TANGENT: Murderbot - Episode 1 (feat. Aaron Carter)

[00:00:10] Speaker A: Hello. Hello, new listeners, and returning, my name is Emma Skies, and you are listening to the first official tangent of my podcast for all things book reader tangents. This little tangent here is something we're tentatively calling Bot Watch, though we'll see how long that sticks around because we are here to talk about Murderbot, so specifically the new TV show on Apple, adapted from the incredible sci fi series by Martha Wells, the Murderbot Diaries. And as a note, just because everybody is going to notice it, you are about to hear the mic quality get much better. I had to re record this intro here because I realized we didn't do one. We didn't do an intro for this. So anyway, I'm recording this after the fact. Let's switch over to the really good mics when we actually recorded the episode. I'm saying we as though there is more than just me here this time. I am joined today and for the rest of these episodes, for this particular series by Aaron Carter. Say hello. [00:00:58] Speaker B: Hello. [00:00:59] Speaker A: You've been on before you. You've been on a subscriber exclusive episode. [00:01:03] Speaker B: That's right. When we did the buddy. [00:01:05] Speaker A: Yes. The normies have not heard you. [00:01:07] Speaker B: Oh, that's not out for the regulars? [00:01:09] Speaker A: I don't believe so. I think that was a subscriber exclusive. [00:01:11] Speaker B: Wow. Okay. [00:01:12] Speaker A: So for anybody who's new to hearing Aaron and I talk about TV shows together, this is not our first, it's not our second, it's not even our fifth. Maybe we've done quite a few. This actually, this might be number five. Maybe this is number five or number six. All of which is to say we do these quite often. We have a series of podcasts or where we watch an adaptation together, almost always for books. We've done one for a graphic novel. And typically how this works is that one of us has read the source material. One of us has probably never heard of it before. We watch the adaptation and we break down the episodes as such. This one is going to work a little bit differently because Aaron and I have both read the source material this time. [00:01:51] Speaker B: Very true. And both love the source material. [00:01:54] Speaker A: So good. There is no universe in which I think we kind of knew that there was going to be a Murderbot series coming at some point. [00:02:02] Speaker B: Did we? [00:02:02] Speaker A: There was maybe by the time you started. We didn't know yet because I was. [00:02:06] Speaker B: Saying usually if we know it's coming beforehand, we would like, oh, okay, Aaron, don't read this one or something. But like, there was no indication on my part at least that there was one coming down the Way we didn't. [00:02:16] Speaker A: Find out until last year, and, like, mid. It's maybe been like a year that we've known about this. [00:02:20] Speaker B: I must have read it, because I. [00:02:21] Speaker A: Think you read the first one and then took forever to read the second one. [00:02:25] Speaker B: No, I don't. I wouldn't say forever. Maybe a month or two. [00:02:28] Speaker A: It was a while. [00:02:29] Speaker B: That's not forever. [00:02:30] Speaker A: It was not a month or two. [00:02:32] Speaker B: Hyperbole is your best friend, clearly. [00:02:35] Speaker A: So for this particular one, Aaron and I have both read the source material, so we're gonna see how it goes. We don't really have any concrete plans because usually the format of our episodes is that typically I've read it and Aaron has not. And so we watch the episode, and then we kind of break down the episode bit by bit. And I get to explain to you, here's what happened in the book. [00:02:55] Speaker B: Yeah. [00:02:56] Speaker A: What do you think about what's coming? And it's gonna work a little bit different this time. And we will still. For. For those who are listening who have not read the source material, we will still do essentially the same thing. We will break down. You know, here's what happened in the show. Here's what happened in the book. [00:03:10] Speaker B: Did you bring the book? [00:03:11] Speaker A: No, I did not. [00:03:12] Speaker B: The one thing that. [00:03:14] Speaker A: Because I read it yesterday. [00:03:15] Speaker B: Yeah, but you usually bring the book with you whenever we do these things. [00:03:18] Speaker A: Yeah, because it's a full novel. [00:03:19] Speaker B: It's still a full story. We're gonna be able to see. [00:03:21] Speaker A: I've got it up here. I've read it five times. [00:03:23] Speaker B: All right, if you say so. [00:03:25] Speaker A: I've got it up here. [00:03:26] Speaker B: I have the audiobook. [00:03:28] Speaker A: So that's where we're at with this. The rest of this episode will be the rest of episode one, I think we're gonna do. Each episode of the TV show will have its own episode of the podcast. We'll break it up. Even though they are putting out episodes one and two together, we are watching episodes one and two about a week early. Has somebody got their hand on screeners? [00:03:46] Speaker B: Somebody's famous. [00:03:47] Speaker A: Somebody got reached out to by Apple tv and they were like, do you want to watch this? And I said, yes, I do. [00:03:52] Speaker B: It wasn't Aaron Carter, everyone. [00:03:54] Speaker A: It was not. Yeah, I can say that. This will be out. The NDA will be over by the time this comes out. [00:03:59] Speaker B: I was gonna say, you're gonna release it after that? [00:04:01] Speaker A: Yeah. [00:04:01] Speaker B: Okay. So then say whatever you want. [00:04:03] Speaker A: So all that's left to talk about in this little intro section is what we're looking forward to what we're thinking. How are you? I am incredibly excited. I am, I am so every time a book I love gets adapted, there's that like, you know, you know, you need to temper your expectations. You know, how it's turned out before. And yet sometimes they just look so good that you can't help yourself and I can't help myself. This looks so. I am, I'm optimistic for this. [00:04:31] Speaker B: You should be. [00:04:32] Speaker A: Yes. [00:04:32] Speaker B: I think there are key components, are key indicators to let you know that it should be better than the average. [00:04:38] Speaker A: Yes. [00:04:39] Speaker B: You know, Street Fighter, movie adaptation type of thing. So it's on Apple. [00:04:44] Speaker A: Correct. [00:04:45] Speaker B: They've done bangers for sci fi. [00:04:47] Speaker A: They truly are like, they have the market cornered on sci fi television. [00:04:52] Speaker B: They went for a big name. They did to. Even though they didn't have to. Like, they, they literally did not have to. They could have got generic guy1 to do this and then had like maybe a celebrity voiceover if they wanted to do for like internal thoughts or something. So those are two, two big things. The third, I would always say, is the marketing wasn't as much as. Because Apple. [00:05:15] Speaker A: Apple doesn't market anything. [00:05:17] Speaker B: That's Apple, though. The green lights are there. [00:05:19] Speaker A: Yes. [00:05:20] Speaker B: As long as that's happening, then we of course watch a trailer and that looks, you know, great as well. [00:05:25] Speaker A: So yeah, we just watched the trailer again. It really looks fantastic. I. The music that they chose for the trailer is so good. [00:05:31] Speaker B: The actors that aren't even in main roles. [00:05:35] Speaker A: Yes, the sanctuary. [00:05:36] Speaker B: Exactly. So I think that's another indicator you have cameos from, you know, from known actors. So I think, I think we're in good condition for this. [00:05:47] Speaker A: Do you have any