Severance Recap: You Can’t Go Home Again

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It appears that Harmony Cobel has been unfairly overlooked by many of us. In all my research on Reddit, discussions with friends and family, and speculations about the Severance chip, I never once came across anyone suggesting that Cobel could have been its creator. It seems this theory, if it existed at all, was not widely accepted. We underestimated this remarkable woman, and now that we know the truth, we owe her an apology. As she herself might say, “Oh, Mark. What does this monumental revelation mean for the bigger picture?

After a lengthy absence throughout most of the season, our beloved character known for her unconventional behavior and questionable lactation practices has returned. Since the OTC (One Time Continuum), she has largely been detached from the central storyline. The last time we encountered her was during the episode titled “Who Is Alive?”, where she made a U-turn at Salt’s Neck to confront Helena Eagan near the Lumon building. That encounter didn’t turn out favorably for Harmony, prompting her to escape. It seems she has been on the road ever since.

As a film enthusiast, I found myself captivated by the compact 37-minute masterpiece, “Sweet Vitriol.” This brief episode employs vast, desolate landscapes to create an eerie atmosphere that chills to the bone. The barren ocean vistas during Cobel’s journey are breathtaking yet haunting in their starkness, while the town of Salt’s Neck seems like a gateway to hell itself – every decaying building and frozen street captured by the camera, painting a vivid metaphor for the despair that enshrouds the town. The visual storytelling effectively evokes the iconic liminal spaces that have become synonymous with the series’ mood and tone, while simultaneously reminding us of how far we are from our familiar comforts.

In “Severance,” the theme revolves around work-life balance. This particular episode seems to veer away from both aspects, making it a potentially contentious watch. Presenting an individual installment for Cobel carries some risk, particularly after another episode with a smaller cast, but the storyline sheds light on Lumon’s inner workings and drops a major plot twist at the end, which I believe justifies its existence. That said, my appreciation for Patricia Arquette and her performance in this series is immense, so your enjoyment might differ based on personal preferences.

Upon Cobel’s return to her once bustling hometown, it’s evident that it’s mostly deserted now. Although we caught glimpses of her personal life in season one, she primarily portrayed the eccentric “Mrs. Selvig” rather than herself. Now, we delve into her backstory. She is a testament to Lumon’s influence, having been a standout in the Wintertide program (essentially child labor) and an exemplary student at the Myrtle Eagan School for Girls. She managed to escape, but the town, entangled in its intricate ties with Lumon and the cult of Kier, persisted. It seems that after Lumon shut down the Salt’s Neck plant, the town suffered greatly. It appears that the few remaining residents are either addicted to ether, selling it, or both.

In simpler terms, the title “Sweet Vitriol” refers to diethyl ether, a substance that seems to symbolize today’s opioid crisis in the show, with Lumon and the Eagans representing Purdue Pharma and the Sackler family. The corporation’s actions – marketing an addictive substance as non-addictive and profiting from it – mirror their sinister image and public hatred in the series. Furthermore, ether production is at one end of Lumon’s timeline, while Severance is at the other, suggesting that helping people escape human pain might be Lumon’s primary goal. Since Kier was working in an ether mill when he claimed to have epiphanies, it raises questions about whether he was constantly under the influence or if the tempers and virtues were born from an ether-induced hallucination or withdrawal. As Hunter S. Thompson might say, “The ether is a cause for concern.

Cobel journeys to Salt’s Neck in search of a secret artifact concealed within her former residence. Her estranged relative Sissy resides there, but she can’t risk arriving by car since she suspects Lumon henchmen may be monitoring the location. Instead, she visits a local café and catches the eye of its weathered owner. Despite his worn appearance, James Le Gros exudes rugged charm and essential warmth. After a quick exchange with Cobel, he agrees to accompany her to the deserted Lumon gas factory, an industrial relic of the town’s past. As they converse more freely here, we discover that this factory was also a hub for child labor exploitation.

In this discussion, Cobel exhibits a mix of teasingly assertive and subtly intimidating remarks (“I’ll not be your outlet for your resentments,” is a sharp response), prompting the man to assist her. Considering their past hierarchy, it’s implied that he never truly had other options. The series, Severance, has always excelled at organically establishing relationships through its subtle storytelling approach, as demonstrated by Devon and Mark’s relationship in the initial episode. Rather than using these reunion scenes to dump information, the two childhood friends quickly resume their familiar banter and actions, making it seem as if no extra dialogue was added solely for the audience’s understanding. This rapid interaction results in a strong bond, developed with minimal screen time, without requiring flashbacks or embellishments.

The warm and cuddly demeanor of actor James Le Gros, coupled with his effortless compatibility with Patricia Arquette, significantly contribute to strengthening their on-screen relationship in the series. During Cobel’s visit, I found myself genuinely pleased that a friend (potential lover?) like him could have been part of Cobel’s life during her younger years. Le Gros delivers a compelling performance, so if Severance were to continue his character as Cobel’s love interest in the future, it wouldn’t be an unwelcome development, even though at this stage, such a plot twist appears highly improbable.

