Imagine dreaming for years of collaborating with a genius creator like Vince Gilligan, only to have that fantasy morph into a reality that's equal parts exhilarating and mind-bending—welcome to the story of Karolina Wydra's triumphant return to acting in the mysterious Apple TV series Pluribus. But here's where it gets controversial: this isn't just any comeback; it's tied to a sci-fi tale that dives deep into themes of global unity and personal rebellion, potentially sparking debates about whether forced harmony is utopia or a nightmare.
[Note: The following contains spoilers from the two-episode premiere of Pluribus.]
When the opportunity to audition for Vince Gilligan's latest project, Pluribus, unexpectedly arrived, Karolina Wydra found herself in a peculiar spot—she hadn't performed in a role for five straight years and lacked any professional representation. The casting team at Bialy/Thomas & Associates, the same experts who assembled the casts for Gilligan's blockbuster hits like Breaking Bad and Better Call Saul, scoured the globe in search of the perfect fit. Remarkably, they recalled Wydra from her past work and reached out to her former commercial agent for an audition tape. Though she was no longer with that agency, outdated records made it seem otherwise, which ultimately paved the way for her submission.
As a fervent admirer of Breaking Bad, the Polish-American actress had long harbored hopes of working with Gilligan. Her enthusiasm grew even stronger when she shared the screen with Breaking Bad star Bryan Cranston a decade earlier in the crime drama Sneaky Pete, which Cranston developed following the conclusion of the Emmy-winning phenomenon. However, as time passed without any invitations during the era of Better Call Saul, Wydra reluctantly set aside her aspirations, believing they were out of reach.
Then, seemingly out of nowhere, an offer for a secretive new series linked to Gilligan's name landed in her inbox. Instead of jumping for joy at this stroke of luck—the very opportunity she'd yearned for—she initially wavered, wrestling with doubt. After some internal deliberation, she decided to seize the moment, only to uncover that a recognizable figure had played a role in her selection for the lead part.
'In one conversation, [Gilligan] mentioned, “I recently chatted with Bryan Cranston about you.” I was floored—thinking, “What's going on here? Are there cameras hidden somewhere? Am I being pranked? I'm speaking directly to Vince Gilligan, and he's sharing that he consulted Bryan Cranston about me,”' Wydra shared with The Hollywood Reporter.
Wydra secured the enigmatic character of Zosia, partnering with Rhea Seehorn's Carol Sturka, and the initial two episodes have already showcased Gilligan's knack for elevating seasoned performers into household names. 'To reflect on my current position brings me to tears,' Wydra admitted, her voice breaking. 'This surpasses my most ambitious fantasies—working under Vince Gilligan is absolutely incredible.'
[Spoiler alert ahead.] The series kicks off with a worldwide epidemic of an alien 'psychic adhesive' that links humanity into a unified consciousness, or hive mind. Carol, uniquely unaffected, endures the loss of her partner, Helen (played by Miriam Shor), amidst the chaos, fueling her disdain for those she blames—particularly those who persistently attempt to assimilate her.
Penned and helmed by Gilligan, the second episode, titled 'Pirate Lady,' opens with Wydra's Zosia disposing of a corpse in Morocco. Without warning, an instinct compels her to hop on a motorcycle, head to an airstrip, and pilot a C-130 military plane to Albuquerque, where she acts as a mediator for Carol on behalf of the collective dubbed 'the Joined' or 'the Others.' This group can access anyone's thoughts, recollections, and skills to accomplish goals, meaning everyone possesses universal abilities—like operating a complex four-engine aircraft. (In a prior chat with THR, Seehorn emphasized that the show isn't intended as a critique of artificial intelligence.)
Carol remains hostile toward her uninvited companion, especially upon realizing that the Joined are exploiting Zosia's likeness to an early draft of a pirate figure from her novel series, Winds of Wycaro. Only Carol and Helen were privy to the fact that the 'arrogant corsair' Raban was initially envisioned as female, exposing that Zosia—and by extension, the Joined—harbor Helen's complete memories. Although Helen perished from complications during the upheaval, she briefly connected long enough for her deepest secrets to be harvested.
When Zosia proposes to channel Helen's voice, Carol erupts in fury, triggering convulsions in Zosia. This incident underscores that Carol's intense emotions are a lethal weakness for the Joined; her rage could potentially eradicate millions worldwide, mirroring the outbreak's toll of nearly 900 million lives.
