Murderbot Is Absolutely Okay, We Appreciate It

      You would anticipate a show titled Murderbot to provoke strong reactions, and in some instances, it has: a critic from NPR described the new Apple TV+ series as “the best new comedy of 2025.”

      In the recent episode of the Low Key podcast, we don’t exactly agree with that sentiment. However, we find Murderbot enjoyable. You can check out our opinions wherever you listen to podcasts, or here:

      One of the series’ strengths, featuring Alexander Skarsgård as a security droid that becomes sentient, is that it functions as a dark comedy while appearing, at first glance, to be a sci-fi action show. (Apple categorizes it as “sci-fi,” hence NPR’s playful classification as a comedy.)

      There are indeed subtle laughs to discover, especially as the tone grows darker.

      The most intriguing and original aspect of Murderbot—aside from its clever title—is that Murderbot, similar to us, simply wants to relish watching its own little narratives. We’re thoroughly enjoying the in-show series The Rise and Fall of Sanctuary Moon, particularly the moment in Episode 2 when Murderbot applies the lessons learned from the melodramatic space show to enhance its real-life performance.

      However, if we were to express a preliminary grievance about Murderbot, it would be that the first two episodes don’t fully commit to either comedy or sci-fi. The show’s perspective on AI feels a bit outdated in a reality where AI already significantly impacts our lives, making many of us feel our jobs are in jeopardy. And perhaps one day, our very lives will be at stake as well.

      The Murderbot Dilemma

      Alexander Skarsgård in Murderbot. Apple TV+

      Murderbot somewhat evokes Mike Judge’s 2006 film Idiocracy, since its satirical power is lessened if your worldview is so cynical that it doesn’t seem particularly satirical.

      Some of the series’ commentary was sharper back in 2017 when author Martha Wells released the first installment of The Murderbot Diaries series, which currently includes seven books and counting. The concepts felt fresher in 2023, when it was first announced that Skarsgård was collaborating with Chris Weitz and Paul Weitz to develop the series.

      As with all satirical narratives, Murderbot can be quickly overshadowed by the absurdity of a reality where its most outrageous ideas start to feel, in hindsight, rather quaint. For instance, the AI companion from Spike Jonze’s endearing 2013 film Her is now a prevalent element of everyday life.

      Despite our enjoyment of Murderbot, nothing we’ve observed thus far genuinely challenges our perspectives.

      Are we surprised that a corporation compels a group of idealists to employ a potentially dangerous robot for protection? Not in a reality where home-sharing platforms impose cleaning and service fees that can exceed the rental costs.

      Are we shocked that a robot intended to enhance our lives could actually complicate them? We've been online too long to say otherwise.

      Yet still: The cast is talented, the writing is engaging, and the visuals are impressive. It’s just that with daily reports of AI advancements emerging that often seem more alarming than a rogue SecUnit, the stakes feel heightened.

      Additionally, as noted in the podcast, Apple TV+ is on a roll. Following the heightened attention surrounding Succession Season 2 this year, the streaming service has truly found its rhythm with The Studio (which, in all fairness to NPR, is the actual best new comedy of 2025) and Your Friends and Neighbors, an irresistibly captivating drama centered on family and status.

      We also discuss the significant email we received from a publicist informing us that Murderbot should be referred to as “it,” not “he,” which the show’s shots of its Ken Doll lower body should clarify.

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      Main image: “Murderbot” in Murderbot. Apple TV+.