Pluribus: The Official Podcast

Episode Title: S1E9: La Chica o El Mundo
Host: Chris McCaleb
Date: December 24, 2025
Guests: Vince Gilligan (Creator), Gordon Smith (Co-writer/Director), Trina Siope (Co-EP), Rhea Seehorn (Lead Actor, Carol Sturka)

Episode Overview

This season finale edition of the Pluribus podcast delivers an in-depth, candid, and lively behind-the-scenes conversation about creating episode 109, “La Chica o El Mundo.” Host Chris McCaleb leads a roundtable with the show’s creator, key writers, a producer, and star Rhea Seehorn. The team unpacks the creative decisions, technical challenges, set stories, and emotional arcs driving the dramatic conclusion of Season 1. The discussion is rich in spoilers and crafted for dedicated fans eager to go deeper into the series’ construction and its memorable season finale.

Key Discussion Points & Insights

Creative Decisions Behind the Season Finale

• Evolving the Ending:

  • Several alternate finales were considered before landing on the “atom bomb” moment for Carol, prompted by studio notes for a more definitive season endpoint.

  • Gordon Smith:

    “We had a series of somewhat softer endings that were interesting, but not quite as much of a line in the sand. And this felt like a line in the sand.” (03:06)

  • Vince Gilligan emphasizes embracing feedback:

    “Listen to every note. Not slavishly. Not assume every note is 100% correct. But there is probably something wrong here… you want to get forensic. Like a forensic pathologist to figure out, okay, there is a problem here, let's figure out what it is.” (04:18–05:22)

Building the Cul-de-Sac and On-Set Anecdotes

• Set Design Details:

  • Carol’s house was constructed both on a backlot and as an interior set, expanding incrementally through the season.
  • Rhea Seehorn shares about the immersive, sometimes confusing set experience:

    “By the end, so much of it was built… I’d walk out and be surprised that I was on set or on the backlot. I would totally forget.” (05:50–06:33)

• Mice and Prop Mishaps:

  • The partially constructed set (described as only “half colonized by people”) led to rodent problems and comic signage like “this is not a bathroom” taped on buckets.
  • Rhea:

    “It makes me really sad that that had to be written. Like, what was going on before that?” (08:27)

Portraying Language Barriers and Technical Acting Challenges

• Carol and Minusos’s Translator Scene:

  • During their climactic encounter, the actors wore earpieces, hearing real-time translations, requiring them to time their acting with both the translation and character ignorance.

  • Rhea Seehorn:

    “We’re supposed to play people that don’t know what each other’s saying. So you have to wait for the translation… play the actual frustration of when you have to wait. And the comedic absurdity of it, without the characters thinking it’s funny.” (09:51–10:46)

  • The pacing and emotional rhythms had to adapt to the structure of translated conversation, with moments of intentional overlap and delay to communicate misunderstanding and dramatic tension.

• Screen Tests & Actor Chemistry:

  • Rhea commends Veska (Minusos) as “magnetic to watch… he has delivered 10 times over on what people expected.” (12:34)

Stunts, Choreography, and Filming Difficulties

• Physical Performance:

  • Running scenes involving Carol required nuanced “modulation” of fear and urgency, distinguishing a “7.5 panic” from a “9.2 panic” (16:08).

• Stunt Double Praise:

  • Rhea Seehorn on her stunt double:

    “Heather backs a truck super fast in a frame, jumps out a frame… you come in… swap again. That’s a double Texas swap. One of them is the best I've ever seen.” (16:55–17:07)

• Practical Effects:

  • Cocking the shotgun moment is cited as one of Carol’s most “badass” moments and a highlight for the writers and cast (17:38–17:45).

Emotional Journey and Character Arcs

• Carol’s Isolation and Emotional Logic:

  • Carol’s evolving sense of dislocation and desperation is discussed, particularly her long periods of alone time.
  • Rhea Seehorn:

    “She has fallen in love with holding onto a raft… Part of her knows… I am not uniquely her romantic partner… but this is the only raft I have.” (21:18–21:30)

• Acting Without Mirroring:

  • Rhea on Carolina Widra’s performance (Zosia):

    “As humans, we are built to mirror the emotions… as actors, we’re supposed to be affected by our scene partner, and she couldn’t do either… she had to thread that needle.” (19:13–19:44)

Building the Quechua Village & Cultural Authenticity

• Production Design:

  • The village set was hand-built on a ranch in Pecos, with about 30 actors, striving for authenticity and contemporary indigenous representation (23:07–24:03).
  • Efforts were made to hire local indigenous actors from New Mexico and ensure accuracy in costume, hair, and makeup (25:05–25:05).

