Let’s Call That Severance “Love Triangle” What It Was

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Spoilers for this week’s episode of Severance lie ahead.

The liberation of inner sexuality has arrived on Severance! However, Lumon Industries’ offices haven’t exactly been a hotbed for romance – with their constant fluorescent lights and surveillance. But in this week’s “Attila,” the boundaries have been crossed. For Helly R. (played by Britt Lower), an inner with no personal memories beyond work, this signifies she is no longer a virgin. Similarly, Mark S. (Adam Scott) had his first time experience during a team-building retreat only recently.

In the finale of “Woe’s Hollow,” it turned out that the woman Mark slept with wasn’t the one he had feelings for in season one. Though they shared the same body (the vessel), they were two separate individuals, each with their own unique thoughts and emotions. This realization made Mark’s relationship with Helena incredibly complex because he thought he was connecting with someone else all along. It’s important to remember that in this story, innies (inside people) are distinct identities, just like the other severed employees, despite any similarities they may seem to have with their outies (outside people).

In simpler terms, this type of situation, although unrealistic in reality, falls under the category of deceptive rape. This includes tricking someone into a sexual act, which can sometimes be misunderstood or inconsistently applied in rape law. For instance, it may involve practices such as “stealthing,” where a partner removes a condom during sex without consent. In more unusual cases, it could mean lying about one’s identity, not just pretending to be wealthy to impress a date, but actually deceiving someone into believing they are having sex with someone else. For example, a man impersonating his identical twin to sleep with his wife or, as in the movie “Revenge of the Nerds,” stealing a jock’s mask during a party and sleeping with his girlfriend under false pretenses.

As a die-hard cinema enthusiast, I’ve always been intrigued by the recurring theme of doppelgängers in various works of fiction. From the ancient tales of King Arthur and Merlin disguising Uther Pendragon to trick Igraine, to modern science fiction and fantasy where identities can be manipulated through technology or magic, this theme never fails to captivate us humans.

In these genres, doppelgängers are a common sight, often appearing in a chilling context that sends shivers down our spines. The concept of being replaced by an exact replica of oneself, only to witness the deception unfold without the power to alert friends and family, is a terrifying scenario that taps into our deepest fears – the fear of losing control over ourselves and our bodies. It’s a twisted logic that plays on our primal anxieties, making for some truly unnerving stories.

In various television shows, there are instances where characters are replaced by doppelgangers who engage in sexual activities with the original character’s partners. For example, in the third season of Fringe, a duplicate of Olivia, called “Fauxlivia,” enters the protagonist’s life and begins a relationship with Peter after she officially starts dating him. This type of scenario also occurs in shows like Buffy the Vampire Slayer, where Faith sleeps with Buffy’s boyfriend Riley during a body swap, in The Flash when Barry Allen unknowingly marries a doppelganger of Iris from the Mirrorverse, and in the most recent season of The Boys, where a shape-shifter impersonates Annie and has sex with her boyfriend, Hughie. Similar occurrences can be found in shows such as Once Upon a Time, Pretty Little Liars, and Agents of S.H.I.E.L.D..

It’s not necessarily problematic to portray this type of sexual assault on screen, given that deceptive rape isn’t typically as graphically disturbing as some other depictions, like those in “13 Reasons Why.” (“Woe’s Hollow” didn’t necessitate a warning at the start of the episode.) However, these shows often fail to delve into the psychological impact on the victim or even use terms like ‘rape’ or ‘assault.’ It’s also worth noting that many recent examples feature a female doppelgänger and a male victim. This could be because screenwriters believe the deception would seem more sinister if the roles were reversed, as seen in “Revenge of the Nerds.” Sadly, sexual crimes against men are still often given less importance than those against women, and this is reflected in the media.

In many instances where I’ve encountered doppelganger situations, it’s often my female character who finds herself at the center as the victim, dealing with the fallout from her partner’s failure to recognize the deception of the doppelganger. The drama revolves around her anger towards this perceived betrayal. As a result, I’m left in a position where I must console my partner, reassuring her that she was the one I intended to be with, not the deceitful imposter. Instead of being able to process what happened to me as trauma, I find myself in the role of apologizing for an experience I never sought out or consented to.

