Pluribus: The Official Podcast

Episode S1E9 – Alison Tatlock & Dorinka Arones
Host: Chris McCaleb
Guests: Alison Tatlock (Executive Producer & Co-Writer), Dorinka Arones (Actor—Kusamayu)
Release Date: December 31, 2025

Episode Overview

In this ninth bonus episode, host Chris McCaleb sits down with executive producer and co-writer Alison Tatlock and actor Dorinka Arones for an in-depth, behind-the-scenes look at one of the series’ most pivotal and emotional episodes. The discussion centers on the creation of the Peruvian village sequence, the cultural and collaborative process behind it, and the personal journeys of both creators and cast. The episode is rich in heartfelt anecdotes, production insights, and reflections on themes of community and individuality—dovetailing with the core storylines of Pluribus.

Key Discussion Points & Insights

Casting and Finding Dorinka Arones (01:34–03:14)

• Dorinka’s Casting Journey:
  • Dorinka, originally a film and TV student at NYU, discovered the opportunity while working on her thesis short film. The role was notable for its specificity—a Peruvian young woman fluent in Quechua.
  • The casting process seemed “almost destiny:” Dorinka was in Cusco, learning more Quechua as part of a summer residency when she sent in the audition tape.
  • Quote:

    “It was the time, it was almost destiny for me.” – Dorinka (01:51)

  • Dorinka had to balance her commitments at NYU, taking time off with her professors’ support.
  • Vince Gilligan (series creator) frequently acknowledges Dorinka’s filmmaker ambitions, which is a source of pride for her.

Connections Within the Quechua Community (03:16–04:05)

• Dorinka introduced Anais, the lead singer featured in the village, to the production—a friend she met at an annual Quechua celebration in the U.S.
  • Quote:

    “We met...at this Quechua kind of Raimi celebration that happens in the US...That’s where I met Anais about, like, four years ago. They were super talented, and they did focus a lot on doing Quechua songs. So I thought of them for this opportunity.” – Dorinka (03:37)

Production Research and Cultural Advisors (04:09–06:09)

• Collaboration and Research:
  • Alison admits the team relied heavily on expert advisors for authenticity.
  • Doris (University of Colorado Boulder) and Irma (on-set, giving pronunciation notes) were instrumental.
  • The art department, led by Denise Pizzini, constructed the village from scratch.
  • Alison’s own daughter had recently completed a semester in rural Peru, which heightened Alison’s emotional investment in the episode’s setting.
  • Quote:

    “None of us in the room when we started were experts in the culture. And it, of course, was a collaboration with our genius design team...who designed it so specifically and beautifully.” – Alison (05:00)

Choreographing the ‘Joining’ Sequence — Movement and Performance (06:09–08:53)

• Working With the Movement Choreographer:
  • Dorinka collaborated closely with Nito, the choreographer, to portray Kusamayu’s transformation after being joined.
  • The physicality was both mentally and physically taxing, but “felt real” given the immersive set and atmosphere.
  • Alison draws a comparison to the ‘Vegas sequence’ in another episode, highlighting the thematic mirroring between different communities’ responses to ‘joining’.
  • Quote:

    “It was like I was just really immersed in whatever was happening to my body at a certain moment. I really felt it...” – Dorinka (06:53)

• Themes of collectiveness in Andean culture were naturally reflected in the group’s movements and helped inform Dorinka’s approach to portraying Kusamayu’s joined state.

On-Screen Family Bonds and Off-Screen Friendships (08:53–10:01)

• Dorinka speaks warmly of her “auntie” (Elena) and “cousin” (Jennifer) on the show; their bond persisted after filming.
• The actors shared a commitment to respectful representation of Quechua language and identity.
  • Quote:

    “We’re really like family. During this process...we felt really close. Right now, I think it’s the best relationship that I have that I got from Pluribus.” – Dorinka (09:14)

• Running joke about Chris not being in their group chat, adding levity.

