‘Pluribus’ Review: Vince Gilligan And Rhea Seehorn’s Sci-Fi Series Is Unlike Anything On TV — In The Best Way Possible

Towards the end of the first episode of Pluribus, series protagonist Carol Sturka poses the question that will echo in viewers’ minds throughout the gloriously mysterious season: “What the fuck is happening?!”

In the lead-up to the highly-anticipated premiere of the Apple TV series, people knew that the title and several key concepts explored in Pluribus were inspired by America’s motto, “E pluribus unum,” which translates to “Out of many, one” in Latin. But creator Vince Gilligan went to great lengths to keep specific storylines and details that make the new sci-fi series so compelling shrouded in secrecy.

Critics were given a lengthy list of plot points to avoid mentioning in reviews, which were embargoed until 9:00 p.m. ET on November 6, when the first two episodes became available to stream. Having devoured seven of nine episodes provided, I can’t stress the value of that pure, unspoiled viewer experience enough. So what can we say without ruining the mind-blowing reveals to come? At a time when the United States is extremely divided, Pluribus dares to imagine a world in which everyone is happy. Well, almost everyone…

After years of being frustrated by viewers putting his male antiheroes and villains on pedestals, Gilligan (Breaking Bad, Better Call Saul) vowed to build his next project around a more traditionally heroic figure — and a female one, at that. When the inspiration for this story first came to him a decade ago, Gilligan considered centering another male lead, but after beholding her brilliance in the Breaking Bad prequel, he auspiciously thought, “Better call Rhea!” and wrote the role with Seehorn’s innumerable strengths in mind.

Flawed and reluctant, but a well-meaning hero nonetheless, Seehorn’s Carol is a bestselling author of the Winds of Wycaro romance series. Professionally, she’s thriving, but she’s emotionally unfulfilled by her job, has an unhealthy relationship with alcohol, and feels the need to hide crucial parts of herself from readers. Pluribus dubs her the most miserable person on Earth, and when the world changes in unprecedented ways, she makes it her mission to save others from happiness. Along the way, Gilligan and team challenge us to examine the dystopic costs of pursuing a utopia.

In trying to hype up Pluribus by comparing it to a hit series more recent than Game of Thrones, Seehorn’s Better Call Saul co-star Bob Odenkirk suggested it would be the biggest thing since Severance, another ambitious drama that’s helped make Apple TV a destination sci-fi streamer. Both shows feature thrilling, perplexing, lean-forward material with uncomfortable relatability that will keep viewers thinking. And if the similarly rebellious Helly R (Britt Lower) and Carol S ever teamed up, I imagine there’s no system they couldn’t dismantle. Despite those parallels, the biggest thread Pluribus shares with Severance is that in a world ripe with reboots, remakes, and spinoffs, it feels unlike anything else on television — in the best way possible.

Pluribus marks Gilligan’s return to sci-fi 30 years after his game-changing work on The X-Files, and he’s already cited Invasion of the Body Snatchers and The Twilight Zone as sources of inspiration. But to try to confine the genre-bending series to a single box would be an outrageous disservice. The powerhouse pilot, one of 2025’s most impressive TV episodes, takes the brilliant, unsettling form of a mini-horror movie that thrills, terrifies, and captivates. As the season progresses, Pluribus does drama, diving deep into themes surrounding grief, isolation, and a post-apocalyptic world. But in true Gilligan fashion, the story never sacrifices humor for high stakes. Pluribus charms and subverts expectations by regularly integrating comedic notes and strikes a special balance between light and dark, or dread and hope. Conversely, amidst lighthearted, undeniably fun scenes, the show’s heavier concepts and horrifying realities still successfully loom.

Though the new series drastically departs from the fictional world explored in Breaking Bad, Better Call Saul, and El Camino, like its predecessors, Pluribus makes Albuquerque, New Mexico a character all its own. With dozens of returning creatives, fans of the Gilliverse will feel a flood of familiarity from the show’s breathtaking cinematography, thoughtful blocking, dramatic lighting, and intricate set design. Visually and technically speaking, the team is firing on all cylinders, but it’s impossible to properly praise their efforts and achievements without revealing too much.

Pluribus choreographer Nito Larioza, who orchestrated elaborate group scenes and haunting physical movements, deserves a special shoutout, as does the show’s masterful use of sound. (Shoutout to a personal favorite, Episode 7, which creatively raises the bar.) Perfectly matched music ramps up suspense and intrigue. Seemingly prosaic background noises like car alarms, labored breathing, or crackling downed wires become chilling symphonies. And lengthy dialogue-free scenes capture the reality of meditative stretches of solitude. In the hands of the wrong creator or lead, Pluribus’ meticulous pacing and slow-burn scenes might distract or enrage. Instead, the bold creative risks engage, and remind viewers that Pluribus soars so high because Seehorn is relentlessly watchable — in mundane and adrenalin-pumping moments alike.

Those who were lucky enough to witness the Better Call Saul star bring legendary lawyer Kim Wexler to life know that Seehorn regularly gives Emmy-worthy performances, despite repeatedly being snubbed by the Television Academy. Gilligan knows her worth and makes full use of her outstanding range again, writing a multifaceted character who’s curious, hot-tempered, sarcastic, intelligent, and guarded. Carol wields dark humor and expletives as defense mechanisms, but in rare moments when her armor cracks — like an impressive premiere oner fueled by her facial journey — Seehorn palpably portrays existential terror, crushing grief, and fiery rage. Though she nails the drama, the role also lets her flex her comedic chops, cutting through tension with welcome levity. In a tour-de-force performance, Seehorn repeatedly proves she can carry a one-woman show, but Pluribus wisely pairs her with other standout talents who bring out new sides of Carol.

Despite her closed-off, inherently skeptical nature, Seehorn’s character has a refreshingly honest relationship with her manager, Helen, played by guest star Miriam Shor (Younger). In a role sure to catapult her career, Karolina Wydra (Sneaky Pete) stars as Zosia, a chipper, warm, calming woman who frequently finds herself on the receiving end of Carol’s outbursts. With the two regularly emitting contrasting emotions, the inability to let each other’s performances inform their acting makes the resulting scenes and electric chemistry all the more impressive. Unlike Carol’s curmudgeonly approach to the situation at hand, Samba Schutte’s (Our Flag Means Death) lighthearted, effervescent character openly embraces the vast potential this new world has to offer him. Meanwhile, Carlos-Manuel Vesga’s (The Hijacking of Flight 601) crucial character piques interest with quiet intensity, unshakeable conviction, and one hell of a journey ahead.

With one of TV’s most trustworthy drivers behind the wheel, Pluribus promises a wild, unpredictable, thought-provoking ride. Gilligan’s passion and confidence in this fresh, fearless era shines through sharp writing and clear-eyed directing. The series is a stellar showcase for Seehorn’s undeniable talents, and with a Season 2 renewal already secured, Pluribus seems poised to become the next big prestige streaming series to dominate cultural conversation.

New episodes of Pluribus premiere Fridays on Apple TV.