Today, Vince Gilligan is celebrated primarily for his masterful creation of the crime-infused, morally intricate saga that spans *Breaking Bad* and its acclaimed companion series *Better Call Saul*. Yet, his journey into television writing began in an entirely different realm — the imaginative, speculative world of science fiction. During a prolific seven-year tenure on *The X-Files*, Gilligan crafted a variety of memorable episodes that demonstrated both his creative range and his ability to blend intellect with suspense. His contributions included everything from a clever, monster-themed parody inspired by the reality series *Cops* to a thrilling, high-velocity car chase episode that would mark his very first collaboration with actor Bryan Cranston, who would later become synonymous with Gilligan’s most iconic work. Now, years later, he is poised to return to his genre roots with a new Apple TV series titled *Pluribus*, scheduled to premiere in November.
Despite this homecoming to science fiction, Gilligan insists that his path back to the genre was serendipitous rather than deliberate. In his conversation with *The Verge*, he explains that he hadn’t initially set out to create another sci-fi narrative. The story’s conceptual framework simply demanded it. “I didn’t make a conscious decision to make another science fiction show,” he remarks, emphasizing that the project emerged organically from an idea that resisted classification within any other genre. “I realized there was no other way to explain the events except through the lens of science fiction.”
The series *Pluribus* centers around Carol, portrayed by Rhea Seehorn — best known for her nuanced performance in *Better Call Saul* and a trusted collaborator of Gilligan’s. Carol finds herself unexpectedly thrust into a profoundly altered version of reality. In this world, nearly every human being, with only a handful of exceptions, has been infected by an unnerving and perpetual state of elation. The global population has become trapped in an endless cycle of blissful exuberance — smiling incessantly and acting with unsettling devotion to ensure that Carol herself is happy, even if doing so means absorbing her into their euphoric collective. The premise, equal parts unsettling and fascinating, uses the notion of unrelenting happiness to unmask something deeply alien beneath its cheerful surface.
Gilligan reveals that this story concept had been percolating in his imagination for almost a decade. While immersed in the production of *Better Call Saul*, he often used his lunch breaks to take long reflective walks, moments during which the seed of *Pluribus* began to germinate. “It almost started like a daydream,” he recalls. “I imagined an ordinary man living in a world where everyone was unfailingly kind to him — not because he had earned such affection or possessed any special qualities, but simply because, from one day to the next, everyone inexplicably adored him.” The bizarre simplicity of that image fascinated Gilligan, and the concept quietly lingered in his mind over the years, refusing to fade away.
As time passed and *Better Call Saul* neared its conclusion, Gilligan’s admiration for Rhea Seehorn’s talent deepened. Having witnessed firsthand her extraordinary ability to navigate both drama and dark humor, he decided to reshape *Pluribus* around her as the central figure. “There was something about Rhea that just stood out,” he explains. “I knew I wanted to collaborate with her again — just as, all those years ago on *The X-Files*, I knew I needed to work with Bryan Cranston once more.” Gilligan goes on to describe how he essentially tailored the role of Carol specifically for Seehorn, determined to see her occupy the spotlight she deserved. “I wanted her to be the lead, the person whose name comes first on the call sheet,” he says. “It felt long overdue, and I wanted to be the one to help make that happen.”
Crafting the character of Carol presented unique challenges. From the very beginning of the story, she is portrayed as fundamentally discontented — a person whose natural skepticism and sarcasm already set her apart from the unrelenting positivity of those around her. As the narrative progresses, this disconnection only intensifies once she is forced to navigate a world consumed by grotesque happiness. This dynamic risks rendering her unsympathetic in comparison to the incessantly cheerful figures that surround her. Gilligan understood that such a portrayal required exceptional subtlety, and he credits Seehorn’s dual command of comedy and drama with making the role viable. “Carol is witty, cynical, and a touch misanthropic,” he explains. “But her negativity stems not from cruelty but from perspective — from the way she interprets the absurdity of the world. And when tragedy strikes in the first episode, she finds herself utterly alone, longing for the very world she once criticized. Eventually, she realizes she has no choice but to take control and rise to the occasion, becoming an unlikely hero — the kind I love most.”
In the months leading up to *Pluribus*’ release, Apple and Gilligan’s team have maintained an air of deliberate mystery around the project. Promotion began with a series of cryptic teasers, followed by minimalist trailers that hinted only vaguely at the story’s deeper layers. Gilligan admits that the secrecy has been both exhilarating and slightly exasperating. “We’ve done such a good job keeping things under wraps that part of me is eager to have it out in the open,” he says with amusement. Yet, he also acknowledges that this restraint is thematically consistent with how *Pluribus* is designed to unfold — a slow revelation that depends on trust in the audience’s intelligence. He adds that such confidence in the viewers’ ability to infer and interpret has come with experience. “Ten or fifteen years ago,” he confides, “I probably would have felt compelled to explain every detail. Now, I’ve come to realize — and Rhea has really reinforced this for me — that you often don’t need as much dialogue as you think when the acting is powerful. Great performances convey truths that words can’t.”
Of course, Gilligan notes that even in a story as enigmatic as *Pluribus*, some degree of explanation is necessary to establish the rules of the world. Yet, with maturity, he has learned to rely on the discernment of his audience rather than imposing his interpretation upon them. “The older I get,” he continues, “the more faith I have in viewers — not necessarily confidence in myself, but in their ability to understand and engage. The shows we make tend to attract thoughtful, perceptive audiences. They don’t need to be told everything.” This mutual respect between storyteller and spectator forms the philosophical backbone of Gilligan’s creative approach.
Another aspect of *Pluribus* that longtime fans will recognize is its setting. Just like *Breaking Bad* and *Better Call Saul*, Gilligan’s new series is situated in the sun-bleached expanses of Albuquerque, New Mexico. This decision, according to him, was driven less by narrative necessity and more by loyalty and continuity. The location allows Gilligan to continue working with the same seasoned crew — a team of professionals who have been alongside him for nearly two decades, through two series and a feature film. Nevertheless, he cautions viewers not to search for hidden connections or crossover elements linking his previous works to *Pluribus*. Despite the familiar desert landscape, he insists that this new story occupies its own distinct universe. “Don’t hold your breath,” he jokes. “You’ll turn blue waiting.”
Ultimately, *Pluribus* represents a convergence of Gilligan’s long-standing strengths: the precision of his storytelling, his reverence for intelligent audiences, and his enduring partnerships with trusted collaborators. Set to begin streaming on Apple TV on November 7th, the series stands as both a homecoming and a bold exploration of new creative territory — a testament to the ingenuity of a storyteller who continues to redefine what thoughtful television can be.
Sourse: https://www.theverge.com/entertainment/807102/pluribus-vince-gilligan-interview-apple-tv-breaking-bad