Portraying Zosia demanded Wydra embody nearly the entire planet's collective essence—a daunting feat.
'Conceiving it as the world's embodiment is overwhelming,' Wydra explained. 'We'd discuss their identity in broad strokes, then I'd focus on the specifics required for each moment.'
She also strove to radiate unwavering calm to juxtapose Carol's volatility, emphasizing the Joined's blissful state.
'I incorporated plenty of meditation and physical exercises to cultivate inner peace, ensuring Zosia remained untouched by Carol's outbursts,' Wydra noted. 'Zosia is profoundly committed to 'our' mission, viewing the sharing of our inherent drive as essential. She sees the Joining as profoundly positive and ecstatic, and amid Carol's turmoil, she holds onto the hope that Carol will eventually embrace it.'
Performers typically draw from one another's energy, making it tough for Wydra to avoid reacting to Seehorn's passionate delivery. 'Watching someone navigate such raw emotions while I couldn't join in was incredibly difficult,' she confessed. 'I trusted my restrained approach wasn't coming across as mechanical, aiming for the balanced poise that defines 'the Others.'''
In a recent discussion with THR, Wydra also pondered Zosia's pre-Joining identity.
'Heartfelt congratulations on joining Vince Gilligan's team,' we said.
(She laughs.) 'Thanks for phrasing it like that—it's spot on.'
'No doubt, Zosia is a landmark part for your career. Optimism is a must for actors, but did you genuinely anticipate something this monumental?'
'I've harbored a desire to collaborate with Vince Gilligan for ages, but expecting it to materialize? That would require insanity. Every performer in Hollywood must entertain delusions to some extent—you need unwavering belief that success will arrive, despite the fierce competition. My obsession dates back to Breaking Bad; I was a devoted follower. I pleaded with my circle to arrange even a minor role for Gilligan's projects, size irrelevant—just the chance to work with him mattered.'
'During Sneaky Pete, partnering with Bryan Cranston was a privilege. He's exceptional, and as we worked, I'd muse, “I'm fortunate to collaborate with Bryan; I wish for the same connection he shares with Vince Gilligan.” Yet, no auditions for Gilligan materialized then, so I released that aspiration. Then, bingo—an invitation for a project bearing his name, though shrouded in secrecy. I received scripts without details on scale or scope. It was a classic scenario: limited info, forcing me to improvise and personalize.'
'When the dreamed-of encounter happened, my gut reaction was skepticism—“Don't pursue it; it's unrealistic.” Yet a counter-voice urged, “Just go for it, Karolina.” Humans are unpredictable—we envision one response to longed-for events, but reality delivers surprises. We never really know.'
'It also struck when I lacked an agent or manager. Without the casting directors—Sharon Bialy, Sherry Thomas, Russell Scott—I'd be nowhere. They tracked me down and requested my tape via an outdated agency affiliation. Gilligan revealed they hunted for my character extensively, globally, without success. Grateful for their memory and persistence.'
'So, I committed—“I'll give this a shot.” Reflecting now moves me deeply. [Wydra tears up.] “What's unfolding?” It's beyond imagination—being directed by Vince Gilligan, wow.'
'Did Gilligan consult Cranston about you?'
'Absolutely. Pre-audition, he arranged a Zoom call to outline the process. After reviewing the initial scripts, I bombarded him with queries. Midway, he mentioned, “I just spoke with Bryan Cranston about you.” Another surreal beat—I questioned hidden setups or pranks. Conversing with Vince Gilligan, hearing he'd conferred with Bryan Cranston about me? Utterly bewildering. Securing the role felt miraculous; even now, it seems dreamlike in the best sense.'
'Cranston must have spoken highly.'
'Undoubtedly. Sneaky Pete was a blast with him; he's unparalleled.'
'From my coverage of various productions, Gilligan's teams share an extraordinary bond, unlike typical shows. (Even at the premiere, alumni from his earlier works attended to cheer on the new venture.)'
'Gilligan fosters that atmosphere. Much of the crew has stuck with him since Breaking Bad, drawn back by his essence. I'm honored to join his creative circle. Regardless of role size, you feel nurtured, accepted, and secure. Our cast is incredibly tight, filled with genuine affection and mutual support. It begins with Rhea Seehorn— she's extraordinary as an actress and person, a true icon. I hold immense admiration and love for her and Vince.'