reservations? Is there anything that you're a little. [00:05:51] Speaker B: Bit nervous about adding additional plots that we don't need? Yeah, it's fine the way it is. Don't bring in some new. Hey, I'm Randy. Guys. I'm the new person on. On the crew and I've got a dog and. And like, we don't need any extra. [00:06:09] Speaker A: I will say you and I were both much more worried about this until recently because we Knew there were 10 episodes and typically for Apple TV shows, 45 minutes or an hour. This is a, I think 140 page novella. It's like a three hour audiobook. And so we're looking at 10 episodes going. Are they gonna stretch this out to 10 hours? Because as far as we know, I believe Martha Wells confirmed a while ago that it's only doing the first book in the first season, though. I Now can't find that confirmation. And so we're like, what are they gonna do? But we have since found out that they are 30 minute episodes. And so five hours, I feel like, is a really good amount. You can kind of expand on things. [00:06:45] Speaker B: That maybe are two hours longer than the audiobook. Yeah, for sure. That's. That's the sweet spot. [00:06:52] Speaker A: I. I am very excited for this. I will say, I think that Alexander Skarsgard is so funny. [00:06:58] Speaker B: What else has he been in there? You get a comedy. True Blood I've never seen. [00:07:02] Speaker A: Because here's the thing, because I talked about this when they first cast him, is that a lot of people had reservations because he's not a comedic actor. And they were like, I don't know that he can be funny. I'm like, you haven't watched True Blood. Because when they let him. When they. When Eric gets. It's when Eric that, like, hope is so goddamn funny, and it's so am. Like, like deadpan funny in a way that is really great. With Murderbot, he's done other comedic stuff as well, and I think he's. I think he's one of those guys that's really funny and he's a really great comedic actor, and he's just really hot. So he keeps getting typecast in these, like, action man roles so that he can take his shirt off and oil up his muscles. Like, he's got. [00:07:41] Speaker B: He's got a Matthew McConaughey. Matthew McConaughey said, I'm getting out of. [00:07:45] Speaker A: That, so let this man be funny, please. That was my only reservation. I was a little bit worried. I was like, oh, Murderbot can't be hot. But they fucked up his hair, so he looks a little funky. [00:07:53] Speaker B: He looks like a regular guy to me. [00:07:55] Speaker A: Alexander Scott is fine. [00:07:57] Speaker B: We'll agree to. To. To say that he looks like a human. [00:08:02] Speaker A: Yeah, I was. I was a little bit worried about them casting somebody who's so typically typecast as these, like, incredibly masculine roles because Murderbot is genderless. Murderbot is not masculine, is not feminine, is not anything. So we'll. We'll see how I. [00:08:17] Speaker B: In the book, they. They describe. [00:08:19] Speaker A: It's just. [00:08:19] Speaker B: It looks like a. [00:08:20] Speaker A: It's like a. [00:08:21] Speaker B: Like, it's like six plus feet tall, but generic human. Like, because that's what. What it called itself, right? Like generic human. [00:08:28] Speaker A: So we'll see. And then the other thing I was a little bit worried about because he's so pretty is that, like, I'm a little bit worried we won't get what we got with the Mandalorian, where Pedro Pascal gets cast as the Mandalorian, a character who always has his helmet on. And you're kind of worrying, like, oh, he's gonna have his helmet off all the time. Because, like, they'd cast Pedro Pascal. Of course they want to see his face. No, they didn't. You did not see that man's face until he talks a lot. [00:08:49] Speaker B: It's the same thing, you know? You know what? Actually, now that I think about it, because with the trailer, he seems like he talks a lot too, because we're getting the internal monologue and everything, like our internal dialogue. So maybe that's just the route that they wanted to do. They're like, we saw the Mandalorian. We saw how we got away with that. [00:09:04] Speaker A: They're going to have his mask off, like, all the time. [00:09:06] Speaker B: We'll see. [00:09:07] Speaker A: Which is going to be a bit of a bummer. And we'll talk about it in the episodes. The sort of. The. The prevalence of its mask on. Mask off time. Because it mostly has its mask on on all the time. Unless Mensa directly asks it to take the mask off to make the others feel comfortable. [00:09:25] Speaker B: If I'm making this, I'm playing that into my. That's my budget. Then I can have a full episode with a mask on. And I don't need scars guard. So I don't have to pay you for that. I could pay you for six episodes. [00:09:36] Speaker A: That's terrible. I don't think that's how that works. [00:09:38] Speaker B: I can pay you for six episodes. But, hey, come in. Do six episodes. Yeah. These other episodes, it's gonna be a guy with a mask. Yeah, why not? Why not? And then I can have. Well, I mean, I'm paying them for the. The adr, of course. Screen time. [00:09:50] Speaker A: Peter does it. [00:09:52] Speaker B: I don't know. These are a list celebrities, so they're probably like, no, you're gonna pay me for the whole thing. Whatever. I don't know how Hollywood works. [00:09:59] Speaker A: So I think that was my only reservation. It was originally, we were worried that it was going to be too long. Seems like it's not going to be. And I'm a little worried that we're not gonna have. We're gonna see Murderbot's face too much. And as we discussed, there is a separate episode of. If anybody wants to hear us talk more about the actual first book itself, you can listen to the shit we've read podcast. [00:10:19] Speaker B: We talked about the book. Yeah. [00:10:20] Speaker A: And one of the things that I talked about in an episode That I really want to see is I want to see a bunch of Sanctuary Moon. [00:10:28] Speaker B: Yes. [00:10:28] Speaker A: I want to see a good chunk. I want across five hours. I want 20 minutes of sanctuary Moon. [00:10:35] Speaker B: That's reasonable. Now that I know that is 30 minutes an episode. That's fine. Yeah, that's fine. Originally when I was like, no, we don't need that much, because I was thinking hour long episodes. But yeah, if they dedicate, even if they dedicated one episode to Murder Body just sitting there watching this, this show, and we look at that show for 30 minutes. [00:10:57] Speaker A: All I want is at least one scene where everybody in the crew is having, like, a really heated conversation and talking over each other, and then it just pans to Murderbot and it just switches to Sanctuary Moon because it's not paying attention. [00:11:09] Speaker B: Yeah. [00:11:10] Speaker A: It's like, I'm just gonna sit and watch my favorite soap opera. [00:11:12] Speaker B: That's fine. That'd be. I like that. [00:11:14] Speaker A: So, yeah, that's where we're at. We're, we're gonna watch the episodes. We're gonna, we're gonna chat through them. We're gonna see how it goes. I am tentatively, very optimistic about it. I have a couple of reservations, but I wouldn't even call them reservations so much as, like, I'm a little nervous to see how this goes, but I have a good feeling about Apple in particular. This sort of, like, prestige streaming service that has done sci fi really, really well. [00:11:36] Speaker B: Yes. [00:11:37] Speaker A: And seems like they're putting a good. I, I, I'm really happy that given that it's a novella, they are dedicating an entire five hour season to it instead of trying to shove, like three in the first one, which I think I told you when we. Oh, we didn't do a. We watched A Series of Unfortunate Events, but we did not podcast that