• Language and Casting:

  • Notably, several actors spoke Quechua, with special praise for Dorinka, a Peruvian actor and student at NYU (25:24–25:35).

Filming Locations and Logistical Challenges

• Montage/Vacation Sequence:

  • Originally planned for Spain, the “last temptation” sequence had to pivot to include Montana due to weather and strike delays, which enhanced the sense of time passage and emotional tone (28:31–30:34).
  • Rhea:

    “There was something about being with the backdrop with the windows… intimate that I’m with her, but also, without her Carol is alone in the world.” (34:13–34:49)

• Apres-Ski Scene:

  • The crew constructed set pieces (like the fireplace) in a real mountain restaurant, navigating subzero temperatures to capture the right aesthetic (29:39–30:34).

• Gondola Scene & Motion Sickness:

  • Rhea admits to motion sensitivity, recalling having to ride a real, slow, reset-intensive glass gondola for multiple takes—alleviated by heated seats (34:16–35:10).

Helicopter Stunt and Aerial Realism

• Real Pilots On Screen:
  • The sequence showing Carolina piloting a helicopter was shot practically, with stunt pilots Steve Stafford and Angela Krieg involved:

    “That is a whole different level of flying a helicopter. I did four hours of training with long line work… I was so queasy. At that moment, I threw up on the ground.” —Vince Gilligan (36:53–37:26)

  • Camera angles were meticulously chosen to hide the presence of professional pilots and sell the illusion (38:07).

Notable Quotes & Memorable Moments

• On Studio Notes & Creativity:

  “You want to get forensic… There is a problem here. Let’s figure out what it is.”
  —Vince Gilligan (05:09–05:22)

• On the Translator App Scene:

  “You have to wait for the translation. And the sort of comedic absurdity of it, without the characters thinking it was funny.”
  —Rhea Seehorn (10:39–10:46)

• On Physical Comedy On Set:

  “There was a huge bucket tub with a lid on it and a giant sign in Sharpie that said, ‘This is not a bathroom.’ It makes me really sad that that had to be written.”
  —Rhea Seehorn (08:27)

• On Character Journey:

  “She has fallen in love with holding onto a raft...I am not uniquely her romantic partner...but this is the only raft I have.”
  —Rhea Seehorn (21:27–21:30)

• On the Team’s Bond:

  “Our crew actually hangs out with each other when we’re not working… we can’t get enough of each other.”
  —Trina Siope (31:29–31:44)

Timestamps for Key Segments

• Creative choices around the finale & studio notes: 02:59–05:37
• Carol’s house, set-building stories & mice: 05:48–08:27
• Translating drama: Acting through the language barrier: 09:17–12:34
• Stunt doubling & Texas Swaps: 16:29–17:15
• Carol and Zoshit’s confrontation: 18:17–21:30
• Building the Quechua village: 22:46–25:05
• Spain/Montana shooting & the après-ski scene: 28:31–34:14
• Gondola and helicopter sequences, practical stunts: 34:16–38:07

Tone & Language

The episode is relaxed, playful, and often self-deprecating, marked by in-jokes about Hollywood trivialities (umbrellas, running, walking, prop mishaps) and genuine admiration for all contributors—from performers to the stunt team and art department. Technical discussions are accessible but honest about the challenges, and there’s a consistent sense of camaraderie and affection throughout.

Concluding Thoughts

The team expresses gratitude for both their collaborative process and the audience response, with hints at bonus content or further reflections to come.

“This has been such a treat to, you know, take this journey with all of you.”
—Chris McCaleb (38:45)

For “Pluribus” fans, this episode is a warm, insightful invitation inside the writers’ room, the set, and the emotional heart of the series—illumining the details that make its world so compelling.