Vince Gilligan submits “Pluribus” pilot script for the Emmy Awards — will he finally win for writing or directing?
According to the CinemaDrame news agency, it may be difficult to argue that someone with 23 Emmy nominations and four trophies on his shelf is “overdue.” However, in the case of Vince Gilligan, that argument becomes surprisingly easy.
The legendary creator, showrunner, and executive producer is best known for leading AMC’s landmark crime drama “Breaking Bad” and its prequel spin-off “Better Call Saul”. Early in his career, he also gained recognition as a writer and producer on Fox’s cult sci-fi series “The X-Files.”
Vince Gilligan’s Emmy wins are notable but feel somewhat incomplete. He won back-to-back awards in 2013 and 2014 as a producer for the final two-part season of “Breaking Bad.” He then earned two additional wins in 2017 and 2020 for Outstanding Short Form Comedy or Drama for “Better Call Saul: Los Pollos Hermanos Employee Training” and “Better Call Saul: Ethics Training with Kim Wexler.”
However, the core of Gilligan’s legacy — and the foundation of his influence on modern television — lies in writing and directing. Yet in these two categories, despite multiple nominations, he has never won. He did receive a Directors Guild of America award for directing the “Breaking Bad” finale “Felina,” as well as five Writers Guild of America awards for the series and another for “Better Call Saul.”
As a director, he has been nominated for the “Breaking Bad” pilot episode, “Face Off,” and the finale “Felina,” as well as the “Better Call Saul” episode “Witness.” In writing, his nominations include “Felina” and the acclaimed “The X-Files” episode “Memento Mori,” often considered one of the series’ best story arcs. Despite all of this, his name has never been announced as a winner in these two key categories.
This brings us to his latest project this season: “Pluribus,” his newest series and a major Emmy contender.
The post-apocalyptic sci-fi drama reunites Vince Gilligan with Rhea Seehorn and follows a writer named Carol Sturka, who finds herself alone after an alien virus turns humanity into a peaceful hive mind that seeks to assimilate immune survivors.
Since its November debut, “Pluribus” has steadily gained attention. The series has already received Golden Globe and Critics Choice nominations, with Rhea Seehorn winning Best Drama Actress at both ceremonies.
However, the Emmy race is rarely straightforward.
While HBO Max’s “The Pitt” is widely seen as a frontrunner, the Emmy voting structure can split support across multiple shows. Unlike the Oscars, where all members vote for winners, the Emmys are decided by peer groups within each branch, except for 15 program categories.
In the past decade, directing and Best Drama Series winners have aligned six times, including “Shōgun,” “Succession,” “The Crown,” “The Handmaid’s Tale,” and “Game of Thrones.” Writing has followed a similar but not identical pattern, meaning a show does not need to win Best Drama to win in writing or directing categories.
This could work in Gilligan’s favor.
If “Pluribus” maintains momentum as a serious contender, a win in writing or directing could signal broader support and boost its chances for the top prize. Conversely, even if “The Pitt” wins Best Drama, it may not dominate the other categories.
Last year showed this clearly: despite strong attention on “The Pitt” and Apple TV’s “Severance,” writing and directing went to “Andor” (Dan Gilroy) and “Slow Horses” (Adam Randall), respectively.
But it is clear Gilligan’s path begins with nominations.
Variety reports that he is likely to submit the pilot episode titled “We Is Us,” which establishes the tone and scope of the series. Another director, Gordon Smith, is also expected to submit the episode “Grenade” (episode 3). In recent years, the drama directing category has ranged between six and seven nominees, increasing the chances of entry.
The writing category may offer even more opportunities, but also increases vote-splitting risk. Seven episodes of “Pluribus” are in contention:
Episode 101: “We Is Us” (Vince Gilligan)
Episode 103: “Grenade” (Gordon Smith)
Episode 104: “Please, Carol” (Alison Tatlock)
Episode 105: “Got Milk” (Ariel Levine)
Episode 106: “HDP” (Vera Blasi)
Episode 107: “The Gap” (Jenny Carrol)
Episode 108 (Johnny Gomez)
Ultimately, the question is not whether Gilligan is respected — but whether voters will finally recognize his artistry in the very categories where it matters most to him.
As the title “Pluribus” (from E pluribus unum, meaning “out of many, one”) suggests, the story may itself be symbolic. After decades of shaping television, perhaps Gilligan will finally be “the one.”
