I'm 99% sure it's going to suck, but at least perhaps maybe it will rekindle interst in the games enough to help bring them to GOG. A longshot, I know, but still more likely than the series being any good.

You could have Rebecca Lansing and her crew back on Earth, and the people barricading themselves on the flight level as active characters besides the hero and villain. System Shock as a story wouldn't be hard to fit in the old "Die Hard on a..." template, just with a bit more cyberpunk/horror edge. I think it would work better as a movie with tight, suspenseful plotting. A TV series sounds like a great way to kill the concept with bloated storytelling (tonight's episode: SHODAN becomes self-aware! That's it that's the whole show...). That said, I don't have any faith in this. The showrunner sounds like he's attaching himself to video game properties the same way that David Goyer broke into Hollywood by adapting every single comic book he'd ever read into a screenplay, none of which were particularly well-written and the only good movies he was involved in were good because of their directors.

That's just a poor use of the medium, then.
Just as Jackson's Hobbit trilogy had little in common with Tolkien's source material, apart from the rudiments like plot and many fewer characters —— as befits the medium of action movies in comparison to the written books —— so too a movie of a game should fork from the source material and elaborate some alternative plot that is more interesting (in a movie mise en scêne) than the game from which it sprang. I don't know many successful films that have crossed over from a game, but there must be a few —— what did the better ones do right? What about all the Milla Jovovich franchise? What about Dwayne Johnson is Doom?
(Seriously, Angry Birds Movie 2 has the second highest Rotten Tomatoes score (!) I thought this review site was a better yardstick.):

As I said, it is a mistake to make a movie that is some sort of direct transliteration of the game.

It can be done. We did enjoy the first (Timothy Olyphant) Hitman film, for instance. (From the Rotten Tomatoes summary: "Critics Consensus: Hitman features the unfortunate combination of excessive violence, incoherent plot, and inane dialogue." I diagree, but de gustibus non disputandum est.)

That is Sturgeon's Law writ large.

As Oscar Wilde said, talent borrows and genius steals; it is not surprising that iterations create, eventually, a fitter and more evolved diegetic suite of tropes in our epistemic commons.¹ So, it is likely that about one of the ten retcons will actually be an improvement on the ideas from any given game. (The writer of the screenplay for Batman versus Superman is a philosophy major who used classical Greek mythology: it's Hades against Apollo.)

OTOH, We just watched the latest permutation of Ghost in the Shell —— the movie with Scarlett Johansson —— and were unexpectedly impressed. What impressed me most was that it had improved on the original film (itself originally from a different medium: manga) that I had enjoyed when it first released. This is the third version of this particular transhuman story, thus from a third auteur incorporating some of the ideas from the previous two (I never read the graphic novel that came out between the original animated movie and this last one.)

For another example, I can think of the television series Dark Shadows that was mediocre until the Dan Curtis brought in a new character in the third season: a vampire —— Barnabas Collins —— to create what became a cult teenage soap. Oh, and it was successful mainly due to an epic story. ________
¹ The public domain pool of ideas from which everyone uses for their fashionable comments. It was Hrishikesh Joshi (2021) who first identified the division of cognitive labor and gave us this term. (Ecce! A self-referential [Hofstadter] strange loop.)

________
edit:
Expanded and improved analogies, fixed the typo that was keeping me awake (suite, not suit) and removed the anecdote for which I could find no reference about Dan Curtis not watching the show.
Also added reply to subsequent comment. AND fixed another hyperlink title garbled by Gog forum software.

Whadda !!? Has someone gotten Uwe Boll out of retirement !!?

It makes me miss the days of Ed Wood or Rodger Corman, when they were trying their hardest to make what they could with a shoestring, but it'd better be a cheap shoestring! Like that Fantastic Four movie that never was.

The thing is, a lot of System Shock is already told visually, and as I've pointed out, you can get the whole thing across in about 30 minutes of audio.

I'm not big into TV shows but I'd love to see the System Shock IP gain more attention

Now I finally get to know who is that guy, Hide the pain Harold, LOL.
Hey, looking at the record of what happened with this IP he could very well apply for a job: try to imagine how creepy would be the cyborgs with his face!

If it's live action, and retro, surely it has to mean silver coloured cardboard boxes and plastic guns, no ?.

Postscriptum
When I saw, earlier this morning, that Microsoft has produced a spin-off of their hugely popular first-person shooter,Halo¹ that is releasing imminently on the Paramount+ streaming service another observation occurred to me.

As is well known, the gaming industry has grown exponentially over the last few decades. Some people, including a large, vocal fraction of Gog customers, lament the paucity of strong narrative-driven single-player games that used to be the biggest selling, most popular and enduring titles at the end of the last millennium.

The crossover from game to episodic drama now prevalent on streaming services provides yet another permutation for content creators. If done adequately, it provides a perfect vehicle for strong narratives.

So, those who decry the plethora of saccharine bubblegum shovelware that predominates the modern gaming landscape, or anyone nostalgic for the glorious ’90s blockbuster games, or even simply a fan of good games, it would behove us all to encourage and support any of these attempts to create movies and television melodrama from games, if only to encourage more strong narrative games to be created from which other revenue streams may be derived, since that must improve the industries collective comprehension and competence.

It is a self-defeating martyrdom for those who obstinately desire traditional story-driven games to also insist that the gaming industry is somehow special, a [i]Beau Art[.i] too pure to be sullied with the proletarian televised soap opera mass consumption.




________
¹ I had already lost interest in twitch gaming when the original Halo was released, though I did play the demo and thought it was finished to a very high standard.