Happiness Apocalypse: Inside Vince Gilligan’s Brave New Sci-Fi World At Apple TV

I recently saw Rhea Seehorn walking the streets of Albuquerque, and honestly, she looked completely lost in thought, reeling from something intense. The director, Vince Gilligan – who you might know from Better Call Saul – was carefully filming her reaction, capturing every subtle emotion. It’s a powerful scene, but surprisingly, it wasn’t for that show. This was something entirely new, even though it felt so familiar thanks to their previous work together in New Mexico.

Things are incredibly strange – the world is literally falling apart, but surprisingly, most people don’t seem to notice or care. The exception is Carol Sturka, a mysterious new character who’s deeply disturbed by it all. While planes crash and cars collide around her, overly friendly people keep asking if she’s alright, but she’s too frightened to respond.

Here’s where the story of Pluribus starts. This is Gilligan’s first project in nearly twenty years that isn’t connected to Breaking Bad, and it’s a big undertaking for Apple TV, which has become known for high-quality, ambitious science fiction. The show joins other popular series like Severance and Silo, but it promises to be a unique and different kind of sci-fi thriller.

Having started his career with The X-Files, and later creating two highly praised TV series, Gilligan approaches the idea of the apocalypse in a unique way.

Vince Gilligan Is Stepping Outside His Comfort Zone For Pluribus

It Marks A Number Of Firsts For The Creator

According to Pluribus’s Gilligan, starting a new project is usually driven by fear. After dedicating almost 15 years to the world of Breaking Bad, he was facing a completely different challenge. He explained that there was significant financial risk and many people’s jobs depended on its success.

Gilligan admits he wants the new show to succeed, partly for personal reasons. Having received significant praise for both Breaking Bad and Better Call Saul, it’s natural he’d have high expectations for his latest work, especially considering Breaking Bad is frequently hailed as one of the best TV shows ever made.

You also want this project to succeed for good reasons. One of those reasons is the unique idea behind Pluribus – it combines a realistic approach with a large-scale, dramatic outlook.

A lot of people in the entertainment industry are hesitant to take risks on original ideas. It’s now common practice to rely on existing intellectual property – reboots or sequels – because they seem like safer investments. Apple TV is also part of this trend, frequently utilizing established franchises and characters.

Apple TV+ has found success with both original ideas, like Severance, and adaptations of existing works. Foundation is based on Isaac Asimov’s famous science fiction novels, and Silo is adapted from Hugh Howey’s book series.

Gilligan expressed gratitude for the support he received from Apple and Sony while working on a groundbreaking project. He felt honored and proud that these companies were willing to take a chance on him, something he believes many companies wouldn’t do in today’s environment, and he’s eager to deliver positive results for them.

Considering his past successes, a new show from Vince Gilligan feels like a reliable choice. His previous series, Breaking Bad, became a major cultural phenomenon by its final seasons in 2012 and 2013. And while Better Call Saul was more contained, it also received almost universally positive reviews throughout its six seasons. Gilligan has a unique ability to create deeply human stories, even when exploring tragic events.

Even while fully immersed in Better Call Saul, Gilligan found himself already thinking about what his next project would be. He said he began developing the idea for this new show around eight or nine years ago, while still working on Better Call Saul.

Gilligan often took walks around the Burbank, California area where the show was written, trying to distract himself from the story’s central, dishonest lawyer. He explained, “We were already working twelve-hour days, so I needed an escape. I started thinking about a man who everyone treats incredibly well – someone universally loved and catered to to an unbelievable extent. People would go to any length to make him happy.” It sounds idyllic, doesn’t it?

That initial idea inspired Gilligan to do something new: he created the show specifically with Rhea Perlman in mind. After developing the story for months, he came to the conclusion that she would be perfect for the role.

The story could have unfolded quite differently. Similar to Jesse Pinkman, Kim Wexler’s fate seemed sealed at the start of the Better Call Saul prequel. According to co-creator Vince Gilligan, when Rhea Seehorn was cast, they hadn’t yet fully developed her character’s arc. However, Gilligan explains that Seehorn proved to be so valuable that she became essential to the show’s direction.

