Severance Recap: Unsanctioned Romantic Entanglement

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People might have valid reasons to fear dentists due to the various sharp tools used on soft, delicate areas of the mouth. On one hand, these instruments are crucial for maintaining oral health; on the other, they could potentially be misused. In the beginning of this episode, there’s an intriguing scene reminiscent of a Tarantino film – a staff member walks down a hallway humming “The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot as he goes to fetch medical equipment. Although we don’t see his face, he interacts with Felicia and her colleague in O&D, collects his sharp tools, then rides the elevator.

Following the intense, emotional episodes of “Woe’s Hollow,” “Trojan’s Horse” serves as a mid-season milestone by bringing us back to Lumon and providing an insightful episode filled with explanations and groundwork for anticipated developments in the rest of the season. (Hint: remember that elevator teaser? We’ll find out where it leads by the end, won’t we?)

As a movie critic, I must confess, this episode’s peak moment was undeniably the return of our protagonist, Helly, played brilliantly by Britt Lower. The instant her unique gait, that rolling, charging, instinctual stride, filled the screen, it became mind-boggling to recall the brief instances where Helena and Helly were mistaken for one another. Yet, here we stand, witnessing the transformation that has left a lasting impact on both the viewers and the refiners alike.

Incidentally, I feel compelled to commend Lower’s portrayal of Helena Eagan in the last episode. Her acting was so remarkable that it surpassed my ability to analyze it for my recap; I found myself convinced that I was watching Helena Eagan herself, even though I know rationally it was a performance. Lower has managed to create two characters, one I can’t stand (Helena) and one I admire (Helly), and her dual (or triple, if you count the disguise of Helena playing as Helly) performance is truly extraordinary. Let’s not forget to give her an Emmy too. Now, let’s get back to work.

In a rephrased manner: Milchick gathers the refiners in his office, attempting to justify Helena’s secretive behavior by narrating the tale of Gråkappan, which can be seen as an early version of Undercover Boss. However, it’s unlikely that Charles XI abused his power by pretending to be a farmer or something similar. Regardless, Helena is indifferent towards the story. After discovering the extraordinary series of events since OTC, she’s left in shock, and sadly, there seems to be no one offering support. It’s distressing to witness her struggle alone as Milchick works to rectify the mess he (along with Helena) created, while Dylan laments the demise of Irving’s Innie, and Mark swiftly transforms into a jerk.

Mark S. swiftly immerses himself in his work as a means of escape amidst the turmoil, similar to how he surrendered to the termination process following Gemma’s death. Instead of tackling issues directly, he opts to evade and suppress them. It could be a maladaptive strategy for dealing with loss; it might even be a continuation of his severance or perhaps his reintegration. Clearly, Lumon’s upper management are delighted by this behavior as Mark is just 19% from completing the acclaimed Cold Harbor case, and for now, they are achieving their objective.

As a dedicated movie buff, let me share some thoughts on the Cold Harbor file. This intriguing piece of work has caught my attention twice in this particular episode, with Mr. Drummond emphasizing its significance not just once, but twice! He even goes so far as to describe it as pivotal, not only for our company but for humanity as a whole (and yes, I can’t help but think of that iconic Leo DiCaprio meme right about now).

Despite Helena expressing valid concerns about her life being threatened on several occasions, the importance of this project seems to overshadow those concerns. Even her father, who might just give Logan Roy a run for his money as the worst 21st-century dad on television, appears unconcerned.

Intriguingly, during Milchick’s performance review, Drummond reiterates the importance of Cold Harbor yet again, stating that its completion will be remembered as one of the most monumental moments in the history of our planet. It certainly piques my curiosity!

Indeed, it appears that theories surrounding Severance suggest Lumon could be developing life-extending chips for the Eagan family, which might explain their leaders considering this a monumental event. To my mind, a cult-like biotech organization wielding the power of immortality seems more like the epitome of dread rather than a momentous occasion in history. While it’s unclear if Cold Harbor is entirely about this, Lumon without a doubt embodies evil, and we can rest assured that whatever they are up to is not for the greater good of our planet.

