Karolina Wydra Imparts the Universal Sadness of Pluribus

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

Karolina Wydra faced a unique challenge for her role in the sci-fi series Pluribus: how to portray someone interacting with billions of people simultaneously. The show, created by Vince Gilligan, focuses on Carol (played by Rhea Seehorn), one of only thirteen survivors of an alien virus that transforms humanity into smiling, worker-bee-like beings known as “the Others.” Equally important is Zosia, Carol’s connection to the Others, who was specifically chosen because she physically resembles the hero from the popular fantasy-romance novels that made Carol a star.

Zosia Mamet, who plays Wydra, portrays a simple, serene happiness that feels shared by everyone in the hive mind. Having worked with Bryan Cranston on Sneaky Pete and admired the work of Vince Gilligan, the role was a dream come true. However, embodying Wydra’s consistently calm demeanor proved challenging. “The hardest part was avoiding emotional reactions and mirroring the feelings of her counterpart, Rhea,” Mamet explains. “I’m naturally a very expressive person, so suppressing that was a unique experience. It actually taught me to be more mindful and create space for others in my own life, as I was practicing that stillness with Carol every day.”

I understand you were a big fan of Vince Gilligan and really wanted to work with him. Could you share how you ended up getting cast on the show? Well, I had taken a break from acting around the age of 39 or 40 to focus on being a mom, which was really important to me. Shortly after the pandemic, my agent and manager decided to part ways. When my son was almost two, I started thinking about returning to acting. Then, out of the blue, I received an email from someone at a commercial agency I wasn’t actively working with. They said there was an audition request, and when I saw Vince Gilligan’s name, I was thrilled! He was someone I’d always dreamed of working with. I immediately told my team I was happy to take any role, even if it was just as background talent.

The character was described as a genuinely kind and loving person. I almost didn’t try out for the role. When you want something for a long time and it finally becomes possible, it’s almost scary to actually go for it, because you don’t want to lose the dream. But then I thought, ‘Why not? What’s the worst that could happen?’

I was really curious about the characters after reading the first couple of scripts, so I asked Vince a lot of questions about their motivations and how they lived their lives. I even wondered if Jainism had influenced his thinking – I’d visited India and a Jain temple about a year before and was struck by their commitment to non-violence, even avoiding harming insects. They wear masks to prevent accidentally breathing them in, which I found fascinating. Vince mentioned he’d discussed me with Bryan Cranston. Then, on Friday, I finally met Vince and Rhea for the first time.

Auditioning is always nerve-wracking, and this was especially intense, but everyone involved was incredibly kind and encouraging. The week I waited to hear back felt like forever. Then, my manager called and said Apple was going to review my audition tape and make a final decision within the hour. I was so overwhelmed, I actually turned off my phone – it felt like my whole future depended on it: either I’d be working with Vince Gilligan, or I’d be back where I started. I was distracted by a movie when my husband’s phone rang – it was the manager. He simply said, “Pop the Champagne!” It was a moment of pure joy – lots of tears, jumping, and screaming!

I often play villains, like in shows such as True Blood, Agents of S.H.I.E.L.D., and even Sneaky Pete. This role is different because it’s the first time I’ve really played someone genuinely kind, peaceful, and loving. The character is incredibly human, despite living with a condition that changes how she experiences the world. Unlike many of my previous roles, she isn’t driven by malice or prejudice; she simply wants what’s best for others.

When I play a character, I draw on my own inner life to bring them to life. But this character wasn’t supposed to be anxious, which was a real challenge. I often wondered if I was portraying her emotions accurately. Vince constantly reminded me that these people have a powerful, almost instinctive, need to share their talent. My biggest challenge was to avoid getting caught up in the character’s feelings and simply show Rhea’s emotions. I’m naturally a very expressive person, so it was difficult to keep my own reactions in check. The experience actually made me more mindful and empathetic in my personal life, especially with my kids, as I was focused on Carol’s emotional state every day.