In the narrative of The Boys, Annie’s response to Hughie following her discovery of his affair with a doppelganger provides an extremely blatant demonstration of this dynamic. After he points out that he believed the woman was her, Annie retorts, “Yes, and as long as you were getting some action, you didn’t bother looking closer. That’s the kind of Annie you want: ready for anything at a moment’s notice. The perfect girl – not someone who is sad, troubled, or has any issues.” This storyline is primarily used to delve into Annie’s insecurities, making Hughie feel guilty and remorseful about his relationship with the doppelganger instead of allowing him to deal with his own feelings about the revelation. However, it comes as little shock that showrunner Eric Kripke would overlook Hughie’s trauma; only a week prior to the arrival of the doppelganger, he deemed Hughie’s sexual assault at the hands of Tek Knight as “hilarious.

Let’s temporarily halt to acknowledge that many of the instances I’ve mentioned thus far are set within well-crafted, engaging narratives; season three might be Fringe‘s finest, and the Fauxlivia deception plays a significant role in its success, as Peter grapples with conflicting feelings for both women following the revelation of the truth. I awarded four stars to that Boys finale in my recap despite having reservations about the doppelgänger aftermath. And Severance doesn’t rank among the worst in this aspect; “Attila” remains a strong episode overall, with the Mark-and-Helly subplot being one of its highlights.

However, the program continues to struggle with its focus, giving excessive attention to Helly’s reactions to being impersonated, while not allowing Mark enough time to address his own pain from the same situation. Last week in “Trojan’s Horse,” he swiftly transitioned from doubting the authenticity of Helly to accepting her again. It’s not that her viewpoint isn’t significant; it’s actually intriguing to watch her overcome her jealousy and take control, reasserting her sexuality by having a genuine relationship with Mark. She has every right to feel violated by Helena’s actions, but she’s not the only one affected. Despite her justifiable anger about the use of her body without consent, this is a common issue in outie-innie relationships – for example, Outie-Dylan (Zach Cherry) sleeps with his wife regularly, and the show doesn’t present his innie as a victim.

Without a doubt, it’s clear that all the “innies” are systematically stripped of their humanity as they are made to work tirelessly while their “outies” get to explore and supposedly enjoy life outside. This theme is central to the show. In season one, Helena makes a video message for Helly explicitly stating she’s not a person, much like Miss Huang (Sarah Bock) addresses Milchick (Tramell Tillman). Furthermore, in a later episode, Helena calls the innies “foul creatures,” possibly just a day after abusing one of them. Helena taking control of Helly’s body and assaulting Mark S. can be likened to a slave owner exploiting slaves; even without deceit, there’s already an inherent form of oppression at play.

The story raises numerous intriguing questions regarding the complexities of power dynamics between individuals, with particular emphasis on internal versus external struggles. As Mark progresses through his reintegration and uncovers more suppressed memories, there may be an engaging twist. However, science fiction and fantasy genres frequently shy away from addressing sexual assault, considering its complicated implications as a secondary concern or distraction from primary plot points. It’s unfortunate because delving into the experiences of male victims of sexual assault, a topic seldom addressed in media, could provide valuable insights about inner trauma and abuse. Furthermore, exploring Mark’s feelings towards these events could offer meaningful commentary on this subject matter.

In the corridor following their encounter, Helly queries Mark, “Was it different with me?” This is an apt inquiry, considering that in the series “Woe’s Hollow,” Mark believed he was intimate with the genuine Helly and even flirted with her during the initial episodes of the season. Given this context, it’s plausible to assume that sex with Helena might have felt as enjoyable as sex with Helly at the time. However, the memory may have been distorted and tainted after learning the truth, which is merely a hypothesis. Unfortunately, Mark responds by smiling and kissing Helly rather than answering her question directly, further emphasizing the show’s knack for posing questions rather than providing answers.

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2025-02-22 04:54