‘Murderbot’ Is A Beautifully Humorous Ode To Self-Creation [Review]

The TV landscape is filled with science fiction futures aplenty. Battlestar Galactica is a complex exploration of military and political institutions. Andor is a ground-level exhibition of anti-fascist military intrigue. Star Trek exemplifies the values of scientific exploration and follows efforts to expand and protect it. Doctor Who is a time-and-space-spanning adventure, Severance is an anti-corporate workplace dystopia, while Westworld uses sci-fi tropes to explore the ills of playgrounds for the rich and powerful. Murderbot, a sci-fi comedy based on Martha Wells’ The Murderbot Diaries, explores the implications of a rogue, increasingly self-aware defense bot among a utopian sect of space surveyors. It’s a charming and beautiful ode to the responsibilities of self-creation.

Murderbot follows a Security Unit (SecUnit for short), think a mechanical protective soldier with a biological exterior, that has hacked the governor module that keeps them from full autonomy. This SecUnit, played by Alexander Skarsgård, could do anything with his newfound freedom… but instead of going rogue and murderous, he gives himself a new name, “Murderbot,” and spends his time catching up on trashy TV series (particularly The Rise and Fall of Sanctuary Moon) while under the employ of his space-hippie scientist clients. The clients, including team leader Mensah (Noma Dumezweni), throuple Pin-Lee (Sabrina Wu), Ratthi (Akshay Khanna), and Arada (Tattiawna Jones), scientist Bharadwaj (Tamara Podemski), and augmented human Gurathin (David Dastmalchian), have to navigate an increasingly dangerous crisis while learning to trust a bot who named himself Murderbot.

‘Murderbot’ Is A Charmingly Dry Send-Up Of Sci-Fi Tropes

A serious source of tension in Murderbot is the natural conflict between the clients, think Star Trek‘s Federation if everyone had maxxed out idealism and Riker’s libido, and a bot that’s murderous by design but raising himself on B-grade television. It’s a web of contrasts that’s well-used for both comedy and drama, amplified by consistent first-person narration as we hear Murderbot’s thoughts. Skarsgård gives a great performance both live and in voiceover, as the stoic, TV-obsessed unit who is increasingly unnerved by his attachment to the humans. He may have top-shelf good looks and high-octane action skills, but Skarsgård’s unafraid to get weird – Infinity Pool, anyone? – and it benefits his excellent performance, here.

The rest of the team are all well cast and give solid performances. Noma Dumezweni exhibits warmth and wisdom as a leader who won’t stop believing in Murderbot’s humanity and reminding everyone that he can be more than a death machine. David Dastmalchian is excellent as the ever-suspicious Gurathin, who is continually doubtful about Murderbot’s trustworthiness. Khanna, Jones, and Wu have great chemistry as the throuple of scientists, playing well off each other throughout, with Wu and Khanna each having standout moments challenging their hippie-esque instincts and attempting badassery (for which they are unqualified, I have to say).

Murderbot is Also a Surprisingly Beautiful Look At Self-Creation and Found Family

As a whole, Murderbot boasts a strong script that finds humor and pathos from the conflicts inherent to the unlikely situation. It also builds towards a strong finale that rounds out the world and cements its critical undertones, and the dialogue as a whole is well-scripted. The dry humor could be a little more incisive at times, and there are moments in the first half that feel a little repetitive or oddly paced, though the back half clicks in well after the team is fully informed about Murderbot‘s… well, unique bot condition. It’s a beautiful exploration of the human experience and the need for self-creation from an outsider’s perspective.

On balance, Murderbot is a charming sci-fi comedy that uses the premise to explore what it is to be human, nature versus nurture, and becoming the best version of yourself, but through a routinely humorous lens. Skarsgård, Dastmalchian, and Dumezweni give particularly excellent, layered performances, and it’s full of just enough sci-fi action to provide breezy, thought-provoking entertainment. It has a lot to say for a brief and breezy sci-fi comedy, packed in a mercifully efficient package with a poignant ending. Murderbot‘s a winner worth watching… just like Sanctuary Moon.

Murderbot premieres May 16 on Apple TV+.

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