one. We just watched that. Yeah, we just kind of enjoyed in the original movie. They did three books in one movie, so you get, like, screwed on on all of them. [00:11:58] Speaker B: Yeah. [00:11:59] Speaker A: But anyway, yeah, that's, that's, that's where we'll kick it. So I guess that's, that's this. [00:12:03] Speaker B: Sorry. Kick it. [00:12:04] Speaker A: I'm sorry, are you gonna, you gonna micromanage my language here? [00:12:08] Speaker B: You're good. That's the oldest thing. This, where we kick it. [00:12:14] Speaker A: We are 12 seconds away from being able to watch Murderbot and you want to sit here and make fun of me? [00:12:19] Speaker B: Let's watch the show. [00:12:21] Speaker A: I will log out of my account and leave. Yes. My account. [00:12:27] Speaker B: All right, let's, let's watch, let's Watch. Oh, you mean for Murder Bot? I thought you were talking. I thought you were talking about this. [00:12:35] Speaker A: My Adobe account. That's definitely mine and not a friends that I've been using for five years. [00:12:40] Speaker B: Terrible. All right, let's watch the show. [00:12:41] Speaker A: Let's watch the show. Somebody just dropped a comment on my YouTube and said, how does the room you were in not stress you out? It looks like a used bookstore, imho. It does stress me out. That's why I'm moving. [00:12:56] Speaker B: All right, we're recording. [00:12:57] Speaker A: Okay. I started and I was like, I'm not going to take notes. Like, I'm just going to watch it. And then of course, I immediately start taking notes every time. [00:13:04] Speaker B: Yeah, that's. That's what you do. Don't fight against your nature. [00:13:07] Speaker A: All right. And we're back after watching episode one. That was good. [00:13:11] Speaker B: That was very good. [00:13:12] Speaker A: That was good. [00:13:13] Speaker B: That was very, very good. I thought it was very accurate to the book. [00:13:20] Speaker A: Mostly. [00:13:20] Speaker B: Mostly. I mean, there's, like, small details. [00:13:22] Speaker A: There's one big detail, but we'll get into it. [00:13:25] Speaker B: Okay. But the thing I think of overall that I like is Skarsgard and his betrayal of Murderbot and how he makes it feel uncomfortable. [00:13:35] Speaker A: So uncomfortable. [00:13:36] Speaker B: His facial expressions are, like, spot on. When I don't know if anybody has ever been that way, like, uncomfortable with somebody asking them something or like, me. [00:13:48] Speaker A: No, never. Like, I don't know what you're talking about. [00:13:50] Speaker B: Yeah, I know you social situation. But you don't. You don't physically look a certain way, thank God. So I don't tell you how they didn't pick up on cues is what I'm trying to say. Like, somebody trying to leave the conversation and they're like, you can stay around if you want. And like, yeah, just like, salute. [00:14:08] Speaker A: Terror on its face. [00:14:10] Speaker B: Yes. Fear. Fear. And like, I don't want to be abject horror, but yes, that I loved Skarsgard's portrayal of Murderbot in this. [00:14:20] Speaker A: So to run through the episode very quickly. So it's a 30 minute episode, which is nice. Usually for our Watch podcast, we're doing an hour long episodes, which translate to very long episodes of our podcast. But this will be nice in 30. Damn it. I told you. [00:14:33] Speaker B: There it is. [00:14:34] Speaker A: I told you I was going to hiccup anyway. Well, now I'm all thrown off. What the fudge was I saying? [00:14:38] Speaker B: Start from the beginning. [00:14:39] Speaker A: Smaller episodes and smaller editing loads, which is going to be really nice. But yeah, so to. To start off, I. I think we've talked about this in, like, Every adaptation. I am not a fan typically, of having to start an adaptation or any story really, whether it's an adaptation or not, with voiceover narration to set the world. [00:14:58] Speaker B: Okay. [00:14:59] Speaker A: I can forgive it, I think more in this case because it is setting this. The tone for the fact that there is going to be a lot of voiceover in this. [00:15:06] Speaker B: Yes. [00:15:06] Speaker A: Which is a good thing because the book is very. It's very close. It's close first person, introspective. You are in Murderbot's head the entire series. And I think that's a particular difficulty with adaptations, is adapting a first person story is really difficult because you have to find some way to get across all of the internal dialogue and internal monologue that is on a visual medium, which is not easy. [00:15:34] Speaker B: Yeah. And I mean, I think when you do it in the visual medium, that is, this is probably the way. The only way you can do it if you want to get that deep. And like, you did say, like you actually saying it realized. It makes me realize even more like, yeah, this is a close first person book. So you have to. You have to have that voiceover. You have to have. And then, like, so there'll be voiceover parts in the show of Murderbot. Just speaking, like, replying to something. [00:16:05] Speaker A: Yes. [00:16:05] Speaker B: But you get the sense of, like, it's talking, but it doesn't want to talk to you. [00:16:10] Speaker A: It does not want to talk. [00:16:11] Speaker B: It doesn't want to talk to you. It will just internalize everything. Yeah, but, like, it has a personality, like in that. In that space. And it comes through in all this dialogue, all this voiceover and stuff like that. And I really like that. Instead of them being like, oh, no, we need to make this character, you know, actually talk and say all this stuff. I. I would have hated that. So I like the, you know, the little quips of talking back. It just in its head, like it's. Yeah, those are good moments in the. In the show, for sure. [00:16:42] Speaker A: I do worry that it's a little bit. I think that it's a little bit too emotive. Skarsgard's voice is doing a lot of emotion that you typically. Or that I don't read into that way. And when we listen to the audiobook, Kevin Free, who is a really phenomenal narrator who does this whole series, I think that the humor in Murderbot comes not in how it says things, but in just the fact that it says things. [00:17:04] Speaker B: Or you want it more robotic. [00:17:06] Speaker A: More robotic, but just like more lifeless. Like, everything is very monotone. Everything is very deadpan. Like it's funny because of the way that it's saying things, but it doesn't actually like emote a ton except for very few instances, one of which being there's a point where one of the characters mentions a Sanctuary moon plot line and Murderbot immediately snaps. He goes, that's not true. That's not what happened. That's like the only time it gets emotive. But I do understand, you know, you're kind of making a decision to. To have it be a little bit easier to understand. I think for. For the audience. I will say the. The big. What I think could potentially be a problem, but is so far the biggest change and I think might end up being the largest change comes very, very early in the episode in that Murderbot, how it comes up with its name. [00:17:55] Speaker B: Yes. Is that. Is that the big change you were talking about? [00:17:59] Speaker A: And I don't love that because we won't really get into it too much until, you know, the show gets a little bit further on. There's a very specific reason why Murderbot calls itself Murderbot. It in very specific reason. And it's not some like, oh, I could call myself a freedom unit or I could call myself this or wouldn't this be silly? Like it is not. That's very like throwaway of something that is actually pretty important to Murderbot's personality. [00:18:25] Speaker B: And I, I agree with that. I. I think if it's. But I think against, for