The Reason Murderbot’s Tone Feels Off

A confession: This dispatch will not be coming to you from one of the long-devout Martha Wells faithful. I’m a convert, a curious reader who turned to Wells’ The Murderbot Diaries series after reading my colleague Meghan Herbst’s fantastic 2024 profile of the author, which left me questioning who would be challenged with taking on the series’ title character in Apple TV+’s adaptation and why it was Alexander Skarsgård.

Put differently, I wanted to know if the actor known for playing blood-sucker Eric Northman in True Blood and a berserker prince The Northman would be the right fit to play a security robot, or SecUnit, struggling with social awkwardness after hacking his own “governor module” to give himself the freedom to not obey human orders. If the weird affection he forms for the scientists he’s charged with protecting, and the stunted way he goes about showing it, would translate to Murderbot.

After watching the first episodes of the show, which debuts Friday on Apple TV+, I got my answers—and found myself asking a lot more questions. Namely: Why is Skarsgård both so wrong and so right for this role? Why is Mensah (Noma Dumezweni), a cool and confident extraterrestrial expedition leader in the books, anxious and unsure onscreen? Why is her PreservationAux crew portrayed as hippies who seem to have personality quirks instead of personalities? Why does the tone of this thing feel so off?

The rejoinder to any of these boils down to “because TV,” reasoning that’s likely to be Murderbot’s doom and salvation.

Readers love Wells’ books. They’ve won Hugos and Nebulas, the highest praise bestowed on science fiction writing. Read the comments on almost any review of Murderbot’s first season, which closely follows the original Murderbot novella All Systems Red, and you’ll find hand-wringing from loyal fans; they’re hoping the show gets it right. Wells resembles George R.R. Martin or Hugh Howey in that regard. The thing about sci-fi fans is they have opinions—and they’re hard to please.

Not that Murderbot’s flaws lie in pandering. Murderbot (the character) narrates All Systems Red, and also the series, and its tone is very specific. (Yes, Murderbot’s pronouns are “it.”) Not to spoil anything—and this piece will remain largely spoiler-free—but it’s a security robot, and interacting with people isn’t its forte. When it finds itself wanting good things for the people who, for once, don’t treat it like a servant, it struggles. It wants to hide that it’s jailbroken itself to gain free will while also acting normal, and in the process either acts very flatly or just repeats dialogue from the hours of streaming content it binge-watches with its newfound freedom (that Murderbot has turned The Rise and Fall of Sanctuary Moon into a show-within-a-show is a plus here).

Murderbot’s narration, both in All Systems Red and its adaptation, gives the story its voice. It’s what people, even though they’re human, identify with. Murderbot does alright with this, but fumbles all the other stuff. Characters, like Mensah, like Gurathin (David Dastmalchian), are given tacked-on traits like anxiety or creepiness in an effort to make them well-rounded but often feel disjointed. Polyamory, a matter-of-fact part of life in Wells’ books, gets turned into an unnecessary B-plot, attempting to add drama by pointing out that throuples exist.