‘Severance’ Review: Apple TV+’s Dystopian Sci-Fi Returns for a Frustrating but Fascinating Season 2

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In the second season opener of Apple TV+’s Severance, it appears for a brief moment that Mark S.’s (Adam Scott’s character) wildest hopes have become reality. It seems the courage of the innie team has paid off, as their efforts to expose their employer’s wrongdoings have been successful. The public now regards the outies as champions of severance reform. The company acknowledges its mistakes and promises to improve.

In this instance, it’s clear that the statement was crafted to appease Mark S., luring him back to his desk. However, the details surrounding the scenario are entirely fabricated, as we know that Mark S. and his colleagues have been equipped with chips that isolate their work memories from their personal experiences — a fact previously disclosed. Yet, the odor of corporate jargon is overwhelmingly present, reminding us all too well of its distinctive aroma.

The TV show “Severance” stands out among others for portraying the hardships of modern work particularly well, using science fiction elements to make our own troubling circumstances seem even more stark. As the series created by Dan Erickson moves into its second season, it remains focused on both its piercing critique and the humanization of characters stuck in an unfriendly environment. This dual focus serves as a compass for the show, steering it past any minor lulls in pace or intricate enigmas that may arise along the way.

In the first season, Mark’s Macrodata Refinement (MDR) team discovered surprising connections amidst the sterile environment of Lumon Industries. However, in the second season, we delve deeper into Lumon’s attempts to control these individuals, which seems to be having a more dismal impact. While there is still a hint of dark comedy, it takes a backseat as the story focuses more on the dramatic tension. The company appears to be going to great lengths to return to normal operations, even if it means compromising their integrity.

The characters within, referred to as innies, propose alternate thoughts, and it’s hard not to sympathize with their predicament. The first episode directed by Ben Stiller, unfolds on a floor that has been severed, powerfully depicting the suffocating atmosphere of a life confined to an office. However, the outer characters struggle to let go as well; for instance, lonely Irving (John Turturro) is preoccupied with understanding his association with a man (Christopher Walken’s Burt) he can’t recall encountering, while insecure Dylan (Zach Cherry) wrestles with the indirect influence of his inner self on his personal life. Helena Eagan (Britt Lower), a ruthless heir to the company, is in crisis management mode following her inner self’s rebellious outburst. Mark’s fixation on locating Gemma (Dichen Lachman), the wife whose existence his inner self has just revealed as still alive, serves as a major plot point throughout the season.

Apart from introducing three main new characters, season two offers several opportunities for deviations throughout its 10-episode run. One such instance is a lengthy excursion in an episode to a company retreat away from the typical MDR office environment. Another delves deeper into the backstory of series villain Ms. Cobel (Patricia Arquette) by taking us to her hometown. The most enriching, however, is an installment that provides insight into the mystery of Gemma’s past. It juxtaposes heartwarming, grainy flashbacks of her marriage with Mark against the cold, unsettling reality she currently experiences at Lumon.

The lack of cohesion in the plot can make it somewhat tedious to watch – not so bad that a committed viewer would stop watching, but enough to elicit sighs of exasperation when a suspenseful moment is prolonged for additional weeks, or murmurs of doubt about whether all the series’ main mysteries will ultimately be resolved. (I’m still unsure which direction it’ll take.) This change also detracts from some of the character interactions that made the initial season so engaging, particularly among the MDR group. When Dylan recounts Irving secretly adding printer toner to his water glass as a lesson, I found myself yearning for scenes like that, rather than hearing about them later on.

However, Severance opens up the chance for exploring Lumon beyond just the perspective of its lowliest workers. This includes examining Lumon from the viewpoint of higher-ups such as Mr. Milchick (brilliantly portrayed by Tramell Tillman), who endures his fair share of disrespect from his superiors. On every level, it reveals a conflicting dynamic between the corporate capitalism embodied by Lumon and the human aspects symbolized by its employees. To the company, universal desires for purpose, companionship, or respect are merely imperfections to control or vulnerabilities to exploit. At one point, Mr. Milchick suggests celebrating a significant occasion with a ceremony, which is met with criticism from a peer: “It makes them feel like people.

Although the primary relationship from season one, specifically Mark S. and Helly R.’s romance, continues to be the core of the show, this season explores more intricate relationships. Having realized that there might be more to life than just daily targets and social gatherings like waffle parties, the inhabitants (innies) are no longer satisfied with going back to their old ways. While people on the outside debate about whether innies have souls over a glass of wine, the innies themselves are battling for their right to self-determination, freedom, and even survival. This newfound sense of self-worth often places them in conflict not only with their superiors but also with their own selves.

The conflict within this story is most evident in the character Helly R., who experiences her outer self as merely a tool for others to exploit or mistreat, rather than an extension of herself or even an individual entity. Lower’s nuanced portrayal highlights the points at which these two personas collide or overlap, and Helly’s empathy adds depth and poignancy to Helena without making her cruelty seem any less harsh. This dynamic is also seen in the unusual rivalry between the two Dylans, heightened by Cherry’s sincere performance into something more significant than a simple thought experiment. Similarly, the conflict arises in the differing views of what should be done about Gemma, portrayed by Scott with such intense passion that it’s difficult to choose a side.

From personal experience, it’s no wonder that a business like Lumon seems to frown upon solidarity, individuality, or emotional expression – it’s a common theme in the corporate world. The series Severance, however, takes this observation a step further, exposing how corporate capitalism can sever us from our most profound selves. This narrative often delves into a somber, less humorous territory, but its impact is undeniable – it resonates, if anything, even more deeply and disturbingly with our everyday experiences.

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2025-01-07 17:25