me personally, against your point of having Murderbot sound just like robotic and. And non emotional. That without giving it away. That is something that's like really personal. [00:18:44] Speaker A: Yes. [00:18:45] Speaker B: To it. And that kind of plays into it being more emotional, even though it might say things other, you know, in this like monotone or whatever vibe. But I interpret it as Leah, this character has like emotions. It doesn't share the emotions with everybody. [00:19:05] Speaker A: Unless it strongly feels about it totally has emotions throughout the book. It's very like low key. But it clearly has very strong emotions. It feels fear. [00:19:14] Speaker B: So I was fine. [00:19:15] Speaker A: Nervousness. Very, very intensely. But yeah, I think that is going to be a running change throughout the season. That sort of the actual Murderbot of it all is going to be a running change throughout the season, which I'm curious to see how it plays out. But I do feel like you. You lose a little piece of it by having Murderbot be like a silly little thing that it just kind of came up with for no reason. [00:19:36] Speaker B: Yeah, no, the name. I totally agree with you. I thought in the beginning they were. [00:19:41] Speaker A: Give us that yeah, we both thought we were getting something different with that opening sequence where it's really just kind of setting up something that you. You get a lot through. Murderbot's narration in the book is just the way that it's treated by humans. And so they're kind of setting you up with that in the beginning. And one thing that I had talked about in our Murderbot episode with We've Read is that the thing that I. I really like about Martha Wells's writing in this series is that the setting itself is dystopic. It is a corporatized hellscape. [00:20:11] Speaker B: Yeah. [00:20:12] Speaker A: But the books themselves are not what you would typically think of when you think of reading Dystopia, because they're funny and they're light hearted, even when they're heavy, because it's this sort of like, warm, gooey center in these characters. And I do like that they're. They're immediately setting up like this world. And so when you have, you know, you have your first impression, your first look at this is, you know, horrible people in a. In a horrible place doing horrible things to. To sentient beings that they don't regard as worthy of their respect or their anything. [00:20:42] Speaker B: Yeah. [00:20:43] Speaker A: And then you get to meet these characters who are totally different. I think that's a good setup. I like that. [00:20:48] Speaker B: Showed a good contrast between the. [00:20:51] Speaker A: And they. Are people in there really playing up the hippie of it all? [00:20:54] Speaker B: Oh. As soon as Murderbot said a group of hippies, I was like, they're going to go full flower power, love child, everything. [00:21:02] Speaker A: The, like, consensus chanting, that was a strange but weird. [00:21:06] Speaker B: I think it was put in for comedic, you know, effect, especially with the plane and like, you're not in. [00:21:12] Speaker A: Roy, first of all, is so cute. That man is very pretty. [00:21:18] Speaker B: Okay. [00:21:18] Speaker A: But the. Yeah, that. That little bit of just like throwing it in there of like, you're not with us. [00:21:23] Speaker B: Yeah, yeah. Getting your girls in, definitely hamming it up and everything like that. But I like that a lot. I like that. [00:21:29] Speaker A: And I think they did write out Velasque. I don't think Valescu was in there. [00:21:33] Speaker B: That may just be too many characters, though. [00:21:35] Speaker A: I think so. I think they went one down because we've got Arata and Bara Dwaj, we have Pinley, we have Garathan, we have Rati and Dr. Mensah. Dr. Mensah, yeah. And then so you want eight characters. [00:21:45] Speaker B: Like, that's a lot of people. [00:21:48] Speaker A: It is, it is. The only reason I noticed is because Velescu is the one that's in the crater with Bara Dwaj and in the book. [00:21:53] Speaker B: But, like, I think that's. What do you like? I think it's fine. [00:21:57] Speaker A: I think it's fine. I think when you have it, because. [00:21:58] Speaker B: You'Re focusing on certain characters in the book and we all have. We have the main people that, that. [00:22:04] Speaker A: They, they focus on and in going forward through the rest of the series, not the. Valescu is not an important character, but I think there may be the character that I remember the least about. So I think when you have a cast that's this large, it's kind of a given that you're going to have to give some things up. And I think writing things. Yeah, yeah. And I think writing one character out in a, you know, a cast of a team of six is fine. I think you can kind of. You can sort of distribute their lines, whatevers to other characters and it works out fairly well. [00:22:35] Speaker B: I was kind of only looking for murder button. Dr. Mensa. [00:22:38] Speaker A: Yeah. [00:22:38] Speaker B: That. That kind of is the two that. [00:22:40] Speaker A: Garathan, I think, is a really, really big one. [00:22:43] Speaker B: Garathan has. That's the. [00:22:45] Speaker A: He's the augmented one. [00:22:47] Speaker B: Yes. Okay. [00:22:47] Speaker A: So very suspicious one. [00:22:49] Speaker B: Yeah. [00:22:49] Speaker A: Because Pinley also hugely important. [00:22:52] Speaker B: I can't remember. [00:22:53] Speaker A: She's the lawyer, but I can't remember why, because I'm also thinking of like, what's coming down. [00:22:57] Speaker B: Oh, okay. Beyond book one. [00:22:59] Speaker A: Beyond. Beyond book one. You know, who's. Who's particularly important where. But yeah, I think writing out a single character in a cast that large is both inevitable and kind of fine. [00:23:09] Speaker B: Okay. [00:23:10] Speaker A: So I don't, you know, I'm not too mad about it. We are, yes. We are really playing up the hippie of it. So we meet these, these, these characters that immediately we know from the TV show are from this sort of like Freeport commune. [00:23:24] Speaker B: Yeah. [00:23:24] Speaker A: Which Murderbot has no idea of in the book. You don't know this until much. You don't know this until maybe like 60% of the book of the first book. [00:23:31] Speaker B: Right. Okay. [00:23:31] Speaker A: I thought just like, does not care. It's totally indifferent. [00:23:35] Speaker B: Yes. [00:23:36] Speaker A: Yeah. So Murderbot doesn't really know anything about these people, but we're getting a little bit that they're from this sort of Freeport commune, which is clearly very different from this heavily corporatized world where they're outside the Corporation Rim. They're really not participating in the corporatization of space at this point. So they, you know, they don't want their. They don't want the bot. They don't want the bond. They want to do everything as cheap as possible. They really don't want to do any of this. And. And the company is very, very, very clear. You are not going on this mission if you don't use our bot. [00:24:05] Speaker B: They definitely made it. They made it feel, even though it was only three characters for maybe, like, five minutes of screen times. It's like, this is a corporation. This is the big evil bad. There's one in the middle that was, like, selling them the bot and stuff like that. Or. No, no, no, because I think it's a black guy in the middle. Right. He was, like, very standoffish about everything. It's our way of the highway, basically. And then you had another part of the company's entity that's like, look at this SEC unit that you can buy. This is a great model. And it's like. Yeah, they really giving you, like, the aspects of a major corporation trying