Vince Gilligan, the creator of Breaking Bad, remembered Aaron Paul’s performance as Jesse Pinkman. He originally planned to kill off Jesse at the end of the first season, but Paul became so important to the show – both creatively and with the audience – that Gilligan decided to keep him. Rhea Seehorn’s character, Kim Wexler, followed a similar path, and Better Call Saul benefited greatly from it.

Who Is Carol Sturka & Why Is She So Unhappy?

Rhea Seehorn’s Next Role Is Just As Meaty As Kim Wexler

Rhea Seehorn is the emotional center of Better Call Saul; creator Vince Gilligan calls her a reliable performer. She brings the same captivating energy to her role as Carol Sturka in Pluribus, a character we meet at a book signing for the Winds of Wycaro fantasy romance series. Carol is warm and appreciative while interacting with fans, but her demeanor shifts when she’s alone with her wife and manager, Helen, portrayed by Miriam Shor.

Carol reveals a surprisingly cynical side when she’s in private – like in the back of a car or a dark bar – dismissing her fans and criticizing the music that made her famous. While Helen’s kindness softens this, Carol’s bitterness will become her main source of strength as she navigates a challenging and unfamiliar future.

Seehorn wasn’t focused on the details. She explained that when Vince told her he’d written a role for her but wasn’t ready to share the script, she immediately agreed. She didn’t need to know what it was—she trusted Vince’s writing and knew it would be good. Even so, she wasn’t quite ready for what she was about to read.

Seehorn explained that she initially only received the script for the pilot episode, which was very surprising and left her unsure about the show’s direction and overall world. As filming progressed, she received scripts gradually, which continued to raise new questions and keep her guessing about what would happen next.

Though Pluribus is different from Gilligan’s previous work, it still reflects his distinctive style. According to Rhea Seehorn, the show is “hilariously funny” in how it portrays people, but also explores difficult and painful questions with great depth.

Rather than unfolding within a family drama or crime story, Pluribus explores these themes through a unique take on the apocalypse. Without giving away too much of the plot, Carol eventually finds herself in a changed world, and the remaining people are determined to make her content.

Let me tell you, this character is not looking for a shoulder to cry on. When everything falls apart, Carol doesn’t want sympathy – she demands answers. And that’s what drives the first season of Pluribus. It’s a really compelling search for understanding, not just why this apocalypse happened, but what, if anything, she can do to fix it. It’s a surprisingly isolating journey, and we really see her grappling with that as she tries to find those answers.

Seehorn knew playing the character in Pluribus would be incredibly difficult. She explains the story constantly shifts between genres and moods, even within a single scene. She adds that she couldn’t ask for a better collaborator than Vince to tackle such a complex role.

Karolina Wydra, who plays Zosia, Carol’s companion during the apocalypse, shared a similar feeling. She was amazed by Vince’s ambitious concept and the profound questions it explored – questions about what it means to be human, and what truly makes us happy and content. However, these complex themes didn’t intimidate Wydra or Seehorn.

Wydra praises Vince as a true expert, noting his writing is full of subtle details and humor, and unlike anything he’s done previously. However, while Wydra’s character, Zosia, plays a key role in Pluribus, Carol spends much of the story alone, grappling with the aftermath of the world’s end.

She refuses help and prefers to spend her time watching old Golden Girls DVDs at home in Albuquerque, while others cautiously attend to her needs from a distance. This role represents a shift for Seehorn, who usually worked as part of a larger cast on Better Call Saul, and director Gilligan emphasizes this change with a grander visual style in the first two episodes.

How Vince Gilligan Staged His Pluribus Apocalypse

Taking Over City Blocks & Setting Up An Impossible Shot

I’m really excited for Pluribus! It’s mostly set after everything’s fallen apart, but the first two episodes – dropping all at once on Apple TV on November 7th – actually show how the world started to end. Apparently, Apple was incredibly generous with the budget and gave them plenty of time to work with, which allowed the creator, Gilligan, to really go big with the scale of the apocalypse – bigger than he’s ever done before!

