Murderbot Season 2: Release date speculation, cast and plot details – Everything we know so far
If you binged Murderbot Season 1 on Apple TV+ and loved watching Alexander Skarsgård play a sarcastic android who'd rather stream soap operas than save humans, you're probably itching for news about Season 2. The sci-fi gem, based on Martha Wells' The Murderbot Diaries , wrapped its first season on July 11, 2025, and fans are already buzzing about what's next. So, let's dive into everything we know about Murderbot Season 2—release date speculation, who's coming back, and what the story might hold. Murderbot Season 2 Potential Release Date
Alright, Apple's playing coy with the release date, so we're stuck guessing for now. Season 1 took about 14 months from filming (March 2024) to hitting screens (May 2025). If they stick to that pace—and fingers crossed they do—Season 2 might start shooting early 2026. That could mean new episodes around June or July 2026. we are betting on a Friday drop, probably with a two-episode premiere like last time, because that's Apple's style. But, like, don't quote me on that—production delays are a thing. Keep your eyes peeled on Apple TV+'s X account for the real deal. Murderbot Season 2 Expected Cast
The cast of Season 1 brought Murderbot's world to life, and most of the main players should return. Here's who we expect to see: Alexander Skarsgård as Murderbot : The star of the show, Skarsgård nails the grumpy, self-hacked SecUnit who's more into Sanctuary Moon than small talk. He's also an executive producer, so he's locked in.
Noma Dumezweni as Dr. Mensah : Murderbot's favorite human, Mensah is the kind-hearted leader of the PreservationAux team. Their bond is a big part of the story.
David Dastmalchian as Gurathin : The techy, augmented human who starts off suspicious of Murderbot but grows to respect it.
Sabrina Wu as Pin-Lee : A scientist with a knack for lawyering and a knack for getting under Murderbot's skin—in a good way.
Akshay Khanna as Ratthi : The overly friendly team member who keeps trying to buddy up with Murderbot, much to its annoyance.
Tattiawna Jones as Arada : A sweet but impulsive scientist who's dating Pin-Lee.
Tamara Podemski as Bharadwaj: Another PreservationAux member who adds depth to the crew.
Could we see new faces? Maybe. Fans are hyped about the possibility of ART, the snarky AI from the books, showing up. Some Reddit threads even suggest Alan Tudyk as a dream voice for ART, but nothing's confirmed. If Season 2 pulls from later books, we might meet other characters, too, though Apple's keeping casting news under wraps for now. Murderbot Season 2 Potential Plot
Season 1 stuck close to All Systems Red , the first Murderbot Diaries book. We met Murderbot, a SecUnit who hacked its own governor module to go rogue (sort of), while protecting a team of scientists on a sketchy planet. It uncovered a corporate conspiracy, fought off threats, and wrestled with its newfound freedom—all while grumbling about humans. The finale left things open, with Murderbot off on its own but clearly not done with its story.
So, what's next? Season 2 could go a couple of ways. The second book, Artificial Condition , follows Murderbot digging into its past, specifically a mysterious massacre at a mining facility that pushed it to hack itself. But that story introduces mostly new characters, which might feel jarring after Season 1's tight-knit crew. Instead, some fans and outlets like Fully Booked think the show might jump to Exit Strategy , the fourth book. In that one, Murderbot reunites with Dr. Mensah, who's been kidnapped by the shady GrayCris Corporation. Cue a high-stakes rescue mission packed with action and Murderbot's signature sass.
