human machine
The credits are sometimes important for certain series. Game of Thronesfor example, skillfully used it to reveal the territories that would be explored in the episode in question while contextualizing certain elements of the plot through small details. In continuity, House of the Dragonthrough its river of blood in season 1 or its beautiful family tapestry in season 2, recalled the events of the story, regularly punctuated by major deaths.
With its season 1, Severance also used its credits to evoke, implicitly, the identity struggle of its hero Mark (excellent Adam Scott), torn between his innie (version who works for Lumon Industries) and his outie (exterior and original version). This artistic creation by Oliver Latta, alias Extraweg, gave a lot of meaning to the issues of the Apple TV+ series, where the pro-personal dissociation (“severance”) of the characters, supposed to create a better daily balance, caused, ultimately, a great psychological torment, conscious and unconscious.
These credits also gave some clues on the evolution of Mark over the course of the season, the two variations of which ended up forming only one (or almost). The innie version of Mark indeed switched to the outie version for around thirty minutes in the final episode, like the merger of the two Marks lying on the bed in the last shot of the opening credits of this season 1 In short, the credits can offer many keys and this season 2 perhaps does it more directly than the previous season.
If he only appears from the second episode, we can almost say that this brand new opening sequence for season 2 contains more or less the entire season in fast motion (in a symbolic, metaphorical and subtle way). A gold mine which wonderfully explores the great dilemma that “the two Marks” will face, shared between Helly and Gemma/Mrs. Casey, and the amazing ambition of this new burst of 10 episodes (which we were able to see in entirety).
weird new world
To be frank, the embargo on the episodes prevents us from going into detail about the adventures of Mark, Helly, Irving, Dylan… However, let fans be reassured, this second season is more than up to par with the first, if not better on many levels. No need to dwell too much on the aesthetics of the series, always breathtakingly beautiful despite the cold atmosphere of the whole between gray skies, artificial lights, snowy roads, empty offices or depressive characters.
There is also no point in reaffirming that Ben Stiller is probably one of the best directors on the small screen today. In charge of five episodes during this season 2, he is the one who plays the most (and best) with his camera. While resting certain visual ideas on the dissociation of the characters, it creates a lasting disorder in the heads of the spectators where the logic is more disjointed, even if it means diving into the experimental during a few sequences.
In truth, what is more interesting to discuss is the way in which the distinction between the two realities, that of the two Marks, is finer, more complex and therefore more fascinating in this second season. Three years after the broadcast of season 1 and its huge cliffhanger, it was necessary that Severance put it into context again. In this regard, the first two episodes are real blessings focusing, each in turn, on the consequences on the innie side (the first) then those on the outie side (the second).
-The fool's game between managers, innies and outies begins with a bang. Running through the labyrinthine corridors of Lumon, determined to uncover the truth, Innie Mark finds himself isolated, stripped of his friendships and almost powerless despite his discovery at the start of the first episode. In episode 2, paranoia grew through the character of Helly who learned, at the end of season 1, that her outie was none other than Helena Eagan, the heiress to the CEO of Lumon. In two times 45 minutes, Severance skillfully relaunches itself while opening up a myriad of possibilities.
dual identity
This will be the case from episode 3, gently initiating the double confrontation at the heart of the story and initiating the madness of the credits, or episode 4, moving its innies into a new world. The writing supervised by Dan Erickson, the showrunner, is exceptionally dense and often has to place obscure pawns to outline the plot. If it is very opaque at certain moments (the goats of Lorne, Cold Harbor) and perhaps less dynamic at others, Severance always manages to land on its feet.
Thus, in addition to Mark's investigation, this season 2 takes the time to visit other places and delve deeper into other characters. Harmony Cobel-Mrs. Selvig (Patricia Arquette) takes, for example, an even more prominent place in this season 2, to the point of obtaining a dedicated episode, just like Mrs. Casey-Gemma Scout (Dichen Lachman). Everyone's intentions are no longer as clear as in season 1 and trust is shaken between the characters.but also among the spectators, sometimes unable to choose a side (the final episode is crazy).
Enough to generate great viewing pleasure, Severance retaining a welcome dose of humor, with some jubilant scenes, in the middle of its great intimate and universal tragedy. Thus, at a time when 51% of employees say they are more demanding about the balance of their personal and professional lives (according to a study by Robert Half), Severance is incredibly relevant. Behind its puzzles, twists and turns and other ultra-entertaining twists, the series nonetheless remains a scathing critique of the world of work and the capitalist system.
Through the hell experienced by innies (and not only), Severance recounts a form of generalized slavery, its authoritarian, even sectarian excesses, and its lasting impact on existence of each. And so, in a world where no one is able to distinguish their function from their identity, where the two have become unconsciously inseparable and must coexist despite opposing designs, are we condemned to lose our soul (or at least part of it)? Sacred mystery that season 3 of Severance could well aspire to study for our greatest joy.
A new episode of season 2 of Severance every Friday on Apple TV+ from January 17, 2025