to sell to these people that are like, we just want to. Yeah, yeah. Like, we don't want anything to do. [00:24:45] Speaker A: With all this stuff in ways that you do not get in the book, because you don't. [00:24:48] Speaker B: Yeah. [00:24:49] Speaker A: Anybody from the corporation. The book opens. Chapter one is the crater scene. [00:24:53] Speaker B: Yes. [00:24:53] Speaker A: So the book fully opens immediately on that crater scene. That's the first chapter one. I could have become a killing machine when I turned off my governor model. [00:25:01] Speaker B: I think that's just a passing conversation, isn't it? Or Birdabach says something like, Dr. Minson didn't want a bot or something. Yeah. Like, it's just a passing line. [00:25:09] Speaker A: Oh, and to go back to Also, before I get too far away from it, the reason for Murderbot's name also goes into the reason that Murderbot overrides its own governor module. [00:25:19] Speaker B: Yes. It is a motivation. That's right. [00:25:22] Speaker A: They're changing that. And in the show, it kind of seems like these people treat me like crap, and I kind of want the option to, like, maybe kill all of them or something or maybe, like, do whatever I want. And so it, you know, overrides its governor module for that reason. That is not why it does that in the book, and we're not getting into that in the show quite yet. But changing that motivation changes Murderbot. [00:25:40] Speaker B: My. My theory right now is it's a subconscious motivation. [00:25:45] Speaker A: Yeah. [00:25:46] Speaker B: And it'll be a thing where they discover, because they sprinkle things in this first episode, that Murak, you can kind. [00:25:52] Speaker A: Of trace back to that original motivation. [00:25:54] Speaker B: Murderbok doesn't seem to know. So I think what the show is going to probably do is have it. [00:25:59] Speaker A: Be this discovery mystery across the spanning season. [00:26:02] Speaker B: Yeah. And I, I think that's how they're going to play it as opposed to just giving it to you right up front, you know, which. Okay, if they play that way, that's fine. I feel like, okay, you just tweaked it a little. [00:26:16] Speaker A: I'm okay with that. I think in theory, in so far as it doesn't change the motivation, which in this case. It does. [00:26:22] Speaker B: It does. No, it 100 does. [00:26:23] Speaker A: Gonna take me. You know, again, we're 30 minutes into a five hour season so, you know, it has time to play out. But like my initial gut reaction is that like this vastly changes Murderbot's motivation for doing certain things, which will be interesting to see how it plays out there. I was talking to a friend of mine about this yesterday and we're kind of talking about our reservations about the show and she was also particularly worried that they were going to lean a little bit too hard into the humor of it all. Because this is a laugh out loud, funny book. Like I listened to it. I think I read this book for the fifth time yesterday and I am openly cackling at this book. It is so funny. [00:26:57] Speaker B: However, yeah, I was like, you didn't want that though. [00:27:00] Speaker A: However, it's also really heavy. Like it, it also has its moments of being very serious and having, you know, just being pretty intense in the things that it's saying and you know, you have these, these light hearted moments that I think work really well in this sort of very, very bleak environment. And so she was worried particularly that they would lean too much into humor. And as soon as they did the like running through different names and like, oh, I could just call myself Murderbot. I was like, oh, she might have been onto something there. [00:27:29] Speaker B: Do you? But maybe because I latched on to Murderbot over than, more than any of the other things and I only got that one heavy thing from Murderbot. But if I'm rolling with Murder button and the majority of the stuff is I don't care, like I just want to watch my shows. That's what I'm gonna rest with. And then I, I can't remember later on in the series if Murderbot like invests more in, in things, in, in the other characters. Yeah, absolutely. [00:28:00] Speaker A: Yeah. [00:28:00] Speaker B: So. And I'll have to revisit all those and stuff like that whenever, you know, as we go on. [00:28:04] Speaker A: But yeah, I've read this first book now four or five times. I've read the entire series through twice. [00:28:09] Speaker B: Yeah, see, I haven't. I. And this was a year ago that I read it, so. And I'm not even finished actually telling you the truth. Yeah, I still have one more. [00:28:18] Speaker A: You have two more? [00:28:20] Speaker B: Two more. I finished. [00:28:21] Speaker A: You didn't read the novel? [00:28:22] Speaker B: That's the one that I'm on. [00:28:24] Speaker A: What do you mean you're on? [00:28:25] Speaker B: Yeah. [00:28:25] Speaker A: You haven't read it, though. [00:28:26] Speaker B: Sixth one. [00:28:27] Speaker A: The fifth one. [00:28:28] Speaker B: Fifth one. Because it's six. First before fifth. [00:28:30] Speaker A: There's actually seven books. [00:28:31] Speaker B: I've got five Red on my Goodreads. [00:28:35] Speaker A: Which one did you do? [00:28:36] Speaker B: Thank you. Yeah. Fugitive Telemetry. Yeah. [00:28:42] Speaker A: Okay, so you did read that. [00:28:43] Speaker B: I told you, I read that. [00:28:44] Speaker A: You have both of the novels. You have the. [00:28:45] Speaker B: Yeah, no, I know. [00:28:47] Speaker A: Yeah, I do know. [00:28:47] Speaker B: Yeah, whatever. [00:28:48] Speaker A: Because. Yeah, I know. You haven't read Network Effect yet. [00:28:50] Speaker B: No, but I. Yeah, I'll get there. [00:28:52] Speaker A: I'm gonna cut all this out. [00:28:54] Speaker B: Why? [00:28:54] Speaker A: I'm cutting all this out. You know what we do get? [00:28:57] Speaker B: What do we get? Sanctuary Moon. [00:29:00] Speaker A: We get the rise and fall of Sanctuary Moon. For anybody that is listening that has not read the books, this show, this terrible little soap opera is so important to Murderbot, like, personally. Murderbot loves this show. [00:29:18] Speaker B: Yeah. [00:29:18] Speaker A: And it comes up constantly in the books, what episode it's watching, how many times it's seen that episode. It's rewinding for certain scenes. It's skipping past certain scenes, like, it is baked into this. So I'm so glad that we get this much. I'm a little worried because I think we got everything that was in the trailer in this episode. And I'm like, yeah. Does that mean that there's not going to be any more? There better be more. [00:29:40] Speaker B: Maybe, maybe. But it was a good chunk. [00:29:42] Speaker A: It was a good chunk. [00:29:43] Speaker B: It was a good chunk. I don't think you're gonna get every episode to have that much, though. [00:29:47] Speaker A: We have. [00:29:47] Speaker B: Not going to. [00:29:48] Speaker A: Do we have to. [00:29:49] Speaker B: No, it's not going to do that. They're. They're. They're. That was a good, solid minute of. Of that series. You're not hitting that. So here's the thing, though, because you like that in this book, but I feel like if you just replace that with any old pop culture thing. You hate that. [00:30:08] Speaker A: Hate it. Because I don't want it to be a real pot. I don't want to be watching Days of Our Lives. [00:30:14] Speaker B: Yeah, that's what I'm saying. Like, if it was him switching back and forth between, like, oh, I've, you know, watched, you know, hours and hours of Family Matters. You would hate that. [00:30:23] Speaker A: Terrible. It removes you from the world that you're in and puts you back into. Like, this is a thing that existed in. In 1999. [00:30:32] Speaker B: I hear you, though. I