Narrative Decisions: Why Kusamayu Was the First to Be Joined (10:20–12:28)

• Alison explains it was established early that Kusamayu would be the first old schooler to be joined—a result of ongoing writers’ room debates about character arcs.
• The narrative choice was rooted in Kusamayu’s longing for familial connection, as she’s the youngest “old schooler” and closely tied to community.
  • Quote:

    “It felt right that she would be the one to turn...I identified with that longing a lot.” – Alison (11:30)

• Dorinka relates personally to that longing, noting she would probably make the same choice.

Philosophical Reflections on Individuality and Collectiveness (12:28–13:54)

• Alison and Chris discuss the merits of joining—freedom from neurosis, struggle, and division—but also the loss of individuality.
  • Quote:

    “There is a peace and a beauty and a release of neurosis and struggle and violence and division that comes with the joining. And I can see the upside.” – Alison (12:49)

Baby Goats, Animals on Set, and Symbolic Moments (13:54–17:49)

• Discussing the now-iconic moment where Kusamayu lets the animals go—especially the baby goat, which became an unexpected star.
• Challenges and joys of working with animals on set; the baby goat delivered an improvised “performance” by climbing onto a seat.
  • Quote:

    “That baby goat was kind of a genius...” – Alison (14:31)
    “I hope people don’t think it’s AI, because that was an amazing performance.” – Dorinka (16:11)

• Shoutout to Tamara Brock, goat wrangler, and the difference between choreographing humans and animals.
• The bittersweet symbolism: freeing domesticated animals = a moment that is both joyful and tragic, underscoring the cost and strangeness of the joining.
  • Quote:

    “The animals are freed, which you could look at as a positive depending on your perspective. And yet nobody will care for them anymore.” – Alison (17:09)

Editing Challenges & Capturing the Moment (18:56–20:39)

• Chris reflects on the difficulties of editing the teaser, particularly maintaining perspective and using musical sequences to support the narrative.
  • The team sought the right moment to highlight Anais’s singing without disrupting scene flow.
• Importance of integrating musical elements authentically and meaningfully.
  • Quote:

    “It’s all about whose head we’re in...how do you tell the story of this entire village and what is going on, the mechanics of it and just the movements of this crate?” – Chris (19:07)

Notable Quotes & Moments

• On destiny in casting:
  “It was almost destiny for me.” – Dorinka (01:51)
• On community and authenticity:
  “None of us...were experts in the culture. And it was a collaboration...” – Alison (05:00)
• On working with animals:
  “That baby goat was kind of a genius...” – Alison (14:31) “I hope people don’t think it’s AI, because that was an amazing performance.” – Dorinka (16:11)
• On the bittersweetness of joining:
  “The animals are freed...And yet nobody will care for them anymore.” – Alison (17:09)
• On relationships formed on set:
  “We’re really like family...I think it’s the best relationship that I have that I got from Pluribus.” – Dorinka (09:14)

Timestamps for Key Segments

• 00:57: Introduction of Dorinka Arones
• 01:34–03:14: Dorinka’s casting and connection to the role
• 03:16–04:05: Anais and Quechua community music
• 04:09–06:09: Cultural research and advisers
• 06:09–08:53: Movement choreography and joining sequence
• 08:53–10:01: On-screen family bonds
• 10:20–12:28: Deciding Kusamayu’s fate
• 13:54–17:49: Baby goat stories and animal symbolism
• 18:56–20:39: Challenges of editing the sequence

Conclusion

This episode gives a heartfelt, multi-faceted look into one of Pluribus’ most emotionally complex sequences, through the lens of culture, community, and creative process. From the serendipity of Dorinka’s casting to the inventive challenges of animal wrangling, the conversation is replete with warmth, humor, and respect for both the show’s world and the real-world culture it depicts. The behind-the-scenes stories not only deepen appreciation for the episode, but also celebrate the collaborative spirit that defines Pluribus.

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