lie ahead, but no major plot twists will be revealed.)
Wells’ series consists of seven novels, all told from the perspective of Murderbot, a security unit owned by a powerful corporation that manages to free itself from its control mechanisms. Instead of retaliating against its creators, Murderbot continues to fulfill its security duties while engaging in a plethora of media consumption, with a particular fondness for a soap opera titled The Rise and Fall of Sanctuary Moon.
The television adaptation draws primarily from the first book, All Systems Red. In this storyline, Murderbot is tasked with protecting a group of scientists stationed on a remote planet. The team is led by Mensah (Noma Dumezweni) and includes Bharadwaj (Tamara Podemski), Gurathin (David Dastmalchian)—an augmented human linked to the same data feeds as Murderbot—and legal counsel Pin-Lee (Sabrina Wu), who explores her relationship with Arada (Tattiawna Jones), evolving into a throuple with Ratthi (Akshay Khanna).
However, one tactical blunder occurs when it inadvertently reveals its human-like visage to Ratthi, leaving him shocked and speechless. While Gurathin begins to suspect something unusual, the rest of the team starts to see Murderbot as more than just a machine. This shift complicates its efforts to keep its free will a secret while assisting the scientists in uncovering strange inconsistencies in their exploration data. The question remains: Can Murderbot protect its autonomy and evade potential reprogramming while assisting its human counterparts?
The adaptation was crafted by sibling co-creators Paul Weitz and Chris Weitz, who are well-known for their work on films like Little Fockers and Antz. Martha Wells also contributed as a consulting producer. The series remains faithful to the source material while expanding character development and enhancing comedic elements, even recreating scenes from the fictional soap opera featuring cameos by John Cho and Clark Gregg.
Ars Technica spoke with the Weitz brothers about their creative process and the challenges of adapting Murderbot.
Ars Technica: What attracted you to this project?
Chris Weitz: The central character is unique and powerful in its literary depth. We both hold a great appreciation for the books, which made it appealing from the start.
Paul Weitz: The first book features an incredibly poignant ending that resonates with themes of individuality and personal autonomy. It affirms that even a character as well-known as Murderbot defies easy classification, encapsulating the notion that individuals shouldn’t be restricted to predefined roles. Adopting material that is both enjoyable and profoundly relevant is motivating when investing significant time in an adaptation.
Working with Martha Wells was a significant relief, as she provided invaluable insights and feedback. Despite the novella’s concise storytelling, we sought to expand certain elements. For instance, understanding Gurathin’s background and his suspicion of Murderbot adds depth. Likewise, we revealed that Mensah grapples with panic attacks, which we confirmed with Martha before incorporating into the script, allowing us to add nuance to her character.
Ars Technica: Humor plays a significant role in this series, which is also present in the novels.
Chris Weitz: Much of great science fiction tends to be overly serious. Mortal humor exists within Martha’s universe, portraying psychological realities and the absurd comedy that can arise in tense situations. Though Murderbot isn’t human, it absolutely embodies a person who reflects our relatable struggles.
Ars Technica: The fictional show-within-the-show, The Rise and Fall of Sanctuary Moon, is expanded in the series. How did you approach this?
Chris Weitz: We embraced our exaggerations and whims, allowing the story to flourish in a more playful environment. There’s an element of indulgence in creating a campy yet sincere piece of entertainment. The humor of the lines often parallels absurdity found in Murderbot’s circumstances.
Paul Weitz: Striking a balance between humorous subtext and genuine material opens dialogues on character mechanics, like the line from a navigation bot saying, “I’m a navigation unit, not a sex bot,” which resonates with many individuals’ feelings about societal expectations.
Chris Weitz: Upgrading the visuals provided freedom. Actors interacted within a rich environment, which allowed for a distinct atmosphere compared to simplistic setups that minimize actors’ contributions.
Ars Technica: In the series, Murderbot’s characterization evokes themes of identity and relationships.
Chris Weitz: While it’s not a direct interpretation, it is relatable for many who experience social anxiety or find interactions challenging. It’s crucial to present Murderbot as distinct, yet still deeply human in its representation of societal dynamics.
Ars Technica: Discussing neurodivergence resonates with the representation of Murderbot. What are your thoughts?
Paul Weitz: Individual experiences on the neurological spectrum can vary widely. Martha Wells has acknowledged her own neurodivergent characteristics, enhancing the narrative’s authenticity.
Chris Weitz: The portrayal of Murderbot allows for those within neurodiverse communities to identify with its journey, as it navigates both alien encounters and interpersonal relationships.
Ars Technica: The series invites intriguing questions about personhood in a technological context.
Chris Weitz: The essence of being a person extends beyond humanity. Technology is evolving, and the narrative’s exploration of sentience and intelligence could anticipate how society interacts with non-human entities in the future.
Paul Weitz: With the rapid advancement of artificial intelligence, there’s merit in developing profound discussions around the emotions and complexities these constructs can represent.
Ars Technica: The series maintains a light-hearted tone despite its deeper themes. What challenges did you face producing this series?
Chris Weitz: Achieving that sense of carefree fluidity is vital. The choice to format the series as a half-hour show benefited pacing, allowing for natural moments instead of overly extended sequences. The effectiveness of special effects and camera movements also hinges on how well the departments collaborate, ensuring a seamless experience.
Paul Weitz: Trusting collaborators fosters a creative and enjoyable set environment, alleviating pressure that can detract from the project’s joy and excitement.
Ars Technica: Regarding the series, what were your standout moments?
Paul Weitz: The finale struck a chord with me. The slow unfolding of character development enabled emotional stakes to resonate strongly without being overtly signposted. We maintained fidelity to the book’s conclusion, making it particularly satisfying.
Chris Weitz: My most memorable moment emerged from a hectic shoot in challenging weather conditions. Regardless, the moments of camaraderie and humor shared among the cast became the highlights, showcasing the unique energy they brought to the project.
Paul Weitz: Their genuine affection for one another, despite their differences, is touching and authentic.
Ars Technica: Looking ahead, is a second season on the horizon given the source material?
Paul Weitz: While we are hopeful, we prefer not to speculate too much about it.
Chris Weitz: We’re cautious about discussing potential future seasons, although we’d love to explore the new characters and settings teased in the later books. Regardless of how it unfolds, we’d aim to seamlessly combine existing material in innovative ways.
New episodes of Murderbot will be available on Apple TV+ every Friday until July 11, 2025. Don’t miss out on this captivating series.
