Pluribus
Vince Gilligan, Apple TV

When posed with the question of the greatest episode in TV history (a regular discussion among my patient friends), “Ozymandias,” from Breaking Bad, often comes to mind. This episode, a pinnacle in storytelling, acting, and direction, encapsulates the harrowing tale of a chemistry teacher turned meth producer after a cancer diagnosis.

Being part of a flawlessly executed episode is a substantial legacy. Creating two monumental series like Breaking Bad and its companion Better Call Saul has entirely revolutionized television. Vince Gilligan, the brilliant showrunner, has proven his mettle and with Pluribus, his intriguing new sci-fi series for Apple TV, there’s little left for him to prove.

Having viewed the first six episodes of this nine-part season, I can affirm that the series is crafted with remarkable confidence, maintaining an engaging grip through its intricate plot twists and immersive world.

Carol (Rhea Seehorn, veteran of Better Call Saul) is the writer behind Waikalo Wind, a popular series of pirate-themed novels. While her successes afford her a comfortable living, she’s plagued by creative stagnation. However, her life is about to take a darker turn.

During a book tour with her agent and partner Helen (Miriam Shor), a strange incident occurs—everyone around Carol suddenly experiences a seizure. Once the episode subsides, they find themselves in an entirely different reality, leaving her as one of the few unaffected. This anomaly may be connected to a peculiar radio signal that was detected 439 days earlier, pulsating a base-4 rhythm every 78 seconds from 600 light-years away.

Unbeknownst to Carol, the rest of humanity revels in liberation from trivial grievances and desperately wishes for her to join them.

I understand their obsession with her. Even prior to her becoming the world’s unhappiest individual, her cantankerous demeanor is captivating. She reminds me of Paul Sheldon in the film Misery, though disturbed by adoring fans, Carol is scrutinized by billions. Her fellow humans serve her unwaveringly as they seek to decipher her differences and remedy her situation. Eventually, she begins to navigate the rules of this new world and discovers she possesses more agency than she initially believed.

Pluribus poses many compelling questions. Can a utopian society exist without the agreement of its members? Is it still utopia if one feels isolated? Besides Seehorn’s stellar performance, the series is commendably character-focused, noticeably dedicating time to moments like a character attempting to conceal a body. There’s an organic pacing to the story development, leading to unexpected turns.

Despite having seen the majority of the first season, the direction of Pluribus remains enigmatic. Some viewers may find this ambiguity off-putting, and its deliberate pace could polarize opinions. However, I find it exhilarating, as it subverts typical big-budget sci-fi conventions.

With a second season assured, it’s certain to cultivate its own “Ozymandias” moment if it gains traction.

I also suggest:

Breaking Bad
Vince Gilligan

Need more proof of Vince Gilligan’s prowess? Check out his debut masterpiece. The tale of a chemistry teacher turned meth manufacturer is a gripping five-act tragedy, illustrating one of television’s most remarkable antiheroes.

Outlander
Adapted by Ronald D. Moore

There are significant moments in Pluribus reminiscent of character dynamics in Outlander, where rearranging a bookstore serves to provide characters interaction through literature. Diana Gabaldon’s Outlander may not be as visually depicted in the books, but the TV rendition is exceptional.

Bethan Ackerley is an associate editor at New Scientist. She enjoys science fiction, comedy, and anything creepy. Follow her at @inkerley