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Geek Girl Authority
28-06-2025
- Entertainment
- Geek Girl Authority
MURDERBOT Recap: (S01E08) Foreign Object
Murderbot Season 1 Episode 8, 'Foreign Object,' delivers a handful of narrative revelations, from confirmation of Gurathin's love for Mensah (although, let's be real, this was evident from the get-go) to SecUnit slaughtering 57 miners. That last one is a doozy. We finally have context regarding those violent flashbacks. Additionally, our resident throuple attempts to call it quits, and the alien remnants are back in the conversation. Oh, and Leebeebee's employer? A shady mining company. It's a lot . But damn, is it fun. I love this show. RELATED: Read our recap of the previous Murderbot episode, 'Complementary Species' Murderbot, 'Foreign Object' We open with a scene from The Rise & Fall of Sanctuary Moon . The lieutenant (Clark Gregg) is now the captain after the Navigation Unit (DeWanda Wise) decapitated the former captain (John Cho). However, he wiped the Nav Bot's memories, so she won't go all homicidal again. He tries to reassure the crew of this, but the Navigation Officer (Jack McBrayer) isn't so certain. The captain urges the crew to forge ahead (Boldness is all, right?). He tells the Nav Bot to smile, which she does — creepily. Instead of sending the ship through the wormhole, the Navigation Unit has them skirting the event horizon. So, they're stuck … forever. MURDERBOT Season 1 Episode 8, 'Foreign Object' — Photo courtesy of Apple TV+ Plot Twist Then, the Nav Bot proceeds to kill the crew. She zeroes in on the captain, though, and we learn that she didn't kill the former captain/her lover — he did. So, the Navigation Unit pops his head like a zit. DeWanda Wise is amazing in this few-minute scene. She kills it (literally). RELATED: Alexander Skarsgård Goes Rogue in Murderbot Trailer Unfortunately, Murderbot (Alexander Skarsgård) can't finish the episode to see how it all plays out. Mensah (Noma Dumezweni) interrupts it. We see our PresAux gang has parked the hopper a safe distance from the habitat. Gurathin (David Dastmalchian) isn't doing so well. He needs the med bay now. Ratthi (Akshay Khanna) offers to scour the area for any hostiles. MURDERBOT Season 1 Episode 8, 'Foreign Object' — Photo courtesy of Apple TV+ However, SecUnit remarks that it doesn't see any vehicles. It grabs the camera it installed nearby that collects footage from the habitat. Mensah, Ratthi and Murderbot rejoin Arada (Tattiawna Jones), Pin-Lee (Sabrina Wu), Bharadwaj (Tamara Podemski) and Gurathin inside the hopper. They watch the footage. GrayCris In it, a few SecUnits, much like the rogue ones who attacked our crew, enter the habitat, followed by real humans. Pin-Lee researches the insignia on their clothing. They're from GrayCris, a mining company. Their leader (Amanda Brugel) addresses the gang. She admits to dismantling PresAux and DeltFall's beacons. However, they killed Leebeebee, so she declares they should call it a wash. RELATED: David Dastmalchian Joins Apple TV+ Murderbot Adaptation If our heroes want to get off the planet, the GrayCris leader states they must cooperate. She sends them a designated meeting location and time where they can hash this out. She insists this is a misunderstanding. As a gesture of good faith, GrayCris will depart their habitat. 'This doesn't have to end in violence,' the GrayCris leader says, causing our titular bot to scoff in disbelief. Mensah insists they get Gurathin down to the habitat now. Everyone debates whether they can trust GrayCris to leave, or if they're lying in wait to attack. Murderbot decides to survey the area itself. (Sorry, Ratthi.) MURDERBOT Season 1 Episode 8, 'Foreign Object' — Photo courtesy of Apple TV+ Dangerous Procedure After concluding that the habitat is safe, the PresAux crew returns with Gurathin. They set him up in the med bay. Bharadwaj informs the group that Gurathin has gas gangrene — a projectile from the skirmish with the rogue SecUnit embedded itself in Gurathin's leg wound. However, Bharadwaj can remove it. RELATED: New TV Shows This Week (June 22 – 28) Gurathin insists on no painkillers because he's a recovering addict. Mensah honors this. Murderbot