Severance Talks to Itself

by

Spoilers follow for Severance season two, episode ten, “Cold Harbor.”

In the final episode of Season 2 of “Severance”, there’s a moment that seems both unavoidable and incomprehensible. So far, the show has built an almost impenetrable barrier between Mark Scout, who is grappling with grief following his wife’s death, and his counterpart within Lumon, Innie Mark S. These two characters are intrinsically connected; each Mark’s existence hinges on the other’s ongoing involvement in the process. Despite being essentially the same person, they are distinct entities. Innie Mark is unable to communicate with Outie Mark, and this inability to connect has been the primary source of conflict throughout the series.

Eventually, Ms. Cobel and Mark’s sister, Devon, discover a way to bridge their gap by bringing Mark to the secluded birthing cabins from season one, where individuals can alleviate childbirth pain by transforming into an Innie self. The group is strategizing on a mission to rescue Gemma, Mark Scout’s wife, who appears to be trapped within Lumon’s facility, and they require Mark S.’s assistance. With a camcorder, the two Marks traverse back and forth across the boundary between Innie and Outie, examining each other’s footage and recording their reactions. “The first thing I have to tell you is that I am truly sorry,” says Outie Mark. “I inadvertently imprisoned and freed you.” “A nightmare isn’t quite accurate,” Innie Mark replies. “We manage to find ways to adapt.

In contrast to the intricate, enigmatic storytelling style of “Severance” in its second season, where key plot points are often shrouded in layers of ambiguity, mystery, and subtlety, the dialogue between Marks is refreshingly direct. It lacks hidden agendas, eerie symbols like goats or unexplained drug usage. Instead, it’s simply a conversation between Mark Scout and his Innie, discussing openly what they desire, their strategies, and the potential consequences for each of them – no beating around the bush.

The scene is surprisingly impactful, made even more so by its grainy, low-budget aesthetic – the small, sharply defined camcorder screen only shows part of Mark’s face. This stark contrast to the usual somber, dramatic landscapes and sterile, fluorescent interiors of Severance is quite noticeable. Moreover, it brings a sense of relief, as the tension in the series has been gradually escalating, sometimes unevenly. The progress towards Cold Harbor has been almost complete for too long, hanging just shy of 100%.

The later portions of season two delve into the past, shedding light on Cobel’s childhood and revealing where Gemma has been. The dialogue between the two Marks finally provides a significant drive to move forward in the storyline.

Fundamentally, the debate between Innie Mark and Outie Mark originates from the core where the narrative of Severance is most impactful. They’re discussing their real lives and futures, but their conversation delves deep into philosophical, abstract aspects such as the nature of self, the worth of an invisible laborer’s life, the guilt of Mark Scout for the predicament of Mark S., and the obligation these two men have towards each other. Collectively, this dialogue reveals that these are indeed two distinct individuals. Though we, as audience, have been aware of this fact, the dialogue between the dual Marks underscores that Outie Mark is yet to acknowledge it, and by the end, he still struggles to accept it.

The dialogue between them progresses from doubt to astonishment to trust-building negotiations, as Outie Mark attempts to persuade Innie to accept what he considers a fair agreement. If Innie helps him locate Gemma and free her from Lumon, then Outie Mark can provide an opportunity for escape for Innie as well. They would reunite, and Innie’s imprisonment – essentially a form of bondage – would end. From Mark Scout’s perspective, this is entirely beneficial. However, when Innie raises valid concerns about the details, Mark Scout responds in a manner reminiscent of calming a child on the brink of a tantrum. Outie Mark views Innie as an insignificant and regrettable anomaly, and when Innie challenges him, Outie Mark struggles to maintain patience. He values his relationship with Gemma more than Innie’s connection with Helly; his life outside Lumon is genuine and intricate, while Innie’s existence is limited and simplistic. It’s not that he wishes harm on Innie; it’s because Innie is essentially non-existent, so causing him harm is inconsequential.

Adam Scott delivers exceptional portrayals as both Marks, transforming what was initially a deep philosophical debate into something tangible, heartbreaking, and enraging. His performance is so captivating that it becomes clear how much has been forfeited on the path to reaching this juncture. The second season of “Severance” frequently trades narrative coherence for visual flair that looks impressive. This inconsistency is evident throughout the finale: Why, in heaven’s name, do we have a full marching band separated from their bodies? Are they severed on some sort of freelance basis? Can they play musical instruments after being separated, or does musical skill persist across the divide? How can resources be allocated for a marching band yet not for security personnel? Why is there such a delay in response when Mark starts running through the building? And why, oh why, is the exit door unlocked?! Despite “Severance”‘s increasing efforts to encourage intricate readings, with its cunning names for Gemma’s various Innie rooms and constant hints at deeper mysteries to uncover, the show lacks the attention to detail required to maintain internal logic. Its visual style and overall direction are breathtaking, but the show consistently prioritizes these aspects over addressing obvious questions about mechanics and motivations.

It’s disheartening, yet remarkable, that the series Severance demonstrates a profound concern for the fundamental issues stemming from its plot. When its striking visual elements are utilized to explore the core themes instead of showing cars navigating endless winter landscapes, Severance becomes incredibly gripping. It has constructed two entire seasons of television leading up to this poignant and heart-wrenching confrontation between the two Marks, providing a convincing and unbearably sad evidence that even its main character cannot recognize the humanity of his Innie. The show is known for spending a lot of energy on marching bands and ORTBOs, but it shines best when these elements serve primarily as backdrops for this major philosophical debate at the heart of the series, questioning who inhabits our world, who truly matters, and who can be discarded.

Read More

2025-03-21 22:55