Toward the end of the first episode of Pluribus, Carol (Rhea Seehorn), who finds herself in a bizarre and impossible situation, asks a very straightforward question: “What the fuck is happening?” It’s likely a question you’ll be asking yourself a lot while watching, and I certainly did. The ongoing sense of mystery and the deliberate pace at which Pluribus reveals its story are among the best aspects of this new series from Breaking Bad creator Vince Gilligan. While I can’t spill too much just yet, I can say that feeling bewildered is part of the charm.
So, what can I share? Carol is a successful writer of fantasy novels—sorry, “speculative historical romance literature”—and she despises both her work and her audience. Despite her wealth and supportive partner, who also manages her career (Miriam Shor), Carol is largely unhappy, managing to mask her feelings in public.
Join me for a spoiler-heavy discussion on November 10th. While I’ve done my best to keep this early review spoiler-free, Pluribus really invites deeper conversation. So check back on The Verge on Monday, November 10th, after the first two episodes drop on November 7th, when I’ll host a book club-style chat for Verge subscribers. We can dive into Apple’s new venture into sci-fi together.
Everything changes when… well, something happens. I want to avoid deep spoilers before the show’s premiere, but the premise is that after a global event resembling an apocalypse, nearly every person on Earth experiences a wave of unshakeable happiness. They become peaceful, collaborative, and incapable of harming living beings. Carol, however, remains unscathed—though not for a lack of effort. Early in the show, while outside a hospital resembling a warzone, these “others” (as I’ll call them) try to bring her to their side. When they fail and she freaks out, they all chorus, “We just want to help, Carol!”
It’s incredibly unsettling and puts Carol in a tricky spot. Typically, she voices her complaints about the world, but now she’s one of the few capable of saving it. Figuring out how to do that is no small feat. Going up against billions puts her at a severe disadvantage. Interestingly, while the others want her to join their group, they’ll go to great lengths to ensure her happiness. It’s in their nature; when Carol becomes upset or angry, it physically harms them. This creates an intriguing tension where she must manage her emotions while navigating an incredibly stressful situation.
The first two episodes mainly focus on Carol grappling with this bizarre new reality, which gives viewers time to do the same. While Pluribus has some elements typical of a post-apocalyptic story, it diverges significantly. After all, does this world really need saving? Nobody in The Walking Dead wants to be a flesh-eating zombie, but being a perpetually cheerful person? That might not sound too bad. As one of the “others” states early on, the day the change occurred was the “greatest day in the history of humanity,” and it’s easy to see why some might agree, even if Carol feels otherwise.
Pluribus delves into the intricate details of how this unique world operates, taking its time to do so. Gilligan and his team have a lot of faith in the show’s structure. “The older I get, the more confident I become, not in my abilities but in the wisdom of the audience,” Gilligan mentioned before the premiere. “The kinds of shows we create attract really smart viewers.”
That’s why there are lengthy, dialogue-free scenes, like a woman boarding a plane and flying halfway around the globe, where you won’t initially understand her motivations or identity. Nevertheless, the show rewards your patience. The same goes for seemingly mundane details, like how food production functions in a world where most humans can’t harm anything. These elements yield some of the most impactful—sometimes disturbing—revelations. While Pluribus has a strange premise, the creators consider its logical implications (at least early on; I haven’t seen the entire season yet).
This gradual revelation of plot points is engaging because Pluribus is exceptionally well-crafted. This is especially true for Seehorn’s performance, which anchors the series. Carol isn’t your typical hero; she’s often miserable and frustrating, yet it’s hard to look away from Seehorn. She makes you laugh, cry, and want to scream at her all at once.
That means while those “What the fuck?” moments are frequent, they’re not frustrating like in some other shows (sorry, Lost). The reveals aren’t mere twists. Pluribus isn’t a puzzle box waiting to be solved; it’s a narrative filled with strange and complex themes, and it’s comfortable taking its time to explore them.
The first two episodes of Pluribus are streaming on Apple TV starting November 7th.
