Learn why the Apple TV series Murderbot uses compact 23-minute episodes, how creators Paul and Chris Weitz leaned on Martha Wells’ novella and serialized pacing, and what that means for character focus and future seasons
The Apple TV adaptation of Murderbot has become a standout in contemporary science fiction television, in part because it moves with uncommon speed. Episodes run about 23 minutes, a length that many viewers find both exhilarating and frustrating: each installment delivers a satisfying bite of story but often ends before you want it to. The short runtime is not an accident; it is tied directly to the series’ source and to deliberate choices by the creative team.
Showrunners Paul and Chris Weitz adapted the first season from Martha Wells’ novella All Systems Red, which is concise — roughly 140 pages — and tightly plotted. Rather than stretching the material with filler scenes or reworking it into a conventional hour-long format, the creators embraced brevity. This approach preserves the novella’s momentum while allowing the series to feel compact and focused.
When an adaptation grows to an hour per episode without enough source content, it risks adding extraneous scenes that dilute the core narrative. The Weitz brothers avoided that by keeping episodes short and efficient. That decision foregrounds the show’s central strengths: sharp plotting, tight pacing, and concentrated character beats. For viewers, that means less exposition and more of the scenes that define Murderbot’s voice and personality.
Adapting a novella presents a trade-off between fidelity and expansion. The Weitzes chose fidelity in tone and structure while using episodic segmentation to create additional breathing space. They described the show as taking inspiration from serialized entertainment — old sci-fi serials in particular — to shape how each episode ends and how cliffhangers are used. This gives the season a rhythm more like a sequence of short, punchy installments than a single, elongated miniseries.
The influence of classic serials informs both the pacing and the show’s self-aware sensibility. The team intentionally avoided scenes where characters sit and debate the previous beat at length; instead, the narrative pushes forward, often ending episodes on hooks that echo the old serial tradition. That choice complements the protagonist’s personality: Murderbot, voiced by Alexander Skarsgård, is obsessed with watching serialized content within the story, and the series mirrors that taste by presenting short, engaging instalments.
The compressed runtime benefits character-driven comedy and awkward, intimate moments. Skarsgård’s performance leans into the strange and endearing facets of Murderbot — the machine’s compulsion to binge fictional serials, its avoidance of social duties, and its blunt internal commentary. Short episodes let these character traits land repeatedly without overstaying any scene, making each moment memorable and tonally coherent.
Even well-judged choices carry costs. The main sacrifice of the shorter format is less screen time for the supporting Preservation Auxiliary (PresAux) ensemble that Murderbot protects. Paul Weitz has pointed out how distinct those characters are, and viewers quickly grow fond of each team member. The limited runtime means the show must allocate that affection economically, which can make the absence of extended group dynamics more noticeable.
Another practical consequence is that when the narrative moves beyond the cast from All Systems Red — as it does when Murderbot joins a new crew — there’s a risk of losing the emotional anchors that made the first season resonate. For season two, the challenge will be balancing a desire to avoid padding with a need to keep familiar faces in play so audiences maintain an emotional investment.
Despite these constraints, the short-episode model also opens creative possibilities. The format encourages tight, thematic episodes that resemble a collection of strong songs rather than one sprawling symphony. If the show selectively brings back PresAux characters or scatters cameo appearances, it can satisfy fans while staying true to the creators’ decision to avoid unnecessary expansion. The approach also allows room for inventive serialization, unexpected tonal shifts, and moments that spotlight Skarsgård’s performance.
In sum, the 23-minute episode length of Murderbot results from intentional adaptation choices: fidelity to Martha Wells’ novella, a love of serialized pacing, and a desire to keep storytelling lean. That model changes how viewers experience the series — sometimes leaving them wanting more, but generally preserving the brisk, character-forward spirit that defines the show.