Although science-fiction based on novel series ‘The Murderbot Diaries’’ by Martha Wells navigates an intersection of evil corporations, homicidal robots, and predatory aliens, adapting the series is quite the challenge. Even though the brand comprises novels, novellas, and short stories ripe for a blockbuster adaptation, their thin plots and sparse descriptions with minimal memorable supporting characters complicate the endeavor.

The series' strength lies in the distinct and highly relatable central character- a cyborg called Murderbot, assigned to shield research missions but would rather binge-watch quality entertainment content. This Security Unit, inexplicably christened 'Murderbot', ambivalently fulfills its duty of murder, its inherent purpose.

The eccentric character of Murderbot seems weary, disenchanted, generally despises people, and is uncomfortable around change. Their inability to maintain eye contact, inability to decipher social cues, undefined gender, and fluctuating memories and personality traits add to their character complexity. The series revolves less around Wells’ storytelling and more around the intriguing vibe generated from this unconventional lead character, interpreted by fans as asexual, gender-fluid, and on the autism spectrum.

Adapting such a fluid text, especially when it requires defining that which was left to the reader's discretion, is both an expansive and restrictive process. In the newly adapted Apple TV+ series, Alexander Skarsgard’s portrayal of Murderbot didn’t initially align with my presumption. However, after ten episodes, Skarsgard’s interpretation won my appreciation, despite lacking the perfect tonality for the property and world-building created by Chris Weitz and Paul Weitz. The overall bland approach notwithstanding, Skarsgard’s performance will be largely appreciated.

The first season is based on the first Murderbot novella, All Systems Red, which follows the adventures of the PreservationAux survey team on an alien planet, accompanied by the reluctant hero Murderbot. Though they are primarily engrossed in a show called The Rise and Fall of Sanctuary Moon, they also end up saving their human companions from deadly alien creatures.

The series is arrayed with humor yet is devoid of an effort to generate laughs, encapsulating Wells' unique writing voice. It attempts an overt comedy, with Murderbot’s narrative intended to induce laughter, the delivery often falls flat despite attempts to explore humorous subplots.

In terms of casting, having Alexander Skarsgard as Murderbot seemed slightly illogical as his undeniable charisma juxtaposes the characteristics of the original character. Yet, considering Skarsgard's career choices, there's a certain harmony in the discord. Amid elements pointing towards autism or asexuality in his character, Skarsgard mainly portrays innocence, posing questions of morality.

Even with Skarsgard’s exceptional performance, the TV series has certain shortcomings- some characters are simply underdeveloped and fall short of being interesting. However, as the title suggests, the focus is primarily on Murderbot and not the ensemble or the intricacies of the sci-fi universe, making the adaptation a success, albeit not perfectly in alignment with the original character from the books.