Jeff Hiller talks 'Emmy' nom for 'Pluribus'

It is a very complex, layered role, because members of the hive mind don't really have the typical luxury of being able to mirror or naturally react to a scene partner's emotions. Do you like my books? Oh, we love your books. What do you love about them? Everything. Your books are an expression of you, and we love you. What was that upbeat love and adoration like for you to play while you're sitting across from a very upset Carol? There was a little bit of a challenge to it. I think that is something that I, in my wheelhouse, I can play pretty well, is warmth and love. And so it's good that I didn't have to just like constantly play, I don't know, some emotion that is more difficult for me to access. Just having Alison there, because I would be like, wait, so am I, like, do I feel this or whatever? And she was like, you have all of the things, but you still have this imperative and this need to change her, but you do love her, you do love her work. I thought that was very, very helpful, but yeah, it was complicated. As Carol presses about Helen, you can feel like the hive's wheels turning as they're thinking more carefully about the responses. How did you approach just building the tension that comes from not being able to lie? Even though I was playing a part of the hive mind, there was still this idea that there is still some humanity in them and that like, they know that this will hurt her and they do not want to hurt her. And so, I found that to be like a really good anchor of trying to redirect the conversation and not give you too much. It felt a little politician-y, it felt a little bit like we're gonna go in this direction.