Murderbot Review: Apple TV nails it again with Alexander Skarsgard in a clever, offbeat sci-fi gem that’s oddly charming

Apple TV+ has been steadily carving a niche for itself in the sci-fi space. With shows like ‘Foundation,’ ‘Silo,’ ‘Dark Matter,’ and ‘Severance,’ it’s built a catalogue that leans into smart, genre-bending storytelling.

Their latest, ‘Murderbot,’ follows the same path but adds a twist. Adapted from Martha Wells’ Hugo-winning novella ‘All Systems Red,’ this isn’t your typical space adventure. It’s centered around an emotionally detached security android who prefers watching soap operas over socialising with humans. The premise is both darkly funny and emotionally curious, and while the short episodes are easy to digest, the show doesn’t always maintain a consistent rhythm.

Murderbot follows a part-human, part-machine security unit that hacks its own governor module, freeing itself from corporate control. However, it keeps up appearances, pretending to follow orders so it won’t be destroyed (a fate involving an acid bath). The bot (Alexander Skarsgard) is then assigned to the Preservation Alliance, a team of scientists headed to an alien planet. Chosen for its low cost, the bot sees the humans as naïve and idealistic—referring to them as “hippies”—and does the bare minimum to obey them. It prefers binge-watching a melodramatic space show, ‘The Rise and Fall of Sanctuary Moon,’ especially the scenes featuring a human-bot romance. The scientists, unaware of its autonomy, treat it as one of their own. Tensions rise when Dr. Mensah (Noma Dumezweni), the team leader, discovers that another research group on the planet has been mysteriously exterminated by unknown entities.

What sets ‘Murderbot’ apart is the internal monologue of the bot—biting, sarcastic, and deeply cynical about the humans it’s stuck with. These moments bring much of the show’s humour and emotional weight. The bot’s unease with being treated like family leads to some amusing and touching scenes. Its attempts to hide its free will, while slowly growing more expressive and emotionally involved, keep the story engaging. As the bot starts speaking its mind, the tone shifts from comic detachment to something more introspective. The final episode is especially moving, showing how the team’s bond with the bot has grown. Without spoiling too much, the story closes on a note of quiet tragedy, with the bot’s memory wiped clean.

Alexander Skarsgard anchors the series with a subtle, tightly controlled performance. Playing a character often hidden behind a helmet, he conveys emotion through posture, tone, and the occasional flicker of facial expression. In scenes where his face is visible, his eyes carry the emotional load. Noma Dumezweni is perfectly cast as Dr. Mensah, projecting empathy, leadership, and strength. Her character becomes the emotional center of the team. David Dastmalchian is memorable as Gurathin, the sceptical scientist who suspects something’s off about the bot. The supporting cast—Sabrina Wu as Pin Lee, Tamara Podemski as Bharadwaj, Akshay Khanna as Ratthi, and Tattiawna Jones as Arada—lend the show a grounded feel, each giving thoughtful performances that round out the team dynamic.

Despite its strengths, ‘Murderbot’ struggles with pacing. At just 22 minutes an episode, it should move briskly, but it occasionally drags. The frequent cuts to ‘Sanctuary Moon’—while clever at first—start to feel like padding, taking time away from the main story. The tone can also feel uneven, shifting from satire to suspense to sentiment without always finding the right balance. It's best viewed as a character-driven comedy with sci-fi elements rather than a traditional space thriller. Sharp-eyed viewers may catch some quiet digs at left-leaning worldviews, woven subtly into character arcs and dialogue. Fortunately, the plot remains clear and accessible, making the show easy to follow even when it meanders

‘Murderbot’ is less about high-concept science fiction and more about one android’s reluctant brush with humanity. It’s funny, sharp, and occasionally moving, even if it never quite reaches greatness. Skarsgard’s performance carries much of the weight, but the writing’s emotional undercurrents give it surprising depth. For a show about a bot who’d rather watch TV than deal with people, it leaves you with an oddly human feeling. It may not be Apple’s best sci-fi outing, but it’s certainly one of its most distinct—and well worth the watch if you’re craving something offbeat yet heartfelt.