Murderbot (TV Program)

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    Was Murderbot Smiling in the Finale? Only the Creators Know for Sure.

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    This interview includes spoilers for the Season 1 finale of “Murderbot.”On the surface, Chris and Paul Weitz were in unfamiliar territory when they set about creating “Murderbot,” the darkly comic Apple TV+ series, which just wrapped its first season on Friday. After all, they hadn’t adapted a science-fiction story together before.But as the Weitz brothers noted in a joint video call last month, the cynical, soap-opera-obsessed cyborg at that show’s center (Alexander Skarsgard) isn’t entirely dissimilar from the carefree, selfish cad played by Hugh Grant in their 2002 film “About a Boy,” which they directed and co-wrote (with Peter Hedges).Like that man, the cyborg of “Murderbot” is inconvenienced by some of the messier aspects of human existence — particularly emotions. And like him, it must learn to resemble a responsible, loving human being.“Hugh Grant’s character was essentially self-medicating with television and didn’t really want to deal with people, and was kind of forced to by a hippie mom and her son,” Chris said. The title character — Murderbot is a name the cyborg privately gives itself — finds itself in a similar dynamic after it is hired to protect a motley group of scientists on an expedition to survey a distant planet.In “Murderbot,” Noma Dumezweni plays the leader of a freethinking group of scientists and Alexander Skarsgard plays the freethinking deadly cyborg charged with protecting them.Apple TV+“I think there’s a theme in both our work of people who aren’t actually equipped to provide emotional support for other people but who nonetheless figure out a way to do so,” Paul said — even if, strictly speaking, the cyborg’s pronouns are it/its.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Best TV Shows of 2025, So Far

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      Returning hits like “Severance” and “The White Lotus” inspired plenty of chatter, but did they make our top TV list?The first half of 2025 saw the return of strike-delayed hit shows, like “Severance,” “The White Lotus” and “The Last of Us,” that took turns dominating the cultural conversation. But only one of them made our top TV list.Read on to find out which one and to see which other series, new and old, scripted and nonfiction, impressed our television critics the most (listed alphabetically).‘Andor’Diego Luna reprised his title role in the final season of “Andor.”Lucasfilm Ltd./Disney+A prequel series to “Rogue One: A Star Wars Story” (2016) — and arguably the most acclaimed “Star Wars” story of any kind since that film — “Andor” offered one of TV’s deepest explorations of the political realities and human costs of rebellion. Its two-season run wrapped up in May.“Prequels are often where dramatic tension goes to die,” James Poniewozik writes. “How invested can you be in a story whose outcome you already know? The genius of ‘Andor,’ created by Tony Gilroy, is to make that knowledge an asset.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Murderbot’ Is a Robot Show for an Age of A.I. Angst

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      I know how I’m supposed to feel about artificial intelligence. Like anyone who pushes words around on a page, I worry that large language models will relegate me to the junk pile. I worry that smart machines will supplant artists, eliminate jobs and institute a surveillance state — if they don’t simply destroy us. I nurture these anxieties reading article after article served to me, of course, by the algorithms powering the phone to which I have outsourced much of my brain.This is how I feel in real life. But when it comes to fiction, fellow humans, I am a traitor to my kind: In any humans-and-robots story, I invariably prefer the fascinating, enigmatic, persevering machines to the boring homo sapiens. And in spite, or maybe because of, our generalized A.I. angst, there are plenty of robo-tales to choose from these days.The protagonist of “Murderbot,” the homicidally funny sci-fi comedy premiering Friday on Apple TV+, does not reciprocate my admiration. Murderbot (Alexander Skarsgard), a sentient “security unit,” is programmed to protect humans. But it doesn’t have to like them, those “weak-willed,” “stressed-out” bags of perishable flesh that it is compelled to serve.Or rather, was compelled. Unbeknown to the company that owns it — a company called the Company, which controls most of the inhabited galaxy — it has disabled the software that forbids it from disobeying. (“It” is the pronoun the show uses; from a physical standpoint, Murderbot has the face of Skarsgard but the crotch of a Ken doll.) It is free to refuse, to flee, to kill.Alexander Skarsgard stars as Murderbot, an irritable security cyborg charged with protecting space hippies. Apple TV+So what does this lethal bot (technically, a cyborg, its circuitry enmeshed with engineered organic matter) want to do with its liberty? Mostly, it wants to watch its shows — thousands of hours of “premium quality” streaming serials that it has downloaded into its memory.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More