Upon arriving at the house, Cobel encounters a woman who resembles her sister, perhaps played by renowned actress Jane Alexander, or could simply be another relative sharing the same last name. The character, Celestine “Sissy” Cobel, boasts a Lumon achievement plaque on her wall, signifying she was the Quarterly Striver during the 4th Quarter of the Year of Vision – an unconventional designation that hints at dystopian undertones reminiscent of ‘Infinite Jest’. Sissy once held a position as a Youth Appreciation Matron, which can be interpreted as someone like Miss Hannigan overseeing the children working at the Lumon ether mill. Sissy is far from kind and is deeply influenced by Lumon’s indoctrination. However, she allows Cobel to explore her old room and even turns a blind eye when Cobel breaches her mother’s room without much resistance. (Please be mindful of your remote handling during these scenes as there are many intriguing details to discover.)

Sissy attempts to win over Cobel by reminding her that Drummond called about her. During a significant discussion, she recalls how promising Harmony once seemed, hinting that she was a diligent apprentice in the Wintertide fellowship, which is strangely the same group Milchick mentioned to Miss Huang in episode six. They also exchange words regarding whether Sissy removed Cobel’s mother’s breathing tube, with Sissy eventually disclosing that their mother chose to end her own life to alleviate her pain. Since Cobel was at school during this time, she missed the chance to bid farewell. This loss deeply affects her. It appears that Charlotte Cobel had reservations about Lumon, given that both of her daughters were heavily influenced by the Church of Kier.

In my personal exploration for that elusive treasure, I step into my mother’s long-forgotten sanctuary, a place where memories flood back like a torrential wave. I yearn to rekindle the past, to feel her presence once more, and in doing so, I immerse myself in the sensory delights of her personal effects. I gently run my fingers over the dust-coated bedspread, breathe deeply into the old respirator machine, and let the tears fall freely. My anguish, bottled up for so long, finds release as I moan into the tube, a sound that gradually transforms into something hauntingly reminiscent of a whale’s song. Arquette masterfully portrays Cobel’s emotional turmoil in this scene, revealing her remarkable talent for delving deep into the character’s raw, unfulfilled anger and sorrow, a woman who was never allowed to fully grow beyond her youthful emotions.

Cobel is feeling sad and falls asleep on her mother’s bed. Her boyfriend, who has been waiting in the car, comes to check on her. He offers her ether for pain relief, which she gladly accepts, as it reminds her of a time when she was eight and high for the first time. This event triggers an idea in Cobel. She rushes outside to a shed where she finds a notebook full of detailed drawings. When she returns inside, she accuses Sissy of stealing her designs, which include “Base code,” “Overtime Contingency,” and “Glasgow Block.” However, Kier forbids anyone from claiming ownership over their own knowledge, so Sissy dismisses Cobel’s claims and tries to burn the book. But Cobel snatches it back and leaves quickly as she and Sissy argue harshly.

My jaw fell open, Ms. Cobel. An apology is at your disposal if needed, as I must admit I significantly underestimated you. Previous assertions suggested that Jame Eagan was the inventor of Severance, but we had no cause to believe it. Instead, he appears more like an outdated loaf of bread on legs, far from a genius! This revelation, however, was not something I anticipated when thinking about Severance, and learning that Cobel knows everything about Severance and the severance chip adds an intriguing twist to the story.

As Law Enforcement from Lumon surround Sissy’s residence, her former lover helps her escape in his vehicle. He carries a heavy load of Lumon secrets and faces them squarely on the road, preparing for a confrontation. In a moment of both humor and defiance, he declares, “Step in to calm these storms, jerks.” This phrase encapsulates both amusement and revelation, yet it’s heart-wrenching to ponder that Lumon has taken (and is still taking) the lives of children globally.

Instead of hurrying off to retrieve her car, Cobel nonchalantly makes a beeline for Lumon, clutching her phone tightly. A flurry of calls from Devon have been piling up, and she finally has a moment to answer. Upon hearing that Mark is back in the system, she exhales deeply and demands, “Fill me in on all the details.” This latest development leaves Cobel intrigued as we recall her past concern for Petey’s reintegration and her possession of his chip. However, the underlying motive behind her curiosity about reintegration (and Mark) remains a mystery. Yet, as Cobel aligns herself with Mark and Devon in the upcoming episodes, there’s an undeniable sense of excitement and anticipation in the air.

Severed Sentiments

This episode strongly emphasizes that Lumon Corporation is a ruthless and corrupt entity, as suggested by Cobel and Hampton, presumably in their late 50s. It implies that Lumon has been abusing child labor for at least four decades, possibly longer, without any repercussions. The question arises as to how they have managed to evade punishment, and what horrors await Miss Huang at the ominous Wintertide fellowship program, which Cobel attended in her past. Queenpineapple, a commenter, made an insightful observation about this earlier: “Miss Huang isn’t a clone or a full-time severed employee like Ms. Casey. She’s just a model student at a cult-run school. Most of the strange occurrences in this series might not be supernatural; it could simply mean that this is a corporate cult in a company town.” The events of this episode have strengthened my belief in this theory. What makes this idea more unsettling to me than if Miss Huang were a clone is its real-world plausibility.

The manner in which Cobel carelessly flings her used water bottle into the snow reminds me of how she nonchalantly tossed the lactation baby doll onto the couch during the previous season, and I admire her amusing consistency.

When Cobel mentions “I haven’t done this since I was 8” following her inhalation of ether, it evoked memories of one of the most memorable lines from the movie, Fight Club.

This isn’t an episode focused on a single location or small cast, like a “bottle” episode. Instead, this one takes us somewhere new, a “departure” episode. Got it? Absolutely!

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2025-03-07 12:01