believes it can block Gurathin's central nervous system to prevent pain. After all, Gurathin is an augmented human. SecUnit insists it only needs to plug into Gurathin. It's done this before. Mensah hopes it didn't get this idea from a Sanctuary Moon episode. (Okay, it was episode 502 of Medcenter Argala .) SecUnit and Gurathin connect via hardwire. Now, Murderbot has access to Gurathin's database, as it were. We finally get confirmation that Gurathin carries a torch for Mensah. And it's unrequited. Ouch. Murderbot finds itself saying 'I love you,' echoing one of Gurathin's memories. It's quite emotional. MURDERBOT Season 1 Episode 8, 'Foreign Object' — Photo courtesy of Apple TV+ A Revelation Thankfully, Bharadwaj works quickly, removing the projectile in no time. She urges Gurathin and SecUnit to unlink. However, Gurathin decides to do a little snooping. That's when he taps into SecUnit's violent history. Those flashbacks Murderbot keeps having throughout the series? A memory of it killing 57 miners during a mining expedition. RELATED: On Location: The Lighterman in Apple TV+'s Slow Horses Gurathin tells the others what he saw. He adds that SecUnit calls itself 'Murderbot.' Naturally, the PresAux crew is horrified. SecUnit tries to explain itself. It has killed before, yes, but only to protect its clients. To it, that's not murder. 'It's debatable,' Pin-Lee remarks. SecUnit claims it's not a certainty that it murdered those 57 people. Gurathin pours salt in the wound, declaring that perhaps Murderbot is a faulty sentient construct. A malfunctioning machine that will inevitably turn on them. This moment mirrors the scene from Sanctuary Moon at the beginning of the episode. Murderbot storms out. Aliens and Throuples The team debates whether they need Murderbot. Can they go on without it? Should they still plan to meet GrayCris at the rendezvous point? Meanwhile, SecUnit goes for a walk to clear its head, playing clips from its favorite shows to alleviate its anxiety. It realizes it needs its clients to get off this planet. RELATED: On Location: The Phoenicia Diner on Apple TV+'s Severance At the same time, Pin-Lee explains why the Company wouldn't be involved in something like this. The DeltFall massacre reflects poorly on them. Dead people are bad for business. So, what does GrayCris want? Ratthi mentions the alien remnants that Mensah discovered. That could be enough to kill over. Next, Pin-Lee and Arada believe it's time to end the throuple arrangement. Ratthi enters their bedroom and voices the same sentiment, much to their relief. He claims it's because he's fallen in love with Pin-Lee. Of course, we know Arada has a crush on Ratthi. MURDERBOT Season 1 Episode 8, 'Foreign Object' — Photo courtesy of Apple TV+ I Have a Plan Regardless, these feelings certainly muddy the relationship waters a bit. Pin-Lee asks Arada if she doesn't find them attractive. She seems to be incredulous that Ratthi would be smitten with Pin-Lee. Ratthi insists they can all talk about this. Not now, though, because they might die. RELATED: Read our Murderbot recaps Suddenly, it dawns on Murderbot that it doesn't have to die. Sure, its clients might bite the dust, but that doesn't mean it has to. It's the author of its own story. Meanwhile, Gurathin and Bharadwaj insist everyone gather their supplies and flee. Mensah offers to meet with the GrayCris leader. Murderbot returns to the habitat to inform the PresAux crew of its plan. Does it involve murder? Who knows. Murderbot drops new episodes every Friday on Apple TV+. TED LASSO Season 4 Is Officially a Go at Apple TV+ Contact: [email protected] What I do: I'm GGA's Managing Editor, a Senior Contributor, and Press Coordinator. I manage, contribute, and coordinate. Sometimes all at once. Joking aside, I oversee day-to-day operations for GGA, write, edit, and assess interview opportunities/press events. Who I am: Before moving to Los Angeles after studying theater in college, I was born and raised in Amish country, Ohio. No, I am not Amish, even if I sometimes sport a modest bonnet. Bylines in: Tell-Tale TV, Culturess, Sideshow Collectibles, and inkMend on Medium. Critic: Rotten Tomatoes, CherryPicks, and the Hollywood Creative Alliance.
