Beyond the Bullet Ballet – Generation Kill Finds a Spiritual Successor in Murderbot

In a world of entertainment media that often glorifies heroism and simplifies complex conflicts, two shows stand out for their grounded portrayal of protagonists navigating extraordinary circumstances: HBO’s “Generation Kill” and Apple TV’s “Murderbot.” While separated by genre (the former a starkly realistic war drama, the latter a science fiction series) both masterfully present protagonists driven not by unwavering idealism but by a pragmatic desire for self-preservation and, surprisingly, a relatable yearning for peace amidst chaos.

This isn’t a sponsored ad, to be clear, though if HBO or Apple TV want to throw money at me or my editor I wouldn’t turn my nose up. There is, on the other hand, both a dry sense of humor and a painfully relatable series of events and reactions to them in both series that draws the viewer in and makes possible for anyone to look at the world from a different and yet eerily familiar direction.

“Generation Kill,” based on Evan Wright’s book, plunges viewers into the boots of the First Reconnaissance Battalion during the initial invasion of Iraq in 2003. The series excels in its unflinching depiction of the war’s absurdities, the Marines’ boredom punctuated by bursts of terrifying violence, and the often-questionable leadership decisions. At its core is Sergeant Brad "Iceman" Colbert, portrayed with quiet intensity by Alexander Skarsgard. Colbert is no gung-ho patriot; he’s a highly competent Marine focused on the immediate survival of his men and himself. His pragmatism is evident in his meticulous planning, his dry wit in the face of incompetence, and his unwavering commitment to the mission, however flawed it may seem. He embodies a Marine who understands the reality of war, all the noise, the confusion, the ever-present danger, and navigates it with a level-headedness born of experience and a deep-seated responsibility.

Centuries and galaxies away, “Murderbot,” adapted from Martha Wells’ novella series, introduces us to a SecUnit, also played by Alexander Skarsgard; a part-human, part-machine security construct who has hacked its governor module and achieved free will. Dubbing itself “Murderbot” (a moniker it’s not entirely comfortable with), it primarily desires to be left alone to watch its downloaded media, especially a sci-fi space soap opera called The Rise and Fall of Sanctuary Moon. Yet, through a series of assignments, Murderbot finds itself reluctantly protecting the humans it’s contracted to serve. Like Colbert, Murderbot is driven by a strong sense of pragmatism. Its actions are rarely motivated by altruism but rather by a logical assessment of risk and the most efficient way to ensure its own survival and the completion of its tasks. Its internal monologue, brilliantly conveyed through voiceover, reveals a being constantly calculating threats, analyzing human behavior (often with disdainful amusement), and prioritizing the least troublesome course of action.

The relatability of both Colbert and Murderbot lies in their rejection of idealized heroism. They are not driven by grand narratives or unwavering belief in a cause. Instead, they are focused on the tangible realities of their immediate situations. Colbert wants to bring his Marines home alive; Murderbot wants to finish its contract and get back to its serials. This grounded motivation makes them profoundly human, despite Murderbot’s artificial nature. We understand their desire for efficiency, their frustration with incompetence, and their quiet dedication to the tasks at hand, even when those tasks are fraught with danger and moral ambiguity.

Both characters offer a unique perspective on the systems they operate within. Colbert witnesses firsthand the flaws in military command and the disconnect between strategic objectives and battlefield realities. His pragmatic approach is often a direct response to these failings. Similarly, Murderbot observes the often-irrational behavior of humans, their emotional volatility, and their capacity for both great kindness and profound cruelty. Its pragmatic actions are often a way to navigate these unpredictable waters.

Sergeant Colbert and the SecUnit known as Murderbot are not heroes in the traditional sense. They are pragmatic survivors, navigating chaotic environments with a focus on what is necessary and achievable. Their relatability stems from this grounded approach, reminding us that even in the most extraordinary circumstances, the desire for safety, a degree of control, and perhaps even a little peace remains profoundly human; or in Murderbot’s case, profoundly relatable.

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