I focused on understanding the script deeply, breaking it down scene by scene. I also practiced meditation and bodywork – things like muscle relaxation – to be fully present and emotionally available for my scenes with Rhea. I tried to connect with the feeling of peacefulness and love that her character experiences, and really understand that inner state.

I also worked with a movement coordinator named Nito. He helped me create the physical表现 of the character’s glitch when she gets upset with the Others. We’d figure out exactly how that glitch would look – what parts of my body would be affected, and how intensely – based on the camera angle. It wasn’t just shaking; it was meant to look like a system malfunction. Nito jokingly called it ‘grandpa hands.’

I’d like to discuss a scene from episode two where Carol and Diabaté discuss the possibility of having sex with one of the Others, who seem very open to it. However, referring to Zosia as a “sex doll” or even “fuckable” feels uncomfortable. I was wondering if you intentionally create any sexual tension in your scenes with Carol?

I wouldn’t call it “sexual tension,” but you’ve hit on something I’ve thought about a lot. It’s easy to assume these characters will sleep with anyone and do anything. It really comes down to perspective and belief systems. Some people today believe in love and openness, and having multiple partners isn’t seen as negative. It’s about personal choice: wanting to share intimacy and feeling comfortable with it.

The Others share a deep connection, seeing each other as a unified whole rather than individuals. This unity stems from their love for one another, including characters like Carol and Mr. Diabaté. Their approach to relationships is unique, and a scene with Zosia highlights the sadness of unnecessary conflict – a situation where everyone is loved, and there’s no need for argument. The Others are pained by being caught in the middle of these struggles. Their ideal world is one without conflict or suffering. This contrasts sharply with the ‘Old-Schoolers,’ who see the world very differently, creating a constant tension between these two perspectives.

The show offers many different ways to look at things, and its exploration of sexuality is particularly rich. For example, people in polyamorous relationships might interpret the characters’ connections and intimacy very differently than those in monogamous ones. There’s a real sense of freedom in how characters express themselves – it’s simply about what they desire. The connection between Zosia and Carol is rooted in genuine love; Zosia feels complete, unconditional love for Carol, but how Carol chooses to experience that love is her own personal path.

I found the hospital scene this week particularly intriguing. Carol had been communicating with the collective consciousness all day, so when she visited Zosia in the hospital, she was essentially interacting with the same entity she’d already been speaking to. However, the situation isn’t presented that way. Carol perceives her visit as meeting a unique individual. It’s a complex idea, especially if you’re not familiar with this concept. While Zosia’s physical form and responses are slightly different, they are part of a shared consciousness. My own body and personality retain some individuality. I think there’s a disconnect simply from interacting with a different physical presence. Having been with Zosia throughout this journey, I’m a familiar face, and communicating with me feels more natural to her than talking to another aspect of the collective—another ‘me’. I believe Carol genuinely cares for Zosia.

The episode culminates in a heartbreaking scene where Carol drugs Zosia, causing her to go into cardiac arrest. Reading the script gave me chills – it’s a moment designed to evoke a powerful emotional response from the audience. It’s not just about what happens, but about the profound sadness we feel that Carol is willing to do anything to avoid connection with others. We realize there’s nothing anyone can do to reach her, and that feeling of helplessness is deeply affecting. I remember filming the scene and hearing the crew and extras chanting “Carol, please,” which created a truly unsettling and unified atmosphere – it felt like everyone was connected by that shared sadness.

I became anxious the moment Zosia began to fall apart, because I anticipated the Others would arrive shortly after. Were you concerned about Carol?

I didn’t expect her to be injured, but I was anxious about the outcome because everything felt so uncertain. How did you react to the widespread sadness?

It’s unsettling, but also good to slowly figure things out, even though new questions keep appearing. I’m constantly texting my sister with all the questions we have about everything. That really makes me happy, because we used to do that on set all the time, and we still do! After watching something, you immediately text your sister to discuss it – the conversation never ends. You just want to process it all together and talk about what it means to you and how it makes you feel.

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2025-11-22 01:57