Newsweek
14-06-2025
- Entertainment
- Newsweek
Murderbot Season 1 Episode 7 – Release Date, Schedule, How To Watch
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Entertainment gossip and news from Newsweek's network of contributors Following a huge setback in episode six, the team in Murderbot have found themselves in a spiral. Now, episode seven is on the horizon as we enter the final few episodes of the first season based on Martha Wells' hit novel series, The Murderbot Diaries. DeWanda Wise and John Cho in "Murderbot," now streaming on Apple TV+. DeWanda Wise and John Cho in "Murderbot," now streaming on Apple TV+. Apple TV+ READ: EXCLUSIVE CLIP: The Amateur Gets New Digital Release Date – How To Watch What's to come in Murderbot episode seven? Well, we have all the information on how to watch Murderbot season one, episode seven, including the Murderbot season one, episode seven release time and the Murderbot season one, episode seven release date below. Murderbot Season 1 Episode 7 Release Date Murderbot season one, episode seven, will be available to stream on Apple TV+ on June 20, 2025. New episodes of Murderbot season one premiere each Friday on Apple TV+ through July 11, 2025. Murderbot Season 1 Episode 7 – How to Watch Murderbot season one, episode seven, will be available on Apple TV+ from 6 pm Pacific Time (PT) on June 20, 2025/9 pm Eastern Time (ET). To watch Murderbot season one, you will need an Apple TV+ subscription. A monthly subscription costs $9.99, following a 7-day free trial for new customers. What Time Does Murderbot Season 1 Episode 7 Come Out? Murderbot season one, episode seven, will be available to stream from 6 pm (PT) on June 20, 2025/9 pm Eastern Time (ET). With the evening streaming release in the US, the debut time in other time zones will differ. Here is when Murderbot season one, episode seven, will air in your time zone: June 20 BRT: 10:00 pm June 21 BST : 2:00 am : 2:00 am CEST : 3:00 am : 3:00 am IST : 6:30 am : 6:30 am JST : 10:00 am : 10:00 am AET : 12:00 pm : 12:00 pm NZDT: 2:00 pm Murderbot Season 1 Release Schedule Episode One: May 16 May 16 Episode Two: May 16 May 16 Episode Three: May 23 May 23 Episode Four: May 30 May 30 Episode Five: June 6 June 6 Episode Six: June 13 June 13 Episode Seven: June 20 June 20 Episode Eight: June 27 June 27 Episode Nine: July 4 July 4 Episode Ten: July 11 Murderbot Season 1 Episode 7 Runtime Murderbot season one, episode seven, does not yet have a confirmed run time. Previous episodes of Murderbot have run between 22 and 29 minutes. What Will Happen in Murderbot Season 1 Episode 7? The plot details for Murderbot season one, episode seven, are currently under wraps. Previous episode synopses can be found below: Episode One: On a fresh assignment, Murderbot's newfound free will leads to odd behaviour, sparking suspicion from the PreservationAux team. On a fresh assignment, Murderbot's newfound free will leads to odd behaviour, sparking suspicion from the PreservationAux team. Episode Two: Mensah and Bharadwaj risk everything to investigate a mysterious region. Gurathin goes toe-to-toe with Murderbot. Mensah and Bharadwaj risk everything to investigate a mysterious region. Gurathin goes toe-to-toe with Murderbot. Episode Three: The PresAux team heads to a new base to search for answers. Murderbot gets tangled up in a SecUnit showdown. The PresAux team heads to a new base to search for answers. Murderbot gets tangled up in a SecUnit showdown. Episode Four: As an enemy takes aim at Murderbot, an ally tries to orchestrate a getaway. The team grapples with a leadership shakeup and a shocking ultimatum. As an enemy takes aim at Murderbot, an ally tries to orchestrate a getaway. The team grapples with a leadership shakeup and a shocking ultimatum. Episode Five: PresAux pulls out all the stops to forge a path forward. Tensions mount when trust is tested — and a DeltFall survivor joins the fold. PresAux pulls out all the stops to forge a path forward. Tensions mount when trust is tested — and a DeltFall survivor joins the fold. Episode Six: A critical setback sends the team into a spiral. Mensah rolls the dice on a tricky procedure. LeeBeeBee changes her tune. (as per Apple TV+)
Los Angeles Times
17-04-2025
- Entertainment
- Los Angeles Times
The freedoms of a.k. payne's award-winning abolition play ‘Furlough's Paradise,' onstage and off