Gilligan is very proud of a single-shot scene in the first episode that dramatically illustrates the scale of the apocalyptic event in Pluribus. However, he admits it was incredibly difficult to film. The scene spans six city blocks, showing the widespread death and devastation that has engulfed downtown Albuquerque and highlighting the severity of this unusual apocalypse.

Gilligan wanted the first episode to clearly show how the world ended, focusing on a strong visual style and a cinematic feel. He initially thought it would require a huge number of shots with lots of action, so he decided to film it as if it were one continuous take. However, that approach proved to be surprisingly challenging.

When Gilligan told Angie Meyer, his First Assistant Director, that they would shoot the scene in a single, unbroken take, she was initially shocked and skeptical. Her immediate responses included questioning if he was joking, calling him crazy, and predicting how difficult it would be – and she turned out to be right.

“It was much harder than we expected,” Gilligan explains, “but I’m really pleased with how it turned out. We actually did a full practice run of the shot before filming the final version.” The scene took 12 hours to film, and although they shot it six or seven times, they were happy with the last take.

The key to success is surrounding yourself with talented people. Clearly communicate your goals, then trust them to figure out the details and make it happen – you can relax and enjoy yourself in the meantime!

Despite filming in new and different places, Gilligan was happy to work with a lot of the same people he always did. While much of the show Pluribus is set in New Mexico, the search for answers sends Carol around the globe, and Gilligan joined her internationally. He said, “This was the first time I’d filmed outside of Canada. We shot scenes in Spain, the Canary Islands, and even Las Vegas, Nevada—which feels like its own country sometimes!”

Honestly, working on that show really took a toll on me – I think it aged me a year or two! It was way more challenging than I anticipated. But thankfully, the people working behind the scenes, especially Rhea Seehorn, created a real family atmosphere, which helped a lot.

Seehorn explains that when the camera pans to show the crew, you’re looking at around 150 to 200 people – many of whom she worked with on Better Call Saul and some on Breaking Bad. She describes them as a true family and the working environment as incredible. She emphasizes that being given challenging, high-quality work is amazing, but it’s even better when you’re surrounded by a supportive team who believe in your abilities – and that’s exactly what it was like on set. She never felt unsupported or alone.

Having talented scene partners is also a big help. While Carol frequently interacts with Zosia, several other actors appear throughout the show. According to the actress, Karolina Wydra, Samba Schutte, and Carlos Manuel are fantastic performers who consistently elevate her own work when they’re filming together.

Loneliness is central to Carol’s character arc. According to Rhea Seehorn, Carol isn’t simply existing in emptiness, but rather grappling with a specific internal struggle. Seehorn explains that prolonged isolation could drive anyone to the brink of instability, and Carol’s story explores that descent into madness.

Pluribus Is Timelier Than Vince Gilligan Intended

Happiness Can Be A Touchy Subject

Despite being a complex science fiction story, Pluribus explores genuinely relatable emotions and ideas. As the main character, Carol, adapts to her new circumstances, she begins to feel like the only rational person in an increasingly chaotic world – a feeling many of us have experienced recently.

From morning until night, we’re constantly bombarded with negative news. Many of us spend time endlessly scrolling through bad news online, and when we’re not doing that, we often turn to quick distractions like TikTok.

Interestingly, almost everyone except Carol seems content with life after the apocalypse, which really shows what Vince Gilligan was aiming for with the show. As he puts it, “TV is just TV – it’s not a cure for cancer, never was, never will be.”

We hope this show makes people question what they want in a world facing collapse. We worked hard to create an apocalypse unlike any other, one that isn’t simply about survival and avoiding becoming monsters – like in shows such as The Walking Dead. We want viewers to debate whether the world we’ve created could actually be better than our own, a kind of paradise. Ultimately, it’s up to each person to decide. We aren’t trying to tell anyone what to think, but we hope the show encourages people to consider alternative ways of living, especially given the current state of things.