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Aman Shukla is a post-graduate in mass communication . A media enthusiast who has a strong hold on communication ,content writing and copy writing. Aman is currently working as journalist at BusinessUpturn.com
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It's a vision of hope and connection. In the Tower of Angels of the Palace of the Popes, the viewer is invited to walk through a forest of Murano glass Necklaces and Suspended Lover sculptures by Jean-Michel Othoniel Photo Nicolas Delsalle How did Avignon's religious history shape the show? Many of the venues are former chapels or sacred spaces, and that inspired a lot of the works. I'm not religious, but I explore the sacred: the sense of beauty, contemplation and connection. It's about spirituality in a broader sense. For the first time, works are suspended from the ceiling of the largest room of the Palace of the Popes, measuring 818 sqm and 19 meters high: four Astrolabe hanging mobiles, each five meters in diameter, and an expanse of blue bricks sculpted in the shape of whirlpools on the floor Photo Y-Jean Mun-Delsalle Tell me about the artworks in the Palace of the Popes. That's the heart of the show. There's a massive chapel that's 800 square meters in size and 19 meters high, where I've created five monumental pieces – one on the floor, four suspended. The enormous scale interacts with the architecture. It's operatic. And on another wall, I'll show 60 of my paintings for the first time in France. They're abstract, floral, emotional – people don't know this side of my work. On the walls of the feasting hall of the Palace of the Popes, Jean-Michel Othoniel presents 60 ink paintings on white gold leaf, variable dimensions, never before exhibited in France Photo ENoveJosserand / Avignon Tourisme One of the most talked-about pieces is a large red heart. What's the story behind it? It's a Murano glass heart hidden behind a golden gate in a ruined chapel. It's a tribute to that first feeling of falling in love – what we call ' coup de foudre '. You'll discover it while walking through the city. It's romantic and unexpected. Four-meter-tall Yardang sculpture in mirror-polished stainless steel bricks by Jean-Michel Othoniel in the Ancient Chamber of the Chamberlain of the Palace of the Popes Photo Y-Jean Mun-Delsalle There's also a multi-sensory component: fountains with perfume. Yes! In the newly opened Bains Pommer, I've installed real fountains with water and perfume. I worked discreetly with Dior's Francis Kurkdjian to develop the scents. It's a new experience – touching not just the eyes, but sound and smell. 14 glass fountains by Jean-Michel Othoniel hidden in the 19-century Bains Pommer - Museum of Hygiene's bathing cubicles bring movement, sound and freshness to this little-known museum in Avignon Photo Y-Jean Mun-Delsalle Your installation at the Lambert Collection feels especially personal. How does it fit into the larger narrative of the exhibition? The Lambert Collection is where I explore the theme of abstraction in a very focused way. I worked closely with the curator to select minimalist and conceptual works from the collection that resonate with mine, and created an installation that highlights the dialog between them. For me, it's about showing how minimal art can also be sensual and generous. That was my first love – the first ghost of love, really – when I saw abstract art as a child in St. Étienne Museum. It was a shock, but a joyful one. I'm also showing some of my oldest pieces there, like my first brick from the 1980s, to trace how these ideas have been with me from the beginning. Many of your works feel like they exist between fragility and monumentality. How do you balance those two extremes? That tension is what interests me most. Glass is delicate, but when you scale it up, it becomes powerful, almost architectural. I love that contradiction. You can't touch it, but it touches you. It reflects your image, your surroundings, your emotions. It's like holding up a mirror to the world, but in a poetic way. At the Lambert Collection, Jean-Michel Othoniel has gone back to his artistic roots by paying tribute to the minimalism and abstraction he was lucky enough to experience as a child at St. Etienne Museum Photo Y-Jean Mun-Delsalle A real highlight is your collaboration with choreographer Carolyn Carlson. Yes, it's incredibly moving. Carolyn gave her first performance in the Cour d'Honneur in the 1970s, and now at 82, she's dancing her final performance there, alongside Paris Opera Ballet stars Hugo Marchand and Caroline Osmont. She created a choreography that responds directly to my installation. It's a powerful moment – closing the circle. With so many venues, how did you handle the logistics? It was like a big movie production. We had 50 trucks leaving the studio to go to Avignon, almost 400 people working, and my team of 20 relocated to Avignon for a month and a half. Each piece was assembled on site. It was intense, but also beautiful. Amber bricks made in India form a Precious Stonewall by Jean-Michel Othoniel in the Lapidary Museum of archeology: a mammoth wailing wall adorned by glass beads or spiritual mastaba Photo Y-Jean Mun-Delsalle What was the most emotionally challenging part of the process? Choosing which works to show and which stories to tell. This exhibition is very intimate in some ways. It's about the loves I've lost, the places I've dreamed of, the people who have inspired me. Finding the right way to share those feelings with the public was not always easy. Do you view this exhibition as a kind of retrospective? Not really. It's not about looking back – it's more of a culmination. Yes, there are works from different periods of my career, but this is a new chapter. It's like I've created a new language with all the vocabulary I've built over the years. There's a sense of arrival, but also of starting something bigger. A Lotus sculpture in mirror-polished stainless steel by Jean-Michel Othoniel in the Calvet Museum interacts with the museum's collection of classical sculptures Photo Y-Jean Mun-Delsalle If there's one message you'd like visitors to take away, what would it be? That beauty matters. That love – whatever form it takes – is a force that moves us. I hope people leave feeling lighter, more open, more connected. If even one person is changed by this experience, then I've succeeded. What do you hope this exhibition leaves behind both for you and for Avignon, which is celebrating its 25th anniversary as European Capital of Culture and its 30th anniversary as a UNESCO World Heritage Site this year? We're living in difficult times. I hope this show brings joy, energy and hope to people. For Avignon, I hope it becomes a beautiful memory – just like the exhibition 'Beauty' did 25 years ago. I want the city to feel proud, to see itself anew through art.