hear you. [00:30:33] Speaker A: So, yeah, no, it's. It's. You gotta. You gotta make something new. So I, like, I don't have a problem with characters. What Aaron's referencing here is that I cannot stand pop cult references in books. Like, it dates it immediately. Like, if you go back and read older books and, like, you'll see a reference to, like, MySpace, like, as though it's like, the biggest. And you're like, oh, okay, well, that fully dates this book immediately and, like, takes you out of the thing that you're reading. [00:30:57] Speaker B: But if it was something like sci fi, where Murderbot is just like, maybe he's got an archive of old, you know, still. [00:31:03] Speaker A: It's like, it just removes you from the world. I hate it so much. Just immediately know. And then we have the creator scene. Then we actually get to chapter one. We have the creator scene where we've got Bara, Dwarj and Arata down there. It tries to warn them a couple of times. Then you get your big action sequence. [00:31:20] Speaker B: And it was done well. I like. I like the cg. I liked the. The fight sequence. It was very fast. [00:31:26] Speaker A: And it looks, what I would say, appropriately cheesy. Yeah, it looks a little bit cheesy, but I think it plays into the fact that Murderbot gets a lot of its interactions and a lot of its ideas from cheesy media. [00:31:37] Speaker B: Yeah, yeah. [00:31:38] Speaker A: Which I really like. [00:31:39] Speaker B: I like. They kept the arm cannons. [00:31:40] Speaker A: Kept the arm cannon. And you get the. You get the moment where it removes its helmet to sort of talk with errata. So that you see in later in the episode, it continues to talk. [00:31:49] Speaker B: That was a good scene as well, because the reveal and the awkward conversation is played well again. Skarsgard does a very good. [00:31:58] Speaker A: You are going to be okay. [00:31:59] Speaker B: Yeah, yeah. And then, like, trying to smile kind of. Yes, but not really. It was. It was played. So I've never seen him in anything. No, nothing. I've never seen him in. I've seen his brothers. Brother. [00:32:17] Speaker A: Brother and father. You'd know. [00:32:18] Speaker B: Maybe his. Maybe his brother. Yeah, brother. Maybe his father I saw in something, but I definitely. [00:32:23] Speaker A: His father is in Thor. He's on all the Thor movies. [00:32:26] Speaker B: Who is he in Thor? [00:32:27] Speaker A: He's the scientist. [00:32:28] Speaker B: Oh, yeah. Okay. So then. Yeah, I've seen him everywhere. Yeah. And then, of course, Bill. [00:32:33] Speaker A: Yes. [00:32:33] Speaker B: Yeah, I've seen him in plenty of things. Things. It was good. This. This is actually a good introduction to this character or to this actor because it's very impressive. The. [00:32:40] Speaker A: The work you're getting from your intro to Alexander Skarsgard isn't like the. Northman isn't. Tarzan isn't. [00:32:48] Speaker B: Oh, Northman. I haven't seen it, but I've seen the trailer, and it looks interesting. Yeah, I've seen. I. I remember that boiled up ripped guy. Yeah, that's him. This is a better role for him. This is a better role. [00:32:59] Speaker A: And I'm telling you, you are also sleeping on Eric from True Blood. He's so good in that role. [00:33:04] Speaker B: I saw the first episode of True Blood a long time ago, which I. [00:33:08] Speaker A: Don'T believe he's in. [00:33:09] Speaker B: Yeah. After that, I don't know anything. I know it's like vampires are kind of out in the open. [00:33:14] Speaker A: Yeah. [00:33:14] Speaker B: But that's all I know about it. [00:33:17] Speaker A: What I'm hearing is we got to watch True Blood. [00:33:19] Speaker B: It's a. It's not a book, though, so. [00:33:21] Speaker A: Yeah, it is. [00:33:22] Speaker B: What? [00:33:22] Speaker A: It's the Sookie Stackhouse series. [00:33:24] Speaker B: I don't. [00:33:24] Speaker A: I don't know why I said that. Like you would know what that is. [00:33:26] Speaker B: Yeah, exactly. [00:33:27] Speaker A: Yes. True Blood is a book series. [00:33:30] Speaker B: Is it called. It's called True Blood. [00:33:31] Speaker A: I think the first book might be called True Blood, but it's the Sookie Stackhouse series. [00:33:36] Speaker B: True Blood collections. There's so many of these books. [00:33:39] Speaker A: A lot of them. I read the first few books, and they get really, really weird. And I was like, I'm checking out of this. [00:33:47] Speaker B: Oh, so you're gonna read all of them, and then we'll watch. Oh, you don't want to do that. No. There's nine of these stinking things I think I read. [00:33:54] Speaker A: I want to say the first three and couldn't tell you a damn thing about them. [00:33:57] Speaker B: What's the. The actress's name? [00:34:00] Speaker A: Anna Paquin. [00:34:00] Speaker B: Yeah. [00:34:01] Speaker A: And a pack one from X Men. [00:34:03] Speaker B: Oh, yeah. She was rogue. That's right. Yeah, yeah, yeah. [00:34:06] Speaker A: She and her husband met on that show. They play the two leads. They got married in X Men. No, in the show. [00:34:11] Speaker B: Oh, True Blood. Who's the lead? I don't know anything. [00:34:14] Speaker A: Stephen Moyer. [00:34:15] Speaker B: Yeah. [00:34:15] Speaker A: The guy from the other X Men show that you hated, the Gifted. [00:34:17] Speaker B: Oh, yeah. Well, then I didn't watch it. [00:34:18] Speaker A: Oh, it's good. [00:34:19] Speaker B: Yeah. No, I don't care. I really like that show anyway. Murderbot. [00:34:23] Speaker A: Murderbot. Yes, yes, yes. And so the only things I think that we changed about this particular scene are that Murderbot's injury is massive and hugely noticeable. [00:34:33] Speaker B: Yeah. [00:34:33] Speaker A: Nobody notices in the. In the. In the book. [00:34:35] Speaker B: Yeah. [00:34:35] Speaker A: And it works really, like, it's. It's very clearly trying not to let anybody notice. In. In the book, it realizes that it was stabbed in the kidney by a tooth, and it's holding Bara dwarj and it refuses to put her down because it's like, if I put her down, I'm going to bleed out and I will not be able to get her back up. And so it, like, you know, it's. It's. It's not talking to anybody. It's not looking at anybody. Nobody knows that it's hurt. And it. It also kind of strikes me as a little bit different in this because. Because Murderbot has such a noticeable injury, it's weird that none of them say anything about it. [00:35:05] Speaker B: So that's the thing that I'm constantly kind of asking when this. When I'm reading the book is it has humanoid features and, like, flesh and blood. [00:35:17] Speaker A: From the outside, it looks like a person. [00:35:18] Speaker B: And it looks like a person and everything like that. If I'm seeing that any scar, cuts, bruise, anything like that, I'm bringing it up to the person. Yeah. And they are like, just, okay, it's whatever. Like, they. They recognize that it's hurt. [00:35:33] Speaker A: Yes. [00:35:33] Speaker B: But it's not jarring. [00:35:35] Speaker A: It's a bit of a. A weird dichotomy that they've created here because there is that moment where Mensa talks about this is a conversation that happens later in the book, but does happen remembers. Like, you know, we kind of regard the forced labor of a sentient construct to be enslavement. And so they clearly recognize it as a sentient being, and then to then simultaneously have, like, it's missing an entire chunk of its chest and nobody cares. [00:36:00] Speaker B: Yeah, yeah, It's. That's. That's a weird thing, is a strange thing. [00:36:03] Speaker A: And it's. It's. Yeah. So. So they didn't notice the thing. And then in that same scene, Murderbot, like, has this vision or this fantasy or this thought about killing all of them and moving on. And