Gilligan didn’t intentionally create something that felt so relevant, and it’s not relevant in the obvious ways you might expect. Unlike shows like The Boys, which are so blunt they almost stop being satire, or Severance, which clearly critiques work and capitalism, Pluribus takes a different approach.

This show explores the complex idea of happiness – something many of us find difficult to achieve, even if we don’t talk about it. It asks the question: what if achieving happiness wasn’t a struggle? What choices would you make? The creator notes the show’s relevance might be due to recent global and American divisions, saying, “It could be luck, but I think it also comes from understanding what’s been happening in the last few years with increasing polarization.”

Gilligan believes we need to find a balance, a middle ground, between the hopeful vision of Pluribus and the increasingly negative state of the world. He points out that most people agree constant conflict isn’t working and that no one wants to live in a chaotic and hostile environment.

This isn’t about politics or taking sides. It’s simply about treating each other with kindness and respect. Mostly, I just want to provide entertainment, but I hope people might also consider finding some common ground. That would be a wonderful result, even if it’s a bit ambitious.

As a fan, I think Rhea Seehorn really gets to the heart of what makes this show special. She sees it as exploring huge questions about life – what it truly means to love each other, and whether what’s best for me is always what’s best for everyone. It really makes you think about what we’re all chasing in life, and honestly, she admits she doesn’t have the answers, which I appreciate – it feels real.

Pluribus doesn’t immediately try to answer these questions, but it definitely makes you think about them as you watch. Ideally, it will simply encourage discussion, no matter the topic. Ultimately, Seehorn believes Gilligan has handled these issues well.

Vince consistently excels at presenting both perspectives of any issue, allowing viewers to understand all sides. He explores timeless questions about what it means to be human, rather than focusing on current events. Right now, his work encourages us to think about the importance of freedom of thought and the challenges of feeling isolated. At its heart, it tackles big, universal themes – like what truly makes us happy and how to find contentment.

What truly sets Pluribus – and much of Gilligan’s writing – apart is his ability to explore complex questions through deeply personal relationships. He does this by focusing on families torn apart by drugs, the strained bonds between brothers, or individuals grappling with regret and a longing for the past.

Vince Gilligan, the creator of Breaking Bad and Better Call Saul, says he never intended to become known for stories about crime and violence. While he enjoyed exploring those themes, he felt a strong sense of relief returning to science fiction – the genre where he first found success. Before creating those crime dramas, Gilligan spent seven years working on The X-Files, where he wrote several episodes, directed one, and also served as an executive producer.

In the first episode, I’m exploring classic science fiction and horror influences, starting with my personal favorite, The Twilight Zone. It’s difficult to pick just one, but if I had to choose the best TV show ever, that would be it. We’re also drawing inspiration from films like Invasion of the Body Snatchers and Star Trek: The Next Generation, as well as post-apocalyptic stories like The Walking Dead, The Last of Us, and Mad Max. It’s been a lot of fun considering all these familiar tropes and then twisting them in unexpected ways for the show, especially in the premiere episode.

Gilligan explains he chose science fiction as the best way to bring his story to life. He believes the characters themselves shaped the story and the world it takes place in. While the show features a group of characters, the emotional core ultimately relies on Carol and Seehorn’s performances.

Seehorn explains she tries to understand the situation and remember that Carol’s actions stem from the same difficult circumstances. She compares it to the feeling of being alone in realizing a disaster is happening – like being the only one shouting about a fire. But instead of a burning barn, it’s a much larger problem, and Carol might be the only one who can, or will, try to fix it.

Even though the apocalypse isn’t enjoyable for Carol, she does find some benefits in the situation, which shows how carefully the actress played the role. Carol is clearly grieving and angry, but she’s also naturally curious about what’s happening, and that curiosity grows when Zosia becomes involved.

