For viewers of Murderbot on Apple TV+, one of the show’s most distinctive elements is the titular character’s obsession with the worst TV shows in the galaxy. If you haven’t yet tuned in, now is the perfect time, as the fourth episode airs this Friday. The series, which follows a self-aware security robot with hacking abilities and free will, might seem an unlikely venue for such a quirky hobby. But rather than focusing solely on its duties, the robot, known as SecUnit, spends considerable time binge-watching thousands of hours of sci-fi soap operas, with a particular fondness for The Rise and Fall of the Moon Sanctuary.
This facet of the character originates from Martha Wells’ All Systems Red, the first novel in her Murderbot Diaries series. In the Apple TV+ adaptation, this theme is further explored, delighting fans with the inclusion of familiar TV personalities like John Cho from Star Trek and Clark Gregg from Agents of S.H.I.E.L.D.. While the exaggerated space adventures in The Moon Sanctuary differ drastically from Murderbot’s more grounded role with a human exploration team, the fictional show’s antics shape the robot’s decisions in moments of crisis.
Murderbot’s viewing habits don’t end with The Moon Sanctuary. It also enjoys shows like Universal Jumpers, Algarra Medical Center, and Galactic Dispute, which it humorously describes as “not as highbrow as The Moon Sanctuary, but still entertaining.” These shows offer more than just distraction; they influence how Murderbot perceives and interacts with humans. The robot often surprises its team by quoting lines from The Moon Sanctuary, even though some team members secretly dislike the show.
Murderbot’s use of TV within its narrative is not a novel concept, however. Other works have similarly explored how characters develop an affection for fictional shows, adding layers of humor and complexity to their stories. For instance, Community includes a running gag about characters’ obsession with a campy, Doctor Who-esque show, while Stargate SG-1 uses Extreme Wormhole!, a parody of sci-fi tropes, to poke fun at itself. In Twin Peaks, a soap opera called Invitation of Love is humorously embedded within the show’s universe.
Fictional television shows also serve as meta-commentary on reality in works like Black Mirror’s “Joan is Awful” (Season 6), where a woman discovers her life is being made into a TV show, or Channel Zero‘s Candle Cove, which examines the disturbing effects of a long-forgotten children’s program.
Film, too, has embraced the idea of fictional TV within its narratives. The 1999 cult classic Galaxy Quest centers on a group of actors from a Star Trek-like TV show who are mistaken for real heroes by aliens. The film’s blend of humor, absurdity, and unexpected heroism makes it a standout example.
In recent years, I See the TV Light delves into the profound impact of television shows on its characters, following two friends whose obsession with an obscure series, The Pink Opaque, blurs the line between nostalgia and unhealthy fandom. The show explores how such obsessions can distort one’s perception of reality.
While Murderbot does not delve as deeply into these themes as Black Mirror or I See the TV Light, it succeeds in offering a fun and engaging viewing experience. However, The Rise and Fall of the Moon Sanctuary is more than just flashy costumes and space-set drama. It enhances the series’ exploration of its protagonist’s emotional depth, serving as a visual metaphor for the things that shape us, no matter how silly they may seem to others. In the words of The Moon Sanctuary itself, “Bravery is everything!”
New episodes of Murderbot are available every Friday on Apple TV+.
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