again, we're kind of changing some of Murderbot core motivations and core personality traits and that, like, Murderbot in the book, would never think to do that. [00:36:19] Speaker B: And also, outside of Murderbot's own choice to, you know, recognize itself as it, why wouldn't anybody else be like, that's a. [00:36:27] Speaker A: Well, they do in the. In the show, because you have Garothan, and I think it was Errata maybe going back and forth where Arata keeps calling it he. [00:36:35] Speaker B: Yeah. [00:36:36] Speaker A: And Garathan keeps calling it it. [00:36:37] Speaker B: Yeah. [00:36:38] Speaker A: And it's supposed to show that Garathan is being a dick about this. And as I'm sure hopefully we will get later. Like. [00:36:42] Speaker B: But I'm just, like, as a society. [00:36:43] Speaker A: Yeah, yeah. [00:36:44] Speaker B: Flesh, blood. You said it's sent. What. More. You've put something in it to make it to. To enslave it. [00:36:50] Speaker A: Basically, its brain is. Is organic. [00:36:53] Speaker B: Okay, so then where. Where's this line. [00:36:56] Speaker A: Yeah. [00:36:56] Speaker B: Of, like, this is life. This is a robot? [00:36:58] Speaker A: And so for them in the book and as they're kind of setting up in the TV show, like. Yeah. They view it as a sentient being. [00:37:05] Speaker B: Yeah. [00:37:05] Speaker A: As a person, you know, to some extent. To the extent that it's comfortable with. And it's the corporation that doesn't. [00:37:11] Speaker B: Yeah. But. [00:37:11] Speaker A: Yeah, so sort of like that. That I think they wanted to have, like, a visually interesting, like, big giant, you know, bite taken out of it. [00:37:20] Speaker B: Yeah. [00:37:20] Speaker A: But it does kind of, like, shoot itself in the foot with having the. The. [00:37:23] Speaker B: Because I didn't expect, like, a flesh chunk out. I was expecting, like. Yeah, yeah. So. [00:37:29] Speaker A: But Garathan also expect suspects immediately. Immediately. When they get back, Garathan is like. It's talking. It's weird. Something's wrong. We have to shut it down. Which is like. Like, okay. Like, that's fine. It's a little. It's not quite how it goes down in the book. I don't know that it bothers me. [00:37:44] Speaker B: But why would Garatha Navy expect that if they don't have that much interaction? [00:37:49] Speaker A: Exactly. Yeah. [00:37:50] Speaker B: In the first place? [00:37:51] Speaker A: Like, I don't know. We're. We're. I think, like, maybe because of pacing. Maybe because of pacing. [00:37:56] Speaker B: Yeah. [00:37:56] Speaker A: It's interesting because a lot of times in. When we're talking about these TV shows, you and I are having to be like, okay, well, they're speeding this up for this thing and this thing. They don't have to do that in this. They have an extra two hours that you don't get in the book. I think this is maybe the first time that you and I have done that. I think the only other one that I've seen that would have that much wiggle room would be Arrival. And I've never read the story, but Arrival was a T. Was. It was a movie that was extrapolated from or adapted from a short story. [00:38:24] Speaker B: Oh, okay. [00:38:25] Speaker A: So you get a ton more space. [00:38:27] Speaker B: Yeah. [00:38:28] Speaker A: But for everything that you and I have ever done, it's you know, TV show from a book and even when you have, you know, eight hours, 10 hours to, to go into it, even the audiobook is still like 12 hours, 13 hours. [00:38:40] Speaker B: Yeah. [00:38:40] Speaker A: So yeah, in this case this is going to be an interesting one because all of our usual kind of like, oh, it must be for pacing. Oh, it must be because they need it. Not this time. Yeah, it's not a pacing issue. [00:38:48] Speaker B: So it's just that directors things of. I know I can tweak things to fit for the tv. [00:38:55] Speaker A: Yeah. [00:38:55] Speaker B: That you know, the book couldn't. I, I just, I. I just read a book, you know, that was adapted to an anime and I can see why some choices were made when they did the adaptation. It's actually the first time that I've ever gone the other way. Gone the other way around. Yeah. And I can, I can see the differences. Actually. No, it's not the first time. I take it back because I did Lovecraft Country. [00:39:19] Speaker A: Yes. [00:39:20] Speaker B: Yeah. I didn't know that was a book when I watched a show first. Okay. So yeah. [00:39:23] Speaker A: Because isn't the book how you figured out was by a white man? [00:39:25] Speaker B: Yes. [00:39:26] Speaker A: When you look at his picture on the back. [00:39:28] Speaker B: Yeah, I looked at it. Yeah. Look at the author and I was like, who is that? Is that just like a special things. But so. Yeah, I mean, nothing massive. How about that? [00:39:38] Speaker A: Nothing massive. Well, I will. [00:39:41] Speaker B: Except for the origin, how it plays. [00:39:43] Speaker A: Out in the show. At this point my biggest concern is gonna be that core motivation. [00:39:49] Speaker B: Okay. [00:39:50] Speaker A: That like, that is like really the, the core of Murderbot. We get a look at some of the technology in this. You have. I love all the on screen prompts. [00:39:57] Speaker B: I love those two. Yep. [00:39:58] Speaker A: There's a moment because its performance capability or its performance reliability comes up all the time in the books. [00:40:03] Speaker B: Yeah. [00:40:03] Speaker A: As a very funny like comedic bit. Once it gets into it as well. And you notice when it walks into start and they start talking at it and they start speaking to it, its performance reliability drops immediately. [00:40:15] Speaker B: Yeah. Yeah, it was like, like 79. [00:40:17] Speaker A: 79. [00:40:18] Speaker B: Yeah. Yeah. [00:40:19] Speaker A: Just from them talking to it. [00:40:20] Speaker B: I like that, that, that's good. You know, little. Little extra. [00:40:23] Speaker A: So we get these on screen prompts. We can see it watching through security cameras, which I think is. Is hopefully a thing that we're going. [00:40:28] Speaker B: To continue the thing that I wanted to see too. Yeah. [00:40:30] Speaker A: And we get the repair cubicle which is much, much nicer than it is in the book. [00:40:35] Speaker B: I. Yeah, I was expecting like just kind of a. Yeah, it's literally just. [00:40:40] Speaker A: Like a Box that it like wraps itself in. Like. Yeah, like the emergency blanket and then just like puts itself in there. Yeah, it's like, I'm just gonna sleep in this box until I get. You know, it's visually interesting. [00:40:49] Speaker B: I was about to say, this is Apple. We got the budget. Let's. [00:40:50] Speaker A: Let's do some CG repairing stuff. Yeah, you lose a little bit of the, like, cheap ass company stuff. Because kind of the whole point is that, like, you know, all of this stuff is cheap and broken and the lowest possible bidder and things of that nature. But, you know, it is what it is. So, yeah, we get a little look at the tech. All of that goes really well. It walks out to start talking to them. Its performance reliability drops. And then the clapping. [00:41:15] Speaker B: Yes, yes. They. They applaud the team applauds the burner bot, saving our rescue. And what's his name? He who? Yeah, Roti says, speech, Speech. Speech. Murderbot's like, oh, crap. That was a direct command. Gotta come up with something. [00:41:36] Speaker A: So much because if I walked into a room and people clapped for me and told me to give a speech, my performance reliability would also go down immediately. [00:41:44] Speaker B: You gotta learn public speaking. No, that, that, it reminded me, honestly, that scene reminded me of. Of me playing D with some friends. And it was a funeral scene for. For