Among the notes included in the 'Furlough's Paradise' script is an etymology of the word 'furlough' — as in, 'permission, liberty granted to do something.' Its various definitions throughout the history of language make clear that, whether by going away, retreating from or abstaining from having to do with, to leave is, essentially, to allow to survive. This idea is at the core of a.k. payne's moving two-hander, which stars DeWanda Wise and Kacie Rogers as estranged cousins — one on a three-day furlough from prison, another an Ivy League graduate on a break from her tech job — who reunite in their hometown for a funeral. They begin to process their conflicting memories, clarify their respective resentments, share their dreams of freedom and, in the safety of each other's company, they each allow themselves to let go of everything to just be who they are, wholly and fully, alongside the one person in the world who sees them in their entirety. The West Coast premiere of 'Furlough's Paradise' — which just won the Susan Smith Blackburn Prize, the prestigious international award that honors women+ playwrights — is directed by Tinashe Kajese-Bolden and runs through May 18 at the Geffen Playhouse. Between rehearsals, payne tells The Times about the real-life inspirations for these onstage cousins, the necessity of a choreographer for this production and the lessons learned from their graduate school professor, Geffen Playhouse artistic director Tarell Alvin McCraney. This conversation has been edited for length and clarity. What inspired this play? The play first was conceived when I was in grad school, but I was thinking about it for years before then, without the language for it. The initial impulse came from my own curiosity around the ways that incarceration impacts families. Where I'm from, everybody who is Black in our city has a reference point to the Allegheny County Jail, which is in the middle of Pittsburgh. My earliest memories are writing letters to family members who were incarcerated; as a young person, seeing family who was in that place transformed how I saw the world. I also wanted to write a play that was inspired by the relationship between my cousin and I. We're both only children; we're almost siblings. And though the play traffics realism and has an illusion of realism, I'm really passionate about it not being a living room play; it's a play about the Afro-surreal and the ways that Black life is always a little bit askew, like our experience of it doesn't always match the way people perceive it or understand it. Who are these two characters to you? Frederick Douglass talks about being free in form versus free in fact — the idea of seeking a freedom in your mind and how you see the world, and the fact that systems of oppression and power don't get all of us because we're able to imagine alternative ways to exist. Both of these characters are wrestling with real instances of denials of freedoms, and I want this play to invite us to see the ways that these different systems have impacted both of them. Because Sade's body is physically incarcerated, she really fights for her mind to be free. She stands on business, she speaks truth and names things as they are, and she doesn't shy away from that. There's something honorable about her absolute refusal to lie or cheat, even in the midst of what this world has deemed criminal, and the ways in which people who have committed crimes are not always seen in their full humanity or in their integrity. That's why Sade is so clear about what her dreams are. I wanted to really center that in the play because it's important to listen to folks who have existed inside and honor the dreams of those who are most affected by these systems. Mina is trying to be free in many different ways. The life she's lived has colonized her mind, her body, everything, and she's fighting to let herself feel comfortable in a space for a few days. She can't even find the language for what her dreams are because she's trying to free her tongue from these institutions. So though the play started as a love letter to a lot of my family who've been affected by incarceration, I wanted to also draw a love letter to versions of myself and my friends who have been in academic institutions, and have really suffered as Black and brown people and people of color in these spaces. What do you hope audiences experience during these three days with Mina and Sade? Sometimes it's hard to sit in the rehearsal room with this play, because I want another world for these characters; I want to just get them out of this room and get them somewhere else, away from everything. Who were they before all the stuff they put on each other, and how can they be able to just not have to carry all of that? To me, that's evocative of what abolition means; it's the capacity to exist together, and to break apart the rigid ways that we contain and police ourselves. So my hope is that audiences watch the play and want to create alternative spaces for Black people to actually be and exist and care for each other, and cherish being present with each other without being confined. Geffen Playhouse's artistic director Tarell Alvin McCraney, also the chair of playwriting at Yale School of Drama, described you as 'one of the most powerful writers I've encountered in my time as a professor.' What was it like to be taught by him? Tarell is an extraordinary teacher and mentor, as well as