Miriam Shor May Have Conjured Pluribus Into Existence

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This interview discusses events from this week’s episode of Pluribus.

Vince Gilligan’s Pluribus largely revolves around a single character. Carol Sturka, played by Rhea Seehorn, is the show’s central figure – initially described as “the most miserable person on Earth.” She’s a pessimistic romance writer who discovers she’s one of the few remaining fully conscious people on a planet where almost everyone else has joined a peaceful, collective consciousness. While Carol has lost everyone she knew to either death or assimilation into this hive mind, the loss of her manager and partner, Helen, clearly affects her the most.

Miriam Shor plays Helen as someone who shares Carol’s sarcastic wit, but is more open and affectionate. Unlike Carol, Helen consistently believes in her, even when Carol doubts herself. Their brief scenes together quickly establish a strong connection, making Helen’s eventual death feel impactful from the very first episode. A recent flashback shows them at an ice hotel in Norway, where Carol is preoccupied with her book’s sales ranking, while Helen encourages her to appreciate the beauty of the Northern Lights. According to Shor, Helen gently challenges Carol’s negativity while still believing she secretly wants to experience the world’s beauty. Carol truly needs that support from Helen.

So, how did you first get involved with the show? It started with a very secretive audition. They just asked if I’d be interested in auditioning for Vince Gilligan’s new project, and of course, I said yes! The audition scene was designed to give a sense of the dynamic between my character and Carol. I didn’t know anything about the show itself, but the writing immediately made the relationship clear. That was a relief, because I’ve had auditions before where they handed me lines without any context, leaving me completely in the dark about what was happening.

That scene we talked about isn’t actually in the show. It was written specifically for auditions. While it touched on themes similar to what made it into the final version, it didn’t advance the plot. It was simply a character telling another that they are important and valuable, even if they don’t always feel that way. That’s essentially what Helen’s character is meant to do – remind others of their worth.

I was honestly surprised when I was chosen for this. It felt a little absurd, but in a good way.

Were you a fan of Breaking Bad and Better Call Saul? Well, my connection goes back even further – I was a massive X-Files fan back in the day. I really loved it! That’s how I first became aware of Vince Gilligan. Of course, I knew he was brilliant from Breaking Bad and Better Call Saul, and Rhea Seehorn is just an incredible actress. But when I heard this new show would be connected to that universe, I was thrilled. It felt like Vince Gilligan had read my mind and created the exact show I’d been hoping for. In fact, weeks before I even auditioned, I mentioned in an interview that I was fascinated by the dynamic between groups and individuals. So, I like to think I somehow made it happen!

The infected characters in the show have a very distinct way of convulsing, and it seemed like everyone playing an infected person was doing the exact same movements. I actually had training with a movement coach to learn it. While it doesn’t look like much on screen, I spent many nights practicing that shaking for hours. It’s amazing how it affects your body – it’s a full-body workout, honestly, and really engages your core muscles. I was incredibly sore afterwards! The director would give very precise instructions – ‘shake your feet less,’ ‘shake your hands more,’ ‘tone down the head movements.’ It got so detailed, I started to question what my job even was!

Did you and Rhea have a chemistry test before filming? I didn’t, but Rhea saw my audition tape and approved it, which was great. Everyone seemed to like me after that. When I was cast, Rhea called just to say hello – she’s incredibly kind, second only to Vince Gilligan, in my opinion – and I immediately felt a connection with her, like I’d known her forever. I think she felt the same way. That was really fortunate, because our characters needed to feel like they had a long history together, and it was so much easier to portray that when it felt like I’d always known her. Plus, it’s not hard to feel affection for Rhea Seehorn! (You can almost hear everyone agreeing!)

A moment I really loved in the first episode is when Carol quietly waits for Helen to move her book to a better place on the shelf, and then Helen just says, “I’m going to get some gum.” I also loved when I offered her a piece of gum – we were probably both a little out of it after traveling! It’s a sweet moment because I’m happy to support her both as her professional assistant and as a friend.

