SERIES REVIEW – While Apple TV+ has built its reputation on lavish period dramas, in recent years the platform has quietly become a haven for high-end science fiction fans. Whether you’re new to the genre or searching for intricate worldbuilding, Apple TV+ truly offers something for every type of viewer. And after standout hits like Severance, For All Mankind, and Foundation, the service finally delivers a sharp-witted sci-fi comedy: Murderbot.

Created by Chris Weitz and Paul Weitz, based on Martha Wells’ acclaimed The Murderbot Diaries series, Murderbot takes Apple’s sci-fi catalog in a bold new direction. Anchored by an irresistibly deadpan protagonist, a memorable supporting cast, and breezy, half-hour episodes (with all ten available for review), the show perfectly captures the brisk pace and clever twists of the original novellas. The series never risks overstaying its welcome—if anything, it’s so entertaining you’re left wanting much more of this sardonic SecUnit’s journey.

From its opening scene, Murderbot thrusts us directly into its lead character’s consciousness. Center stage is a SecUnit—essentially a security android—brought to life by Alexander Skarsgård, who’s earned its independence through some seriously risky hacking. Disabling the governor module that forces obedience to human commands, it claims a new name for itself: Murderbot.

Without the governor module, there’s always a risk that Murderbot could turn on its clients and go rogue, but that’s not its style. What this bot really craves is peace and quiet so it can binge through its 7,532 hours (and counting) of downloaded media. Its favorite? The Rise and Fall of Sanctuary Moon—think classic Star Trek by way of a space soap opera, featuring fictional performances from John Cho, Clark Gregg, DeWanda Wise, and Jack McBrayer.

Ironically, Murderbot seems almost allergic to actual murder so long as it’s left alone with hundreds of Sanctuary Moon episodes. Everything changes, however, when it’s assigned to protect a team of scientists from PreservationAux, led by Dr. Mensah (Noma Dumezweni), on a dangerous alien world. Though Murderbot starts out largely indifferent to its human charges, a run-in with lethal native wildlife drags it reluctantly into action. Its odd behaviors don’t go unnoticed—especially by augmented scientist Dr. Gurathin (David Dastmalchian), who begins probing its programming for answers. As Murderbot is inevitably drawn closer to the team, their emotions, attachments, and messy group decisions slowly begin to rub off on it. Soon, even this most antisocial of androids finds itself unexpectedly affected by all these troublesome human feelings—even if it’s loath to admit it.

Can a Robot Be an Endearing Antihero?

Much of Murderbot’s success hinges on its central character. If audiences can’t connect with a protagonist who begins as a borderline misanthrope and gradually learns to care (if only a little), there’s little hope for engagement. Fortunately, Skarsgård immediately sells us on this conflicted, wryly funny SecUnit. The source novella, All Systems Red, is told entirely from Murderbot’s point of view; the show brilliantly adapts this with constant inner monologues, delivering exposition and comic asides in equal measure. There’s never a moment of ambiguity—Murderbot’s thoughts are laid bare, often to hilarious effect.

What makes this adaptation particularly effective is Skarsgård’s knack for subtle physicality: from the faintest facial twitches (whenever the helmet’s off) to nuanced, robotic body language. At first, Murderbot’s near-motionless posture seems almost comical, but as it grows closer to its human charges, little mannerisms begin to creep in, revealing genuine transformation. The character also carries unmistakable autistic traits—Murderbot bristles at physical touch, is openly averse to eye contact, and doesn’t mince words about either. Yet these qualities only make it feel more human, especially as the scientists learn how to respect the SecUnit’s boundaries. Skarsgård’s performance is equal parts precision and vulnerability: one moment, he’ll have you laughing out loud; the next, he’ll land an emotional gut punch you didn’t see coming.

Human Bonds and Cyborg Psyche on a Space Mission

One limitation of All Systems Red is its tunnel vision: we only see the world through Murderbot’s eyes, so the supporting cast can seem distant. The Apple TV+ version, however, gives secondary characters more breathing room from the start. The PreservationAux crew is streamlined a bit compared to the book (some roles combined for the screen), but their growing camaraderie becomes a real strength. And, of course, it’s Murderbot who delivers the snarky commentary on their romantic tangles: Pin-Lee (Sabrina Wu) and Arada (Tattiawna Jones) are married and possibly pondering a third, Ratthi (Akshay Khanna) is perpetually distracted, and Bharadwaj (Tamara Podemski) always seems to be patching up the wounded.

Each member of the group is vital to the mission, but Mensah stands out as both the team’s leader and its emotional anchor. Dumezweni shines, embodying both authority and warmth. Over time, Mensah’s relationship with Murderbot becomes the series’ emotional core, especially when circumstances force them into moments of mutual vulnerability. A particularly moving scene finds Murderbot self-soothing with endless Sanctuary Moon reruns, creating a deeper bond with Mensah—even if Murderbot would rather avoid such pesky attachments altogether.

Gurathin, Eternal Skeptic – and the Adaptation’s Triumph

Dumezweni isn’t the only standout: Dastmalchian makes a strong impression as Gurathin, the suspicious, prickly scientist who starts off as Murderbot’s antagonist. His early confrontations with Murderbot add welcome tension, but the show smartly develops him into more than a one-note adversary; eventually, a grudging alliance forms. Not every character gets the same depth—Anna Konkle’s role, for example, is so brief and spoiler-laden that she vanishes almost as soon as she appears.

When it comes to adapting novels for the screen, Murderbot is an unqualified triumph—one of this year’s best, and a standout in Apple TV+’s science fiction slate. Credit goes to Skarsgård’s layered performance, strong ensemble work (especially from Dumezweni and Dastmalchian), and a deft mix of sharp comedy and real stakes. With plenty more stories left in The Murderbot Diaries, it would be a shame if this endearingly grumpy cyborg only stuck around for one season—even if Murderbot itself would hate all this attention.

-Gergely Herpai “BadSector”-