Consider this: Our understanding of television characters is limited to what their creators decide to reveal. Thus, it might be somewhat presumptuous of us to critique their decisions, even though such judgments are often instinctive.

Take Pluribus, for instance. We’re given a glimpse into Carol Sturka’s challenging upbringing, yet we also see her enjoying the perks of being a successful writer. On the other hand, we barely know anything about Manousos Oviedo, other than his origin (Paraguay), his job (managing a storage unit), and his deep animosity towards the alien occupation of Earth. It seems we’re led to believe that Carol’s journey through life, and her post-apocalyptic existence, has been smoother than Manousos’s.

But can we really be certain of that assessment? Honestly, I’m not sure. What I do know is based solely on what has been presented, which makes the juxtaposition of their situations strikingly humorous in this week’s aptly named episode, “The Gap”—that is, until the mood inevitably darkens.

Before diving into the specifics of this standout episode, let’s acknowledge the craftsmanship in “The Gap.” The episode sees director Adam Bernstein and writer Jenn Carroll, along with the entire Pluribus team, skillfully tackling a complex narrative challenge.

Apart from a couple of brief monologues in Spanish, there is minimal dialogue. Carol occasionally talks or sings to herself, and makes a few calls to the Joined. Manousos repeats English phrases he’s picked up from language tapes. Their stories unfold almost entirely through visuals. The signature Pluribus visual style—characterized by skewed framing and brief, disturbing glimpses of everyday horrors—serves to advance the storytelling.

There are essentially two narratives. Manousos’s, the more visually engaging and exotic, involves his attempt to reach Albuquerque without the Joined’s assistance, a plan complicated by the notorious Darién Gap. As predicted, he cannot traverse it.

In a lengthy montage, we watch him navigate through scenic South America, siphoning fuel (always leaving money behind) and dodging the eerie hive-mind pods. His only interaction is with a man warning him against crossing the Darién, offering instead a quick, safe transport to New Mexico. Manousos, ever defiant, refuses, viewing them all as thieves.

When he reaches the Gap, Manousos burns his car, takes up his machete, and begins to cut through the dense forest. Predictably, he slips on a loose stone and falls onto a dangerous chunga palm. A rescue helicopter from the Joined soon follows.

Describing Manousos’s journey doesn’t take long, which underscores the impressive effort invested in filming these scenes. They vividly convey the length and difficulty of his trek, showcasing his remarkable self-reliance. He collects rainwater, sleeps in churches, and fishes in streams. Watching Manousos survive on his own for about 20 minutes is akin to experiencing a condensed, captivating survival drama.

Meanwhile, Vince Gilligan allows us to follow Manousos’s story without frequently cutting to other characters or storylines. This sequence is sandwiched between two featuring Carol. In the first, after returning from Vegas on Day 12, Carol adopts a new, somewhat snooty manner of commanding the Joined. She indulges in golf, visits a hot springs resort, tours the Georgia O’Keeffe Museum, and demands exquisite meals, all without ever encountering the collective, though they clearly facilitate her escapades.

An early moment in the episode starkly illustrates the disparity between the protagonists’ experiences. At a gas station, Carol finds no snacks or drinks, so she orders a Gatorade (“the red kind… ice cold… real sugar”) and plays some lottery games while waiting for the drone delivery. She soon complains about the drink being “tepid.”

One character is impaled on spikes, while the other is upset over a lukewarm beverage. Indeed, their troubles are worlds apart.

We revisit Carol on Day 48, initially finding her engaged in the same carefree activities as before. She continues to drink, set off fireworks, and practice her golf swing from city rooftops. However, a significant shift occurs in the interim. She stops singing, relying instead on a boom box and mix CDs for music. The thrill of her decadent lifestyle seems to have faded. In a particularly shocking moment, she passively faces a misaligned firework tube, which narrowly misses her and sets a nearby house ablaze.

This incident appears to awaken something in Carol. The following day, she paints a large “come back” message on her street. The episode concludes movingly as Zosia arrives and Carol breaks down in her arms. This ending reverses the typical Pluribus dynamic of anticipating Carol’s actions. It’s difficult to guess her intentions as she hesitantly approaches Zosia, leading to an unexpectedly emotional climax.

As Carol waits for Zosia, she stares at Bella Donna, a painting she has taken from the museum. It’s conceivable that she returns to this artwork repeatedly, using it as a stabilizing force as loneliness begins to erode her mental state.

Again, I can’t be certain. My knowledge of Carol is limited to what has been portrayed, which is just enough to foster deep empathy.

Stray Observations

• • After injuring himself on the chunga palm, Manousos sterilizes his wounds with a heated machete while biting down on a belt. When has anything positive ever resulted from a character biting on a belt in a movie or TV show?
• • The English phrases Manousos repeats may not hold deeper meanings. However, his mantra as he struggles through the Gap, “My name is Manousos Oviedo. I am not one of them. I wish to save the world,” underscores his determined mission.
• • Another disparity: Manousos drives a modest Midget, while Carol upgrades to a Rolls-Royce with a personalized license plate reading ACEBABY and a fading “Just Married” sign on the rear window, still visible weeks later.
• • Carol’s musical choices in this episode include “Georgia” at the O’Keeffe museum, “Hot In Herre” during her swim at the hot springs, and the Caddyshack hit “I’m All Right” while golfing. She humorously attempts all the vocal parts in “I’m All Right.” Her pre-credits karaoke performance of “It’s The End Of The World As We Know It (And I Feel Fine)” cuts off before she can complete the phrase “and I feel f….”

Noel Murray is a contributor to The A.V. Club.

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Avery Sandridge

Avery Sandridge has an unmatched love for storytelling and the screen. From detailed analyses of your favorite shows to behind-the-scenes scoops, Avery offers a fresh and engaging take on everything TV series.