Mumbai, December 11, 2025: The Apple TV+ political thriller Pluribus, starring Rhea Seehorn in the lead role, has witnessed a steady fall in audience ratings since its premiere on November 8, dropping from an initial 8.3 to 6.7 on IMDb within four weeks. Viewers have largely attributed the decline to a deliberately slow pace and limited forward movement in both plot and character development.
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Sources privy to the matter said the ten-episode series, created by Vince Gilligan and Peter Gould as a follow-up to Better Call Saul, opened to strong critical praise for Seehorn’s performance and atmospheric direction. However, feedback from episodes three to seven has repeatedly highlighted extended silences, repetitive boardroom exchanges, and a central conspiracy that remains largely static.
What has raised concerns among regular subscribers is the show’s reliance on long, dialogue-light sequences that often exceed ten minutes without advancing the narrative. Several reviews on social media and review aggregator sites have described the middle stretch as “beautifully shot but narratively stagnant,” with one widely quoted comment noting that “nothing of consequence happens for three straight episodes.”
In a development that has surprised industry circles, completion rates for the series stand at 58 per cent according to internal platform data accessed by this newspaper. This figure is notably lower than the 74 per cent recorded by Severance Season 2 on the same service earlier this year. Observers note that the decision to release episodes weekly rather than all at once has amplified perceptions of sluggish progression.
A statement issued on behalf of the producers on December 9 acknowledged the feedback while defending the creative choice. “Pluribus is conceived as a deliberate slow-burn examination of institutional decay; the final four episodes, beginning December 13, are designed to reframe everything that has come before,” the statement read. It assured viewers that major revelations were forthcoming.
According to industry estimates, the series carried a production budget of approximately $92 million, with a significant portion allocated to location shooting in Washington D.C. and practical sets. The current trajectory has prompted some trade analysts to lower viewership forecasts for the season finale by close to 22 per cent.
Viewer sentiment remains divided on discussion forums. While Seehorn’s layered portrayal continues to receive consistent praise, alongside supporting performances by Bob Odenkirk in a cameo capacity, the dominant complaint centres on the absence of meaningful sub-plots or escalating stakes. One comment that gained traction summed up the prevailing view: “Outstanding acting trapped inside a story that refuses to move.”
Apple TV+ has declined further comment beyond the producers’ statement. With four episodes still to air, the makers remain confident that the concluding arc will reverse the downward trend in ratings and restore audience engagement.