Straight away, Drummond qualifies his strong remark to Milchick, saying, “Don’t forget the true nature of those workers you see. Consider them for what they truly are.” From Helena’s video to Helly last season and her recent comment that they are more like animals, along with Miss Huang reminding Milchick they aren’t humans, we understand that Lumon doesn’t consider the Innies as actual human beings. So, what could they be? Perhaps they are slaves, or maybe they serve a role similar to fattened cattle, destined for some kind of psychological slaughter. The notion that people would eagerly seek a Severance chip, only to condemn part of themselves to an eternity of torment, paints a very grim picture indeed.

Another way of expressing that could be: It’s quite disheartening, isn’t it? Discovering that Ricken Hale has turned into a corporate pawn. He allowed Lumon to obtain “The You You Are” manuscript, and now page 197 lacks its original impact. The inspiring phrase, “My friends, the hour is yours,” which Mark S. used to motivate his colleagues before they activated the OTC, has been replaced with a disappointing line: “… you get to witness [the clock’s] ticking, and thus should be content.” This new passage feels unappealing. Ricken accepts this change because he stands to earn a large sum of money, but Devon is growing more and more wary of Lumon’s sinister intentions and wants no part of it. She’s also worried about her brother’s dishonesty; when she calls him, he lies directly to her. Devon is too innocent for this world, and we must safeguard her at all costs.

This week, Mark seems quite harsh and deceptive towards Devon and Helly, which is disappointing. It’s possible that his rough exterior is affecting his Innie due to the integration process. While it’s crucial for him to integrate to learn the truth, it’s sad to see the sweet and innocent Innie Mark potentially changing. The new sequence by Oliver Latta shows a lot of pills and strange-looking liquids that Mark needs to consume to prevent his mind from shattering like Petey’s did. These bottles are prominently featured in the new opening credits, with Mark accidentally spilling one as his head swells out of control. Could this be a hint towards what’s coming? Perhaps. Oh, and it seems Reghabi is now living in his basement. I can’t imagine that won’t create problems when Cobel has a spare key to his house, right? (This question is meant to be rhetorical, as of course it will.)

During the entire episode, it’s clear that Innie Mark isn’t in good health. Emotionally, he’s struggling due to the events at ORTBO, as he grapples with whether or not to trust Helly and this dilemma leaves him confused. On top of this, he can’t even fathom the loss of his longtime friend, Irving. Physically, he’s experiencing severe headaches and persistent coughing, reminiscent of a small Victorian child afflicted by the plague. Mark S.’s current condition might seem familiar, as he has likely experienced physical side effects from Mark Scout’s hangovers before, but these headaches are particularly intense due to the ongoing reintegration process.

It’s significant to point out that the recalling needed for reintegration seems strikingly similar to the uncovering of buried traumas, and both Mark S. and Mark Scout carry an overwhelming amount of these untreated traumas. Reghabi is urging these memories to surface, yet she’s providing him with a multitude of medications and strange concoctions without offering effective help in dealing with his past. I understand Mark’s resistance to introspection, but my concern grows as I watch him grapple with an influx of agonizing memories he can’t handle gracefully.

In the same manner as the finale of the third installment, Mark’s recollections gradually merge together right as time runs out. This sets up another nerve-wracking scenario where Mark Scout encounters Gemma within Lumon for the first time. As Mark traverses the corridors of his dwelling, he experiences a hallucination that makes it seem like he’s exiting the Break Room on the disconnected level. He proceeds down a dimly lit passageway, hearing Gemma’s voice provide facts about his Outie (a term for himself). Upon stepping out into the blindingly bright hallway, he turns and beholds her. Caught off guard, she starts to share information about his Outie in the future tense (!), saying, “Your Outie is going to…” However, the vision becomes distorted and fades away. The episode concludes with Mark, his eyes brimming with tears, his thoughts whirling as he tries to comprehend the appearance of his beloved who had previously vanished.

