There’s a familial side to it and a price to be paid by every member. The series is fraught with the tension these two sides bring to the fore, every pull on each side causing an equal-and more violent-from the other.Ĭreator Dan Erickson, writing with Mohamad el Masri, Anna Ouyang Moench, Chris Black, Andrew Colville, Kari Drake, Helen Leigh, and Amanda Overton, marinates the series with corporate allegories dressed up in stunning sets ( Angelica Borrero, Andrew Baseman) and cloaked in marvelous cinematography ( Jessica Lee Gagné, Matt Mitchell). All this, with a company vision and manual emblazoned in words meant to rouse and rise, but really: do they mean anything at all? In addition, management’s looking at askance when there’s some interdepartmental interaction, and you almost want to think that the severance process may not be such a bad thing after all. It could be refining data and pushing bytes and bits into listless folders. Mindlessly stabbing at keyboards (that, in a design element steeped in horrifying irony, have no Escape button) in siloed departments with no ‘big picture’ epiphany to let the keyboard warriors know why they’re doing what they’re doing. Where’s the conflict when you don’t have any memories of work at home and vice-versa? As the series unfolds, plenty and dark ones at that, you realize. It offers the future of work-life balance in an option miles away from the much-vaunted hybrid model. And that’s precisely why Severance works at so many levels. Britt Lower plays Helly Riggs with a terrific punch, steeling her defiant character with such helpless frustration it touches a nerve: where you’re stuck in a job you hate and have no way out. The series traces the arc of the freshly minted supervisor of the Macrodata Refinement division Mark Scout ( Adam Scott in a tender, vulnerable, and beautifully shuffling act), who’s faced with the worst managerial nightmares of them all-an obstinate, corporate-process defying new employee.
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