apple’s ”Pluribus” Creators Confront the AI Threat to Storytelling
Vince Gilligan, creator of “Breaking Bad” and “Better Call Saul,” and Rhea seehorn, star of the latter, are tackling the looming influence of artificial intelligence on creative content with their new Apple TV+ series, “Pluribus.” The show, which received a two-season order, explores a world where AI generates personalized television, prompting Gilligan and Seehorn to openly question the future of authentic storytelling.
The project arrives as video-generating software like OpenAI’s Sora demonstrates the increasing capability of AI to produce mainstream content.Gilligan frames the central dilemma as a choice: “Do you wont to be fed a diet of crap? Is there enough calories in a diet of crap to keep you alive? The answer is yeah, probably. You could eat it.” this concern underscores a broader anxiety within the entertainment industry about the potential devaluation of human creativity in the face of rapidly advancing AI technology, impacting writers, actors, and ultimately, the audience experience.
Gilligan describes AI-generated content as “like a cow chewing its cud – an endlessly regurgitated loop of nonsense,” expressing skepticism about effective U.S. regulation due to competition with China. He jokingly attributes the situation to Silicon Valley, stating, “Thank you, Silicon Valley! Yet again, you’ve fucked up the world.”
Seehorn offers a counterpoint, emphasizing the irreplaceable value of human experience in art. While acknowledging AI’s ability to mimic artistic styles – “you can prompt an AI to paint you a Picasso” – she asserts that the emotional depth and meaning behind art stem from the human process of creation. “Even if a computer could make you think there was impasto brushwork there, the reason the painting is moving is because of the human experience that went into transferring that art onto the canvas,” she explained.”That matters to me. I think it matters to most peopel.”
Despite having a preliminary idea for the series’ conclusion,Gilligan maintains a flexible approach to the writers’ room. “One of the most vital things I can do…is not be too precious about the ideas. If we come up with a better way to end this thing, we will.”
Acknowledging the unpredictable nature of the current television landscape, Gilligan concedes that “Pluribus” could be an “expensive experiment that never quite catches on.” However, given his established success, he anticipates a future where he and Seehorn will reflect on the project with a knowing laugh.
