- Network: Apple TV
- Series Premiere Date: Nov 7, 2025
Critic Reviews
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A series that is wildly imaginative, nuanced, patient, granularly detailed, surprising, smart and fun. And Seehorn’s performance, basically playing an unlikable jerk, is amazing.
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Beyond the premiere — a truly perfect hour of television — you'll need to be open to seeing the bigger picture at points, and patience is vital if you're to go along with some of the wilder swings this show takes. But if you're up for it, prepare yourself for what could eventually turn out to be a genuine masterpiece on the same level as Breaking Bad or Better Call Saul.
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“Pluribus” is the most original, unexpectedly thought-provoking and frequently funny series of 2025, thanks in large part to star Rhea Seehorn (“Better Call Saul”), who throws herself with gusto into almost every scene of the series.
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As the story unfolds, “Pluribus” quickly shapes up to be one of this year’s most complicated and thrilling television series, which, with a second season already in the works, has the potential to define this decade like Gilligan’s previous series defined the beginning of the century.
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The unpredictability is thrilling, and thanks to Seehorn’s bravura performance, the fascination never ebbs.
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The former Kim Wexler carries the whole show with a deeply resonant, powerhouse performance that takes us from harrowing tragedy to dry-wit comedy. .... This show would keep you thinking.
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This is one of those rare occasions when a highly anticipated series not only meets expectations, but exceeds them. By flipping the script (literally) and writing the ultimate good guys, he’s created yet another knockout.
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You owe it to yourself to give Pluribus a chance. Something glorious is gestating inside this entrancing piece of television, and to experience its full effect, you have to trust the process.
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A big swing from Vince Gilligan — he’s delivered another addictive piece of television that, like all the best sci-fi-adjacent content, is as much about asking questions and challenging ideas as it is about the expansive world it creates and the characters that exist within it.
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This might be the best pandemic-related art we’ve gotten yet, because it comes at those themes from the most unexpected of angles, prying open the lingering trauma from those years to explore the deeper ways that time hurt us all.
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This is TV's next great show, and you won't want to miss it.
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Pluribus succeeds at being a show unlike any other you've watched before, one that's only improved by going in with very little advance knowledge. Alongside Gilligan, writers Gordon Smith, Alison Tatlock, Ariel Levine, Vera Blasi, Jenn Carroll, and Jonny Gomez have crafted something truly special here,.
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It's made with such confidence, such artistry, and such joy, that I felt reassured throughout that I was in the hands of a master storyteller — a feeling that precious few recent series, even ones I love, have been able to provide.
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It’s genuinely one of the weirdest and most strangely satisfying things on television at the moment, simultaneously heartbreaking, hopeful, and disturbing by turns. It couldn’t have possibly arrived at a better moment.
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Pluribus approaches its hero just as Breaking Bad and Better Call Saul approached their antiheroes: honestly. .... Pluribus is built from the beginning to be a proper star vehicle for Rhea Seehorn. She's witty, chaotic, resolute, and heartbreaking.
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“Pluribus” is flat-out exciting, interesting, funny, and fun.
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A curious but captivating spin on the body-snatcher premise: more farce, less chilling. .... It looks to be one of a kind.
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This is a show that demands your attention, and it rewards you for it.
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“Pluribus” can have the feel of an acting exercise, both for Seehorn and her manifold scene partners. That’s not a criticism; it’s a joy for a production this big to have such an experimental, risk-taking slant, and for a talent like Seehorn to get the canvas it deserves.
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This is a series about what happens when human empathy is stretched to its limit. Pluribus seems to suggest that progress that moves too fast will ultimately break things, and waiting to see where and how it breaks makes for some exceptionally compelling storytelling.
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[A] tantalizing mystery about the pluses and minuses of togetherness.
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I humbly recommend paying attention to how it makes you feel. The strangeness is the point, and the strangeness is worth savoring.
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[Pluribus] has more to offer than the tantalizing prospect of reuniting the creator of Breaking Bad with the breakout co-star of Better Call Saul. .... Over the course of Pluribus’ first season, Seehorn gets to express a far wider range of emotions than she did as Better Call Saul’s buttoned-up Kim Wexler.
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The result is a wildly fanciful series that feels unsettlingly real at its core. Seven episodes in, I am not entirely sure where “Pluribus” is going. But to its credit, it gives me the uneasy feeling that we could be going there too.
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Vince Gilligan, of “Breaking Bad” renown, turns his quirky imagination loose in an Apple TV series tailored to those who don’t find Apple’s “Severance” complex enough.
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After quickly establishing the premise, Gilligan shifts into low gear; this is a slow series, yet never a boring one. Great tracts of time pass without dialogue. For most of the way it’s Seehorn’s show, and she’s marvelous.
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Plurbius may demand endured patience, but the rewarding sci-fi slow burn will keep you guessing with relentless fervor and intellectual stimulation.
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It’s another series by Vince Gilligan that’s both visually and dramatically compelling to watch, especially with Rhea Seehorn being featured throughout.
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Pluribus has great lines and blackly funny moments but escapist fluff it is not. It’s almost as bleak as real life.
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I found the story of "Pluribus" engaging, but it's Seehorn's performance that will keep me coming back for more.
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It’s an extremely funny, somewhat unsettling, impressively odd show that gains in confidence across the seven episodes sent to critics.
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Vince Gilligan has taken a tried and true sci-fi idea and turned it on its ear with Pluribus, which goes the Invasion of the Body Snatchers route in a pretty fun and compelling way.
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This is a thinking viewers' show, filled with plump, meaty ideas — just not too plump or meaty.
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Vince Gilligan aims high with his sci-fi series "Pluribus," and it mostly works, anchored by Rhea Seehorn's dazzling performance.
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Does “Pluribus” work as television? Within the six episodes I’ve seen, sometimes. .... If the series goes down — if it can’t ultimately put its pieces together — it will go down swinging. It plays like the vision of a genuine individual. In the world of “Pluribus,” and in the world of TV, that in itself is something to celebrate.
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It’s an astonishing, exhausting, totally immersive [first] episode of television. Then there’s the rest of the show. Look: The skill and speed on display in that pilot prove that the slowness with which the rest of the season unfolds is not mistake but a choice. Whether the slow burn pays off will depend on the viewer.
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Pluribus is by no means bad. Seehorn is excellent, the premise is interesting, and Apple TV’s production work is as polished as ever. But it just isn’t gripping, feeling instead like a satire that’s unsure what, or who, it’s satirising.
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The first six hours of Pluribus, after that early burst of premise-setting, is remarkable mostly for its languor. The world is built with the precision and care of a matchstick house: wonderful to look at, much to admire, but as dynamic as dough. .... Seehorn as Carol, and as Saul fans would expect, she is sensational: it is a do-not-pass-go, move straight to Emmy, performance.
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