artist, of course. I started at Yale School of Drama in 2019 — I had gone straight through from undergrad, which was really difficult because of the elitism, the white supremacy and all the things. Tarell was extraordinary at crafting an oasis and fugitive space within an institution that honestly had caused a lot of harm for so many people who looked like me. Grad school had its challenges, but the community I found in the playwriting department was such a gift. Our entire nine-person cohort was students of color, and Tarell created a horizontal leadership model in the program that allowed me to feel supported as an artist and a full person, where you can really listen to your own voice as a playwright and trust that voice. He created such fertile ground for exploration and play. 'Furlough's Paradise' made its world premiere at Atlanta's Alliance Theatre last year. What did you learn from that staging that you're integrating into this one? One of the biggest things is embodiment — it's an endless question and the conundrum of being a Black writer in America and writing in English. I love this quote by Ntozake Shange: 'i cant count the number of times i have viscerally wanted to attack deform n maim the language that i was taught to hate myself in.' That feels so relevant to how I think about language — there's the constant awareness that this is a colonial language that my people were forced to speak, and so much that we do and experience just cannot fit into English. So in this rendition, I've been thinking more about the body. Mina and Sade keep doing these comparisons [of each other] where, in all of that language, there's no space to actually fully see both of them. But in these dream sequences at night, we see what they're wrestling with outside of language. My hope is that those allow us to go to the limits of language, and see what our bodies do when language isn't enough. There were movement consultants for a few gestural beats in other renditions, but having choreographers from day one of this process has been incredible. How did you first start writing plays? I grew up doing some musicals and operas in Pittsburgh, and my mom is a music teacher so I was always in her choirs. When I went to an arts magnet school, I majored in literary arts, and I wrote my first play in seventh grade. I entered it in City Theatre's Young Playwrights Contest and I remember being in rehearsals for my play and thinking, 'I love making stuff, being with people and imagining stuff together. I just want to do this forever.' Theater making for me is not just about my own little independent vision; there's so much collaboration that goes into a show and I love making space on the page for other artists. In undergrad, I directed a lot because I didn't see the spaces that I wanted to create work in and I didn't feel comfortable acting. I didn't really feel there were structures for the work I wanted to write. But I fell in love with the practice of making theater and building ensemble to support that — specifically Black theater, the histories of Black theater and the ways that Black theater artists have imagined alternate worlds. What structures can theater institutions prioritize to encourage more of the work you want to make? Institutions are trying to improve things — even Tarell being here [at the Geffen] and being deeply committed to the work of Black and brown people and bringing in voices that are not traditionally in white American theater spaces. But I find it critical to create alternative spaces entirely, because there's always going to be a limit to what institutions that are not owned by us can do. I love the concepts of fugitivity and how people have created spaces that are not always visible to the institutional or public eye, that go deeper and aren't necessarily trying to be big or fit into the systems. I wonder if there are ways that larger institutions can support many different kinds of theater making, like pouring into smaller artist collectives in a way that enables them to create with autonomy. I'm also obsessed with maroonage, a Black cultural tradition in which people who were enslaved would escape to the mountains and form independent communities. In a theatrical tradition, what does it mean to create our own stuff and center our own gaze in our making of things? I've been building a theater collective in line with these things, and it's Black folks who gather by bodies of water and just make experimental stuff. This past summer, we gathered in New Rochelle and did double Dutch lessons, clowning classes and Pilates. Spaces like that are so critical to creating community and ensemble, which is hard when working on a small play like 'Furlough's Paradise.' So for the next renditions on the East Coast next year, I'm hoping to gather all the artists working on it [at the various theaters] and spend three days mapping out freedom dreams.
