I’m Glad Murderbot is Divisive in So Many Ways

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In a fascinating twist, Apple TV+ is breathing life into Martha Wells’ “The Murderbot Diaries” through its new series titled “Murderbot”, and while the overall reviews are quite favorable, there’s a discernible apprehension among fans of the original book series. Adaptations inevitably involve alterations to their source material, but it’s intriguing to observe the finer details that existing fans find peculiar about this show – its tone, its rhythm, its priorities. Discussions on platforms like Reddit are cautious, as fans yearn to appreciate the show for its unique qualities, yet also long for a version that aligns with their preconceived images of the story. It seems as if the response to this particular narrative was intentionally crafted to elicit such a reaction.

The “Murderbot Diaries” is a collection of novellas, novels, and short stories penned by Martha Wells, narrated by a self-referred cyborg named “SecUnit.” This manufactured being’s sarcastic remarks provide a witty contrast to the violent and gritty science fiction backdrop, yet its detached viewpoint often leaves us yearning for answers about the intriguing world-building details. The series is indeed humorous, but when Apple announced a screen adaptation, readers were taken aback by the choice of a half-hour sitcom format.

The show has included some unexpected elements that have taken fans by surprise – such as casting Alexander Skarsgård as a being without gender or sexual identity, depicting his clients as not just equal, but as full-blown hippies; adding numerous romantic subplots to the narrative where there were originally fewer, and so forth. These changes can be attributed to the choice of a half-hour action-comedy format, as viewers had generally expected longer, more dramatic episodes.

Continuing my exploration of these message boards and perusing internet reviews, it’s evident that these unexpected twists aren’t causing fans to abandon the series en masse. Book enthusiasts seem to be going along with the journey, whether they’re delighted or apprehensive about what lies ahead. This, I believe, indicates that these changes were not errors; instead, they seem to enhance the books, providing added layers of depth and perspective to SecUnit as a character, and enriching the narrative overall.

Sex, Gender, and Pronouns

As a movie critic, I can’t help but notice the ongoing debates surrounding gender and sexuality in Murderbot, a topic that, surprisingly or not, seems to be a universal point of discussion. The SecUnit, our non-human protagonist, uses it/its pronouns, which are valid in real life and feel natural here, given that SecUnit was designed without any sexual functions and has been treated as an object for most of its existence.

What sets the show apart is the occasional slip by human characters in using he/him pronouns when referring to SecUnit, a mistake that doesn’t happen in the books where the characters are well-versed in constructs and don’t require such discussions among themselves. This discrepancy adds an interesting layer to the narrative, making it more relatable for viewers who may not be as familiar with non-binary identities as the book readers.

Many viewers expressed disappointment upon seeing Alexander Skarsgård cast as SecUnit, given his traditionally masculine appearance. Some critics had envisioned a more gender-neutral or even feminine portrayal of the character, with a few expressing preference for a more femme interpretation. However, considering SecUnit was designed for intimidation and combat, many understood why it was given a masculine appearance. The show has done a commendable job in conveying SecUnit’s internal thoughts, including its distaste for human sexuality and indifference towards gender identity.

As a devoted cinema enthusiast, I can’t help but appreciate how skillfully the show has adapted the practical choices from the books, seamlessly integrating them into the narrative. In the novels, we solely witness events through SecUnit’s perspective, which is intentionally devoid of self-descriptions. Similarly, on the screen, while we don’t get a detailed glimpse of its own features, it was essential for it to have a presence in this world.

The series undeniably capitalized on Alexander Skarsgård’s star power, and his rugged masculinity perfectly aligns with SecUnit’s role. There will be ample opportunities later in the series for SecUnit to explore androgyny, but for now, this strong, charismatic portrayal serves its purpose brilliantly.

In the series, the focus on sexual relationships among other characters might not be something SecUnit personally delves into in its written accounts, but it subtly reveals much about the construct through what it chooses to observe. Given that SecUnit is virtually omniscient when connected to all cameras and microphones within the habitat or hopper, we gather a lot of information about it from what it chooses to focus on. While fans may not be enthralled by these side-plots, they certainly contribute significantly to the storyline, particularly in this five-hour screen adaptation of a three-hour novel.

Sitcom Format

It appears that the main concern for disenchanted viewers revolves around the length of each episode at approximately half an hour. Many seem to believe that this reduction in runtime is a cost-saving measure, and they fear it may compromise the overall narrative flow. To clarify, the first audiobook in the series, All Systems Red, spans three hours and seventeen minutes. Given that Season 1 consists of ten episodes, it will in fact present an extended account of this segment of the story.

As the series progresses, I grow increasingly fond of the decision to have half-hour episodes, as they provide an intriguing contrast to how the novels manipulate their structure. Sci-fi novels tend to be heavy, somber, and introspective, and “The Murderbot Diaries” undeniably fits this mold at times. However, SecUnit’s first-person narrative softens the harshness of the Corporation Rim, and it is deliberately sparse with detailed worldbuilding, particularly in the early stages. Its fascination with media isn’t merely relatable; it frequently challenges the philosophical outlook commonly found in sci-fi literature as a whole.

Similarly, squeezing this dystopian space opera into a format for a half-hour sitcom leaves viewers puzzled about what they’re getting into. Is it a serious adaptation of a literary work or a humorous story set on a spaceship? This mix suits SecUnit’s fondness for melodramatic series, resulting in more suspenseful moments and abrupt transitions. To be honest, I didn’t expect this blend to work so seamlessly.

Refraining from judging a series too quickly, after only one viewing, is crucial because the creators now have the opportunity to release entire seasons before airing them. This allows for plot points that may initially seem confusing or out of place to make sense later on, as they might serve a purpose in the larger story arc. It’s unfortunate that some viewers and critics still rush to judgment without giving shows enough time to unfold their stories.

In the upcoming weeks, we can expect to delve deeper into Apple TV+’s series “Murderbot,” as three additional episodes are set to air every Thursday until July 11th. If the show is renewed for further seasons, there’ll be plenty more to analyze. Moreover, if Wells’ other books are adapted, the discussion will only grow. The “Murderbot Diaries” are accessible in print, digital, and audiobook formats.

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2025-06-27 01:10