Jerry, one of our closest friends. [00:41:59] Speaker A: Yes. [00:42:00] Speaker B: But it was for a funeral of two of his close friends. And Ray, another mutual friend of ours, said speech just like that, putting Jerry on the spot. He was like, stunned. Like, just stunned. I don't know what to say during a fictional funeral. And so he just, like, they were good guys. And he like, the small amount, the same thing, just like two words. And I was like, I roll for performance. And he rolled in that 20. So everybody just loved. [00:42:29] Speaker A: Immediately crying. Everybody's sobbing like, this is. [00:42:32] Speaker B: This is crazy. But that was that scene right there to me, right. [00:42:36] Speaker A: About Rules A1 on every performance Check. [00:42:38] Speaker B: Yes, that, that. That encapsulated Murderbot's whole feelings about just being in front of anybody, you know, or having attention. [00:42:47] Speaker A: Yes. [00:42:47] Speaker B: Drawn on it. [00:42:48] Speaker A: Well, that. And then immediately following when Mensa is like, you know, you could stay with. [00:42:52] Speaker B: The crew as murder was trying to. [00:42:53] Speaker A: Walk away, like the absolute abject terror on its face. [00:42:58] Speaker B: I gotta go check the perimeter. [00:43:00] Speaker A: Which. Which is exactly what it says in the book she offers. And it immediately goes, I gotta check the parameter. Yeah, there was another one that I. There was another scene that's like very quick, very throwaway, but I'm glad that they included it. That is directly from the book, which is going back to when it saves Errata and Bardwaj and is carrying them back. And Rati is like, all right, I'm gonna go get the equipment. And it immediately Murderbot says no. [00:43:24] Speaker B: Yeah, yeah. [00:43:25] Speaker A: It is not supposed to do that. That is, that is like the. There's a lot of stuff in, in the show that Murderbot is really worried about them noticing. Doesn't really happen in the book. That is the one thing it's really. [00:43:34] Speaker B: Worried that they notice who El on the show around there. Because you can kind of infer that maybe what's his name kind of got it from that one thing of like, Murderbot's not supposed to say no, no. [00:43:48] Speaker A: Garathan's back at the house. [00:43:49] Speaker B: That's why I asked who was all there. I couldn't remember who was there. Okay. [00:43:52] Speaker A: But yeah, that moment in the book is like one of the few times where Murderbot actually does something that it's really worried they all notice. And it goes. It's exactly as it plays out in the show. It plays out the same way that everybody says no at the same time, so nobody notices. But if they had noticed, like Murderbot A, yelling at a client and B, telling a client no. [00:44:09] Speaker B: Yeah. [00:44:10] Speaker A: Huge red flag. [00:44:11] Speaker B: Yeah, yeah. [00:44:12] Speaker A: Huge problem. So there's, there's, there's stuff like that that I really enjoy when they keep it like word for word from the book. Yeah. She. So, so yeah, Mensa offers to let Murderbot stay with the crew. Murderbot would really rather do literally anything else. And then we kind of get the, the, the sort of looking back at what everybody's doing and Murderbot just being like, I do not like human relationships. I don't understand it. I don't want to get pulled into it. I don't want anything to do with these people. Which is very much where Murderbot starts. Doesn't want anything to do with these people. Just really wants them to leave it as, as much alone as possible so that it can half ass its job and watch its TV shows. [00:44:51] Speaker B: Yeah, yeah, it was. I, I like the way they strung everything together. Also from the show we didn't talk about. Speaking of human connections, Murderbot knowing pretty much everybody's business. [00:45:00] Speaker A: Knows everybody's business. [00:45:01] Speaker B: Yeah. Knows everybody's business. [00:45:02] Speaker A: No, Knows that. Knows who's married. Knows that. That. I think, what is it? Errata is into Rati, but Rati's into Pin Lee, but we didn't get into. And I am worried if they're just like not gonna do this. Is that Murderbot in that same scene? Because the same, the same scene happens in the book. It doesn't mention that they're all in multi partner marriages. Mensa has four. No, Mensa has three marital partners. Because it specifically mentions Mensa's children. Has a lot of children. [00:45:27] Speaker B: 100 children. [00:45:28] Speaker A: Doesn't want to throw in there that Mensa has three marital partners. And I think one of the. [00:45:32] Speaker B: You can infer that from looking at the children. And they were every race on the planet Earth. [00:45:37] Speaker A: Yeah. [00:45:37] Speaker B: Yeah. [00:45:38] Speaker A: You can't really infer. Nobody's gonna be like, oh, yeah, clearly they have four people in their marriage. [00:45:42] Speaker B: Yeah. [00:45:43] Speaker A: And there's somebody else on the crew that is also in a three person marriage. But yeah. So I'm like, are we gonna skip over all of that? Because that's going to become important later down the line. But we'll see. [00:45:53] Speaker B: I think. [00:45:53] Speaker A: Don't be a coward. Put the polyamory in the, in the show. [00:45:56] Speaker B: I think they're, they're worried about the first season and if it's not going to be important in the first book, then they're not gonna. [00:46:04] Speaker A: Losers. [00:46:05] Speaker B: They're not gonna put it in. [00:46:06] Speaker A: Polyamor is important. Put it in there. But yeah, and then we, we get a little, a little look at everybody's kind of mental state. Mensa's not doing well. Which will, again, can kind of continue to come up as I imagine in any situation like this. You know, Will and Murderbot just truly wants nothing to do with any of it. [00:46:24] Speaker B: Yeah. [00:46:25] Speaker A: Just leave me alone. Don't pull me into your weird human. And. And then, and then that, that final scene of it telling itself to stay calm. [00:46:34] Speaker B: Yeah. I wonder if they're gonna try to like, do something where, oh, there's a portion in me that can't control and I'm gonna. [00:46:43] Speaker A: I don't even think it's. Because clearly it's, it's having memories of something. [00:46:46] Speaker B: Yeah. [00:46:47] Speaker A: It's having these sort of flashback sort of like, like snippet memories of something that it doesn't really understand but is. Is scared of kind of what it's capable of. But I caught, I caught the staying calm. Less about like, I guess. No, well, no, this. I had a thought and then it disappeared in the middle of me speaking. Gone. Had a sentence and then it was gone. And I tried to vent my way through it and it wasn't gonna happen. Just wouldn't come back. [00:47:08] Speaker B: I don't know what to do then. I don't know. I can't extrapolate anything. It was. Here's the thing, though, that's what I don't want to do, is to change that being like, oh, there's something, some core programming inside me that I don't know about, and I could go rogue and crazy at any time or to keep putting, like, murder thoughts. [00:47:28] Speaker A: Yeah. That I think is probably the. The biggest sort of, like, very different in, sort of in, in the. In the characterization is that. That moment where it thinks like, oh, I could just kill all of them. Leave. [00:47:39] Speaker B: Yeah. [00:47:39] Speaker A: Would quite literally never occur because. Do you want to watch episode two? It's going to be a weekly release. We're going to get one episode a week, but right now we have two. You ready to watch that? [00:47:48] Speaker B: Yeah. Let's watch the second one. [00:47:49] Speaker A: All right, let's watch episode two.