Severance’s Blackface Paintings Spark Discomfort and Thought-Provoking Details

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As a dedicated movie critic who has seen the third episode of Severance Season 2, I must warn those among us who haven’t yet watched it through an Apple TV+ subscription: beware of potential spoilers! The suspense and intrigue in this series are palpable, and the latest installment is no exception. If you value the thrill of unraveling a complex narrative, I strongly encourage you to catch up before diving into the enigmatic world of Severance.

The intriguing debut of a new supervisor named Miss Huang, Keanu Reeves lending his voice to a building, and Gwendoline Christie stepping into the role of a goat herder – these are just some of the highlights in the first three episodes of Severance‘s second season. Despite the awkwardness that has arisen so far, with unfamiliar faces appearing around the MDR cubicle for three, nothing could have prepared me for the chilling surprise that Lumon’s Board granted to an unsuspecting Seth Milchick. It’s as if we’re experiencing Kier Eagan, but with a twist – he’s also Black.

Following the revelation that Adam Scott’s role is crucial for Lumon in ‘Severance’, a question of significant weight has arisen concerning his Season 1 counterpart, Petey.

In the aftermath of Ms. Cobel’s dramatic exit, Tramell Tillman’s apparent loyalist received an unusual promotion, but not one that catered to Seth Milchick’s genuine wishes. Instead, the episode “Who Is Alive?” saw Sydney Cole Alexander’s character Natalie presenting the new head of the Severed Floor with a set of portraits featuring Kier Eagan as a Black man, along with other subjects reinterpreted in similar ways. To describe this act as merely inappropriate would be a serious understatement.

The actor openly discussed with TVLine about the unsettling interaction, and I find myself fascinated by how Tillman portrayed Milchick’s feelings during that particular instance. To quote him directly:

These artworks are intended for public appreciation, yet they stir confusion due to the perceived disrespect towards Kier and what appears to be a blackface depiction meant as a tribute or recognition of Milchick’s uniqueness. There’s a multitude of elements at play here.

Let’s tiptoe across eggshells for a few theoretical takeaways from Tramell Tillman’s insight.

  • Despite Severance having a generalized near-future setting, it’s very clear that Lumon’s presumably all-white Board never got the endless array of memos both metaphorical and literal that preach the ills of blackface. Perhaps “they” believed that presenting it as an artform elevated it to a higher status, but they would be wrong. I really can’t tell where their motivation falls on the scale of “deviously manipulative” to “offensively affectionate.”
  • Natalie’s eyes in this scene made it clear that Milchick’s reaction to the gift was important, and Tillman echoes that thought by saying they’re meant to be enjoyed publicly. But by whom? They appear to be all of the same portraits of Kier hanging within the Perpetuity Wing, which is itself an oversized shrine that is only ever meant to be visited by employees on the Severed floor. Does the Board want Milchick to hang them up in the halls?
  • For Tillman to use the word “descration” in relation to Milchick’s mindset implies that the character is aware the Eagan lineage isn’t one that would likely embrace Black culture in the “real world,” as it were. And perhaps that is part of the point, that those in charge are only willing to desecrate their own image in a place where outside eyes aren’t watching. We’ll have to wait and see if he gets chastised for storing the collection on a closet shelf.

I’m curious about the thoughts of the employees who created and reproduced those portraits. Also, is it just race-swapping that the Board has in mind for these portraits, or did Natalie’s work also transform Kier into a female? It seems unlikely, but given Lumon’s history of female CEOs and Helena’s position as next in line, it’s not entirely out of the question.

Commend someone for skillfully avoiding a detailed shot of the Kier Taming the Four Tempers painting, where the Lumon founder is depicted with a whip. It was unnecessary to include such a close-up.

In the upcoming season 2, could Milchick employ these paintings as ammunition for his anger during his encounters with the Board at some stage? Alternatively, might he need to keep suppressing his disdain for them for eternity? Tune in every Friday to discover more on Apple TV+.

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2025-02-04 21:08