Its strident ambition, its mind-boggling twists, its dark atmosphere of sinister dread, are all so rich it doesn’t matter that its audience don’t understand what’s happening. Richest of all are its characters, the team of Macro Data Refiners who have undergone a controversial surgical procedure separating their consciousness into a bifurcated “innie” (a self inside work) and “outie” (a self outside it): Mark S (Adam Scott), Helly R (Britt Lower), Dylan G (Zach Cherry) and Irving B (John Turturro).
What is Lumon Industries – and what does it do? Who is good, who is bad, who is dead, and what is Macro Data Refinement? What is “Cold Harbor”? Why is there a child working on the severed floor? What’s with the egg buffets and watermelon busts? What do the goats mean? Why does this, one of the most powerful companies in the world that is ostensibly experimenting on its staff for reasons still unknown, not have the capability to install functioning CCTV? Guesswork and anticipation of every fresh new horror are part of Severance’s participatory pleasure.
John Turturro as Irving (Photo: Apple TV+)Mark’s attempt to “reintegrate” his brain, and his plan to save his not-dead wife Gemma, held captive at Lumon; the terrifying, calculating power of the “real” Helena, heir to the Lumon empire Dylan’s jealousy of his more successful innie; Irv’s quest to make a Lumon romance work on the outside. Our glimpses of each became fleeting, their interactions with each other sparse and uneasy.
Patricia Arquette is fantastic as Ms Cobel – but two backstory episodes in a row asked too much of the viewer (Photo: Apple TV+)
Severance is never definitive on whether “innies” and “outies” are the halves of the same person, two entirely separate, legitimate ones, or if the “innies” are people at all. To us, though, it is always obvious that these “innies” and their connections to each other are what give their strange, powerless lives purpose. They showed us that emotional and entertaining day-to-day interactions are what give all of our lives meaning, especially when the job you do – for severed workers, described as “mysterious and important” and which seems to mainly involve dragging “scary” numbers into folders – seems futile.
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Yesterday’s finale was stunning – at last bringing Mark, Helly and Dylan back together under those blinding strip lights in those pristine white hallways, and reminded us that Severance, at its best, is a workplace drama about a group of friends and their fight to feel legitimate and free.
But after weeks of plodding instead of plot it felt like a relief, rather than a well-earned payoff. In challenging us so boldly week after week, Severance has always trusted its audience. For its audience, though, it’s becoming harder to trust Severance.
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