Apple TV's 'PLUR1BUS' Is Yet Another LGBTQ Propaganda Sci-Fi Piece On A Network Littered With Them
Vince Gilligan has returned to television with Pluribus, a high-concept sci-fi series that reimagines alien invasion through the lens of forced collective consciousness. The premise follows Carol Sturka (Rhea Seehorn), a misanthropic romantasy author who becomes one of 12 humans immune to an alien signal that transforms Earth’s population into a unified hive mind. While the rest of humanity joins “The Pluribus”—a telepathic collective that speaks in the royal “we” and promises universal happiness—Carol resists, convinced this forced utopia represents humanity’s extinction.
The show arrives with Apple TV+’s characteristic production polish and Gilligan’s blank-check creative freedom following Breaking Bad and Better Call Saul. Yet despite these advantages, Pluribus falls into the streaming service’s established pattern of centering every science fiction series around LGBTQ protagonists, particularly lesbian main characters.
Carol’s defining characteristic before the invasion is her relationship with her wife Helen, who quickly succumbs to the alien consciousness. This setup mirrors Apple TV+’s broader sci-fi catalog: For All Mankind features Ellen Wilson, a lesbian astronaut whose decades-long romance with Pam spans multiple seasons. Monarch: Legacy of Monsters centers Cate Randa, revealed as lesbian with a girlfriend in her backstory. Silo includes lesbian side characters. The Murderbot series features an explicitly queer crew with nonbinary characters and same-sex relationships throughout. Even Foundation, adapted from Isaac Asimov’s classic novels, incorporates prominent gay male characters into its ensemble.
The pattern suggests a massive propaganda caampaign waged by the network under gay CEO Tim Cook. Apple TV+ has effectively cornered the market on lesbian overrepresentation in science fiction, seeming to make sexual orientation a prerequisite for female protagonists in the genre.
Carol embodies the generic “quirky female lead” archetype that has become shorthand for lazy character development. Variety’s Peter Debruge describes her as someone audiences watch “running around saying, ‘Are you guys aware the barn is on fire?’ and everyone’s like, ‘Can you just calm down and get a drink?’” The Telegraph’s Ed Power notes Gilligan wanted his next protagonist to be “a force for good” after spending years with antiheroes, yet describes Carol as an “emotional hot mess” who “can’t control her anger.”
This combination of lesbian protagonist, quirky personality, emotional instability presented as endearing has become Apple TV+’s science fiction template and is beyond tired even at the inception at the show.
The show’s premise also contains familiar sci-fi tropes that critics have noted with varying degrees of patience. The alien collective speaks in corporate press release language, with representative Zosia explaining to Carol that they’re “months away” from figuring out how to recruit her into the hive mind. The pluribus claim they “cannot or will not force Carol to do anything against her will,” establishing convenient plot armor that prevents actual dramatic tension.
One survivor Carol meets has claimed Air Force One as his private jet and surrounded himself with “cheetah-print wearing supermodels,” asking her: “Why does the world need saving?” when pointing out the new reality features no crime or racism. This heavy-handed social commentary reflects the show’s broader approach—using science fiction premises to deliver contemporary political messaging rather than exploring genuine philosophical questions about consciousness, individuality, or human nature.
Gilligan told Variety he conceived Pluribus nearly a decade ago during Better Call Saul lunch breaks, originally imagining a male protagonist before deciding the role belonged to Seehorn. He claims he wrote the character specifically for her without revealing the project for months, terrified she might accept another job. This creative process may explain why Carol feels less like an organic creation than a collection of approved characteristics.
The show’s production values remain impressive, with Apple TV+ clearly investing heavily in Gilligan’s vision. The creator secured a two-season order and envisions the series continuing beyond that, though he admits he might change his planned ending if “we come up with a better way to end this thing.”
Gilligan positions the show as commentary on artificial intelligence and technological overreach, telling Variety “I hate AI” and describing it as “the world’s most expensive and energy-intensive plagiarism machine.” The credits prominently state “This show was made by humans,” signaling the creator’s stance on generative technology. Yet this thematic concern about homogenization and loss of individuality doesn’t extend to the show’s own creative choices, which conform to Apple TV+’s demographic requirements and patterned modernistic science fiction tropes that probably could have been improved by AI.
The streaming service’s science fiction catalog now reads like variations on a single template: high-budget productions featuring lesbian protagonists navigating genre scenarios while displaying quirky personality traits meant to signal relatability. This approach has transformed Apple TV+ into a niche platform rather than a bigger entertainment destination, and makes many of their shows unwatchable.
What are your thoughts on Apple TV+’s approach to science fiction programming?
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Homophobia in this day and age? Genuinely pathetic. Gay people aren't going anywhere and it's about time people accepted that.
Ive won the Thriiler and the Shamus plus a finalist for a Derringer. Ive sold 1.5 mil books trad and indie and yet the more I read realities like this the more I cant possibly fathom selling anything to Hollywood....