I understood Carol’s discomfort with the ice hotel – I wouldn’t choose to go there either. But watching the show, you find yourself wanting her to relax and appreciate the experience. She just can’t seem to be present in the moment, and it makes you wonder why she and Helen connect. They share a silent understanding. What I admire about this scene – and really, all of Vince Gilligan’s work – is that the writing doesn’t directly address the core issue. Instead, it focuses on smaller, everyday details that subtly reveal the underlying dynamics. It’s like being a detective, figuring things out through observation of how people behave, rather than being told what’s happening through dialogue.

Honestly, if someone suggested a vacation to the coldest place on Earth, my first reaction would be disbelief – wanting a beach, not ice! But Helen has a way of shutting down those complaints. She’d tell you to simply sit and experience something amazing, like the northern lights – something unique that can lift you out of negativity and make you appreciate the beauty of the world. She understands that someone might initially resist, but she doesn’t take it personally, knowing they need to witness that wonder, and she wants to share it with them. She’s incredibly patient and good-natured about it, almost finding the initial resistance amusing. And because of her perspective, we’re able to experience it too.

Let’s talk about Carol’s perspective. Carol deeply trusts Helen, and she doesn’t easily trust anyone. That immediate trust is the foundation of their relationship. The fact that Carol agreed to go along with this plan because of Helen shows how strong their connection is. Helen isn’t afraid to challenge Carol, but she also believes in Carol’s hidden desire to experience joy and beauty, even when Carol claims she doesn’t want to. Carol really needs that kind of support.

People have been asking where that scene was filmed. We spent an entire day on set, which was made to look like an ice palace, and it was incredibly hot! I actually lost a lot of weight from sweating. I’m not usually into anything mystical, but the experience was really strange. We kept watching footage of the northern lights, and then late that night, we found out there was a rare sighting of them in the southern US – even in Albuquerque, where we were! It felt like someone was playing a trick on us after seeing them on screen all day.

You’ve acted in so many different kinds of films and TV shows, including Marvel movies – which was a dream come true for me as a fan!

How did working with Vince Gilligan on Pluribus influence your perspective? Did it bring anything new to the table? It’s common to have certain ideas about brilliant artists, but Vince would probably dislike being called a genius – though he absolutely is one. What really struck me, after years in this industry, is that you can be a truly gifted and visionary artist while also being a kind, generous, and inclusive person. There’s a common misconception that those qualities are mutually exclusive, and it’s simply not true. Vince Gilligan and Rhea Seehorn are perfect examples of that.

Vince is really counting on this, and Rhea is the one responsible for making it happen. It’s hard to imagine how much pressure that puts on her, yet she and Vince always made sure everyone on set felt appreciated. As a director myself, I think it’s great that you can be both a thoughtful leader and a genuinely kind person – and it’s reassuring to see that confirmed.

I first noticed your work on the show Younger, so I’m curious what you think happened to your character, Diana Trout, after the series ended. I imagine she’s still giving people instructions and making sure things are done her way, and that she’s likely still involved in the book world somehow. It’s funny because I’ve been working on projects that involve publishing – like Younger, American Fiction, and Pluribus – and early in my career, I almost took a job as a copy editor at a publishing house. I ultimately decided to wait tables instead so I’d have more time to pursue acting, but books have always been important to me. I really enjoyed exploring the publishing world on Younger, and I loved that aspect of the show. It makes sense to me that Vince created Carol as an author – it feels like the most genuine way to tell a story.

Diana Trout is such a compelling character. I always found it fascinating to see her vulnerabilities – the ways she let her guard down. Beneath her tough exterior, she’s deeply human, and it makes you wonder what struggles led her to build that protective shell. That’s what I love most about good television. Vince Gilligan, the creator, always starts with the characters, and that’s definitely true of his shows. It’s interesting how being around creative people can make you reflect on your own life. I really enjoyed my time on Younger, especially playing a character who was completely self-assured, because I tend to second-guess myself constantly and often downplay my own value – though I do it willingly! Diana Trout, on the other hand, never does that.

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2025-11-15 01:58