Courtesy of Apple TV
It’s entirely possible that only Vince Gilligan could get a show like “Pluribus” on the air. After the runaway success of “Breaking Bad” and “Better Call Saul,” he can pretty much do whatever he wants on TV, and he does just that with “Pluribus” (debuting this Friday on Apple TV; I’ve seen seven of the nine episodes). Bizarre, audacious and often confusing, “Pluribus” is unquestionably a big swing, with Gilligan spinning a boldly unconventional sci-fi fable that seems to enjoy testing our patience. Although the show eventually runs into a bit of a storytelling rut, Gilligan and his trusty star Rhea Seehorn deliver enough here to reward us for sticking around.
Seehorn stars as Carol Sturka, a miserable book author who writes steamy bodice rippers she dismisses as “mindless crap.” Then one day, the world as we know it suddenly grinds to a halt, and seemingly everyone on the planet changes in an instant… except for Carol. (I can’t reveal much more about what’s happened, but unraveling the mystery is part of the fun.) Everyone now knows Carol’s name, although not in a fun “Cheers” kind of way, and even though they’re all promising her eternal bliss, she won’t budge. Can she save the world? And does the world even need saving?
The Tone Is Eerie… But the Pace Is Slow
Courtesy of Apple TV
As a writer who cut his teeth on “The X-Files,” Gilligan gets back to his sci-fi roots here, blending aspects of “The Twilight Zone,” “The Last Man on Earth” and “Invasion of the Body Snatchers.” He sets an eerie tone from the start, peppering the scripts with pitch black humor — a Gilligan trademark — while weaving in heady philosophical debates about the nature of true happiness. “Pluribus” also boasts the impeccable cinematography and distinct visual style we’ve come to expect from a Gilligan production, with an awe-inspiring dose of Spielbergian spectacle as well. (“Pluribus” reportedly cost $15 million per episode, and it shows.)
Is this concept really sustainable for two seasons, though? Apple TV has already renewed “Pluribus” for Season 2, and the show seems to know that, taking its sweet time with a languorous pace and long shots of silence. It’s almost defiantly slow, with Gilligan relishing the opportunity to take every last minute he can to tell his story. But after a few episodes, Carol’s plight threatens to get repetitive, hitting the same story beats again and again. It’s admirable how committed “Pluribus” is to showing us the tedium of Carol’s isolated existence… but that doesn’t make it any less tedious to watch.
Rhea Seehorn Steps Into the Spotlight
Courtesy of Apple TV
Seehorn’s work as Carol commands our attention, though. Aside from a few supporting characters that pop in and out of Carol’s new life, “Pluribus” is basically a one-woman show for Seehorn, and she absolutely rises to the occasion. She already delivered one of the past decade’s best TV performances as “Better Call Saul’s” tightly wound attorney Kim Wexler, and she proves here she can be a compelling lead, too. Carol is a prickly character, to be sure, and Seehorn gives her plenty of rage and sarcastic jabs, but she skillfully exposes the wounded heart Carol is hiding underneath, too. It’s a fantastic, fascinating performance, and when “Pluribus” works, it’s because Seehorn is singlehandedly making it work.
This is clearly a dream project for Gilligan — like a script he wrote years ago and then stuck in a desk drawer, only to dust it off now — and he’s earned the right to put his vision on the screen without any compromises. The result isn’t quite at the level of a “Breaking Bad” or a “Better Call Saul,” but it’s a noble experiment that offers unique pleasures we’ve never seen before on the small screen. And how often can we say that?
THE TVLINE BOTTOM LINE: Vince Gilligan aims high with his sci-fi series “Pluribus,” and it mostly works, anchored by Rhea Seehorn’s dazzling performance.
“Pluribus” premieres Friday on Apple TV with the first two episodes; once you’ve watched, give the premiere a grade in our poll.
