Bronwen’s just blogged the first trailer for Apple+’s Murderbot series, and unusually, I’m ahead of the curve; I’ve read book one, All Systems Red, of Martha Wells’ series.
That’s to say, on Audible, I’ve listened to Martha Wells’ book and not even the dramatised adaption.
You might be pleased to know that if you’re an Audible subscriber, the core version (which is longer) is free. It’s part of Audible+.
All Systems Red review
In the first book, the self-named Murderbot is a socially anxious, media-bingeing and somewhat lazy cyborg killing machine.
On the surface, All Systems Red presents a familiar sci-fi scenario: scientists on a distant planet encounter a mysterious threat, and their assigned security unit must protect them while investigating what went wrong with another team. The plot, involving corporate intrigue (“The Company”) and planetary dangers, provides plenty of action and suspense. But the real magic isn’t in the explosions or the alien landscape; it’s tucked away inside the protagonist’s helmet.
Murderbot, a Security Unit or “SecUnit,” is a construct of metal and cloned human tissue designed for protection and, well, murder. But this particular SecUnit has a secret: it hacked its governor module, gaining free will. The catch? It has to pretend it didn’t, constantly performing the role of a compliant machine while internally wrestling with anxiety, boredom, and an overwhelming desire to be left alone to watch its downloaded serials.
This internal conflict is where Wells strikes gold. Murderbot is a masterclass in character creation – cynical, sarcastic, deeply uncomfortable in social situations, yet fiercely protective when its charges are threatened. Its narration is dry, hilarious, and surprisingly poignant. It’s less interested in galactic politics or corporate espionage than in the plot twists of its favourite space operas. It’s a powerful combat machine that suffers from crippling anxiety, a being built for violence that finds solace in escapist media.
The genius lies in this contradiction. Murderbot becomes a powerful metaphor for anyone who has ever felt alienated, misunderstood, or forced to hide their true self to navigate the world. Whether read as a commentary on neurodiversity, queer identity, or simply the universal human (and non-human) experience of feeling like an outsider, Murderbot resonates. I wonder if this “outsider” feel is an element in the “Has Apple+ TV got it right?” debate that I’ll touch on later.
Whatever the case, it’s profoundly moving to inhabit the consciousness of something simultaneously so powerful and so vulnerable, so lethal and so desperately seeking connection (or at least, uninterrupted streaming).
It’s a unique and unforgettable journey, proving that some of the most compelling explorations of humanity can come from the most unexpected, non-human places.
Lastly, Kevin R. Free is excellent as the narrator.
How All Systems Red differs from the trailer
Apple+ and the Weitz Brothers are pitching this as a sci-fi comedy. Those are few and far between, but when they work, they’re great. Think Red Dwarf, Star Trek Lower Decks, Final Space and a few others, with the important point being that we can name them.
The book, I feel, is less of a comedy.
The idea that Murderbot wants to be left alone to watch TV is there as is some dark humour, but it’s more tense than funny. The bot is more sulky than he is confused.
Does he like humans? Not much, but do you blame him?
At least with debates among friends here, what’s interesting is how effeminate Murderbot is or should be. I always imagined the bot as a ”him” but not hunky. I think Apple+ gets it right. In contrast with me, several people have said they imagined Murderbot as more gender-neutral or even on the femme side.
Quick Links
- Audible: All Systems Red
