Vince Gilligan, renowned for his groundbreaking work on “Breaking Bad,” returns with a new television series titled “Pluribus,” stylized as “Plur1bus.” As the series progresses, we find ourselves in a dystopian society ravaged by a virus that induces euphoria to a majority of Americans. It’s a meditation on isolation, power, and the contradictions of middle-aged womanhood.
Carol is a middle-aged, best-selling author of romantic fantasy novels. She basks in unbelievable riches and is worshiped by hundreds of thousands of fans. Yet Carol’s life is profoundly, paradoxically miserable. She is not under the spell of the happiness-inducing virus that has changed the world. Despite sharing a street with joyous fellow citizens, she is left feeling disenfranchised and alienated.
“Pluribus” plays out as a slow burn, an emotional gauntlet that tests one’s patience. Gilligan’s storytelling is punctuated with sharp lines and darkly comedic moments, creating an atmosphere that is both engaging and thought-provoking. The show is anything but escapist fluff. It even bravely drags us through these initial waters to confront pig-headed norms, expectations and taboos about human relationships.
Carol’s struggles only get more complicated after losing her wife, Helen, who does not make it through the virus. With Carol’s tremendous loss stoking her anger, her rage eventually boomerangs, igniting extreme violence that spurs catastrophic results. Her emotional overload sets off disastrous chain reactions across the hive mind. The ambient awareness that you’d think must pervade such a blissed-out populous leads to the deaths — all at once! — of roughly 10 million people.
This year’s “Pluribus,” named after the Roman term for many, many things. Its name derives from the unofficial motto of the United States, “E pluribus unum,” or “Out of many, one.” This linguistic decision is representative of the larger theme of unity versus individuality permeating throughout the entire series. Carol, in her search for a new bond, insists on meeting whoever else can speak English and isn’t affected by the virus. In her search for comfort and acceptance, she uses the hive’s biological imperative to put her happiness first to her advantage.
Carol’s character depicts the realities of middle-aged womanhood with a raw, powerful authenticity. Simultaneously, she acts as an allegory for the hardships depicted within toxic relationships. The story wrestles with deep, arresting questions about what rights we have as individuals, what our moral responsibilities are to other people, and what happiness really means.
As paranoia deepens in this parallel universe, the series’ mood turns more and more dystopian. The smiling hordes surrounding Carol echo a chilling refrain:
“We just want to help, Carol.” – The smiling hordes
This sentiment is mirrored by the new president, who reassures Carol with a disarming statement:
“It’s not an alien invasion.” – The new president
These one-liners summarize the true danger lurking within a society where pleasure has a price.