Pluribus carves its own pathway. It’s wildly original, risk-taking and implausible but in a good way. It throws dark and dry humour right into your palm. The horror you see is uncannily showcased. Vince Gilligan’s Pluribus asks the right questions on autonomy, conformity and meaning, without providing easy answers. Pluribus remains true to its concept, and execution remains flawless.
The absurdism is the click, we suppose. It doesn’t rush. It sort of percolates. It demands you sit with discomfort. You question yourself about what makes you a human. Telling the truth, slowly and steadily. Not with an explosion.
Rhea Seehorn plays Carol in Pluribus. We see this creeping madness in her. We see her well with her micro-expressions and satire. Seehorn stems up this philosophical comedy like a master. Her craft leads to the triumph of this bold narrative.
What we loved was the colour yellow. Yellow by and large has been associated with different connotations. But here it turns out to be this extravagant apocalypse. Gilligan swaps propulsive crime for slow-burning mystery. The pacing is deliberate, sometimes repetitive but always runs with a purpose. Gilligan directs with his signature visual flair: bold colors, symmetrical frames, comedic zooms that make the mundane menacing. Every shot feels intentional, rewarding close attention.
Fair to call Pluribus on Apple TV a fine watch. When everything is intentional, and the intentions turn out to be honestly crafted, a close scrutiny becomes a given.
IWMBuzz rates it 4/5 stars.