Zosia, like many survivors after the world fell apart, seems perpetually cheerful and focused solely on making Carol happy. When developing their characters’ relationship, Wydra had to carefully analyze Zosia’s behavior to understand her underlying motivations and how they interacted with Seehorn’s character.

It was important to find genuine happiness—a peaceful contentment felt deeply within—rather than just pretending. I also wanted to support Carol’s personal growth, respecting her feelings and trusting that if she joined our lives, she would truly feel how wonderful it is to be with us.

Vince Gilligan Knows Where His Apocalypse Ends – Sort Of

Pluribus Has A Bright Future

Carol’s story really comes down to a central question: will she accept a life of simple happiness like everyone else, or will she fight against the system and try to fix the problems in the world? Now that Pluribus has been renewed for a second season, you shouldn’t expect to have all the answers right away.

The show’s creator, Vince Gilligan, has a clearer vision for how things will conclude than he did with his previous series, Breaking Bad and Better Call Saul. He admits, “Right now, I have a better sense of the show’s ending than I usually do at this stage.” However, he also cautions that this could still change.

Gilligan explains that he’s always willing to abandon a current idea if he comes up with something even better. He says he’ll quickly drop what he’s working on for a stronger concept, but they do have a basic plan for the overall direction of the show.

Despite having a plan for the show’s direction, Gilligan isn’t sure how much longer it should continue. He believes the key to success is ending it at the right time – while audiences are still enjoying it and asking for more.

Gilligan explains, “You want to avoid being the person who overstays their welcome – the one everyone is watching and wondering when will finally leave. That’s a really difficult part of any social situation.”

With previous shows like Breaking Bad and Better Call Saul, people would always ask how long the series would last, especially after the first season. We ended up having enough story for six seasons of Better Call Saul, which was great. So, with our new show, Pluribus, I’m not sure how long it will run – maybe three seasons. It’s hard to say, and it could potentially go longer. This one feels different though, like it can’t go on indefinitely… but really, no show does.

Currently, the entire cast and crew of Pluribus, including Gilligan and Seehorn, are concentrating on the show’s upcoming premiere – one of the most eagerly awaited TV events of the year. Apple plans to release the first two episodes simultaneously, a strategy Gilligan wasn’t originally in favor of.

Honestly, when I first heard Apple was planning to release all episodes at once, my initial thought was that a weekly release would be better. It would keep the show in the conversation for much longer. I’m a bit old-fashioned, you see – when you spend years working on something and then dump all the episodes at once, it feels like the buzz dies out by Monday. It really frustrates me to see that happen.

Apple TV+ has tried releasing entire seasons at once, like many other streaming services, but generally prefers to release episodes weekly. This approach lets shows gain momentum through discussion and word-of-mouth. It’s proven successful – for example, the show Severance slowly revealed its intricate story each week, attracting new viewers and building a dedicated fanbase. The show ultimately became one of Apple TV+’s most popular hits, leading to a second season.

Gilligan is happy viewers can watch the first two episodes back-to-back. He believes this is a smart move, explaining that seeing those first two hours is crucial to understanding the story.

While the first episode is technically where the show begins, it doesn’t quite make sense on its own. You need to watch the first two episodes together to really understand the story. I’m happy Apple is releasing them at the same time because of that.

As a huge cinema fan, I’m really excited about Pluribus! Apple’s been building up the anticipation for months with this incredibly mysterious marketing campaign – all these cryptic posters and tiny teasers. They’ve finally dropped the full trailer, though, and it’s starting to reveal what all the fuss is about. I can’t wait for everyone to finally see it!

Seehorn is excited for people to finally see [Pluribus] and share their thoughts. She jokes that even her own family is in the dark about the project, and she’s eagerly anticipating watching their reactions with them. She expresses genuine happiness and fulfillment in her work.

The new series, Pluribus, will premiere on Apple TV on Friday, November 7, 2025, with the first two episodes available immediately. After that, new episodes will be released every Friday until December 26th.

2025-11-04 00:58