'Rhea's Carol Sturka is dubbed the 'most wretched soul on Earth,' so were you instructed to portray the epitome of serenity?'
'Precisely. Post-outbreak, the planet achieves total tranquility—no strife, bias, or wrongdoing. Pure benevolence prevails. The Joined embody goodness.'
'Indeed, you're depicting not an individual, but a planetary conglomerate. How do you approach such a vast role?'
'It's an enormous, fantastical notion—impossible to grasp as the 'whole world.' We'd brainstorm their core traits, then apply that to individual scenes.'
'I engaged in extensive meditation to achieve a unified, worldly state—that's meditation's effect with repetition. Plus, physical practices to embody contentment and tranquility, shielding Zosia from Carol's provocations. She can't mirror Carol's emotional path or respond instinctively. Zosia clings fiercely to 'our' purpose, deeming shared existence vital. The Joining's rewards motivate her; during Carol's struggles, she envisions eventual acceptance.'
'Thus, observing an emotional odyssey without participating was taxing. I relied on faith that my delivery avoided stiffness, hitting that ideal equilibrium of 'the Others.'''
'Zosia debuts disposing of remains in Morocco, then swaps places, motorcycles to a plane she pilots to Albuquerque, strips mid-airport for a shower. Initial impressions on this wild opening? (Note the detail where someone applies hair extensions to resemble Raban in the bathroom.)'
'Thrilled! Never attempted such scenes. I saw it as an epic arc. We meet her post-infection, witnessing her seamless, choreographed global movement—silent telepathic coordination. Rehearsals were intense, and we filmed accordingly.'
'Moreover, I actually taxied the C-130. Gilligan convinced the pilots, who hesitated initially. Through rehearsal learning, they deemed me reliable, allowing it at Albuquerque Airport.'
'You mentioned her ambiguous history—curious about Zosia's life before Joining. Is it revealed, or open-ended?'
'Honestly, I didn't inquire or discuss with Gilligan. I avoided it to prevent influencing my portrayal. Humans carry baggage—positive or negative—but she's transcended that. She lives in the present, not past echoes. That's episode two's intrigue: her backstory remains elusive.'
'Gilligan and Seehorn label Carol a hero, implying Zosia and the Joined are antagonists. But from the Joined's view, Carol could be the foe, her wrath their Achilles' heel—capable of mass extinction. How do you perceive these hero-villain roles?'
'Fascinating and intricate. Zosia adheres to a conviction: spreading the virus is a fundamental drive. Inviting 'Old-Schoolers' to join might seem coercive or evil, but they view their state as invaluable. Zosia understands Carol's experience, while Carol lacks theirs. Heroism hinges on perspective—Carol champions personal autonomy as paramount. Both sides have compelling arguments, depending on viewpoint.'
'Following the failed summit with half-a-dozen Old-Schoolers, why reclaim Zosia from Mr. Diabaté aboard Air Force One?'
'Carol grieves profoundly, as seen in episode one. Solitude would amplify isolation. Zosia's gentle companionship alleviates loneliness; her familiar visage—echoing Carol's Raban creation—makes her preferable to none. That's my theory.'
'Theories abound on Pluribus's underlying messages—AI parallels, political divides, religious undertones. I even wondered if Gilligan comments on fame's allure. What resonated for you?'
'When probed, Gilligan simply stated an idea struck, and he pursued it—no deliberate agendas. For me, it's human behavior. Sci-fi excels at posing questions: “How might society react? What could the world become?”'
'AI similarities? Political echoes? Even unintentionally, art provokes reflections—“Interesting parallels to reality.” Life mirrors fiction, and vice versa.'
'Gilligan's genius lies in crafting narratives sparking endless debates—all valid interpretations. On-set discussions mirrored this; expect ongoing conversations.'
And this is the part most people miss—the subtle way Pluribus invites us to question our own beliefs about unity versus individuality. Is the Joined's collective bliss a path to paradise, or does it erase what makes us uniquely human? What do you think—does Carol's resistance make her a hero, or is she dangerously selfish? Share your opinions in the comments; I'd love to hear if you see it as a cautionary tale on conformity or something else entirely! The show's two-episode launch is streaming on Apple TV, with fresh installments Fridays. Check out THR's prior chats with creator Vince Gilligan and star Rhea Seehorn for deeper dives.