It’s fascinating how the theme of unrequited love surfaces in this episode, but unlike the somber storyline involving Mark and Gemma, it’s presented in a less grim manner. As I predicted last week, Irv returns earlier than expected, and I couldn’t be happier! This time, we don’t get to see Innie Irv, but there’s still hope for him. His inner self gets an unusual funeral, while his outer self reconnects with Burt. The episode showers affection on both versions of Irving, and I can’t help but embrace this heartwarming development.

Following the confirmation that Irving B. will not return, Dylan insists on a funeral and Helly agrees, showcasing her defiant spirit once more. Mark is uncertain, leading to a funeral with an impressive melon bar, featuring an Irving head sculpted from a Malaysia watermelon. Dylan delivers a heartfelt yet colorful eulogy, followed by casual mingling among the attendees. Dylan grows annoyed with Mark’s lack of mourning and reveals the situation with Ms. Casey to Helly, causing Mark to leave in haste and Helly to chase after him. This leaves Dylan alone in the break room where he discovers Irv’s drawing of the elevator hidden behind a motivational poster, with instructions written on the back. Strangely, Dylan puts the drawing back in its original place, but we hope that by the end of the season, the Innies will find the hidden elevator as suggested. (Oh, Kier, please let them uncover the elevator by the end of the season.)

In the meantime, Outie Irving contacts someone through a secret payphone, informing them that he’s been dismissed from work due to suspicions about his Innie’s activities. Suddenly, Irv spots a car following him, and it turns out to be Burt! These two are quite a pair, even though they’ve never met in person. Their Outies seem to share the same deep bond and effortless camaraderie that their Innies did. Burt reveals that his Innie was let go from Lumon due to an unapproved romantic relationship, which Irv had unexpectedly disrupted by showing up at his door and causing a fuss with Felix. Realizing they must have both been involved in some way on the lower floor, Burt invites Irving over the next evening, and Irving agrees. Finally, Irv now knows what’s for dinner – it’s ham.

It’s time for my staggered exit, so I’m going to go grab the elevator. Until next time …

Severed Sentiments

In my interpretation, instead of Ricken’s revised book being like a “Trojan horse” for Lumon as he suggests, it could be more accurate to say that Mark, with his grand re-entry plan, might be the one referred to as the Trojan horse in the title.

In this episode, Dylan uses the word “fuck” at least four times, and I admire his dedication to using strong language.

While sorting through Gemma’s belongings, Reghabi searches for items that could jog more memories for Mark. The camera focuses on a distinct pendant, featuring a circle with unreadable text in the center of a larger gold design. Could this pendant symbolize an Innie (inner) within an Outie (outer) brain? Was it possible that Gemma had some form of voluntary association with Lumon before her passing?

If Mark has completed 81% of the Cold Harbor project, did he attend his Music-Dance Experience? It seems like Milchick might have canceled those events altogether following Dylan’s encounter with him.

Discussing Milchick, despite his numerous mistakes, Lumon chooses to keep him due to his potential. Some of their criticisms, such as his exceptional vocabulary and peculiar paper clip usage, seem reminiscent of “Office Space.” However, Drummond’s main concern – the disastrous ORTBO and kindness policies that aren’t effective – is justified. Later in the episode, Milchick demonstrates his anger by threatening Mark in an elevator, saying, “Does Helly know you slept with her Outie at the ORTBO?” This comment is chilling, and it leaves me concerned for my refiners.

In another instance, Milchick queries Natalie about the paintings. Instead of responding directly, she seems as though a character from Westworld, staring blankly, then abruptly shifts the conversation topic. If I had to guess, it wouldn’t have been unusual for her to say, “It doesn’t appear to be anything to me,” before departing. What’s her story?

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2025-02-14 11:54