Severance’s Biggest Wild Card

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Spoiler alert: This story contains major character and plot details.

In the second season of ‘Severance’, Britt Lower tackled an intricate acting puzzle by playing two contrasting characters: Helena Eagan, the rigid heiress of Lumon corporation, and her rebellious counterpart, Helly R. It appears that Helly – a character with her own free will, sharp humor, strong relationships with colleagues in macrodata refinement – could have been the person Helena might have become if she hadn’t been molded by her father to inherit the family business. (Lower jokes about the name’s similarity to ‘hell’). In the climactic finale, directed by Ben Stiller and written by showrunner Dan Erickson, both Mark S. (Adam Scott) and Helly make dramatic decisions that will undoubtedly ignite more conflicts between Innies and Outies: After successfully freeing his wife, Gemma (Dichen Lachman), from captivity, Mark S. stays behind and holds hands with his red-haired lover as they traverse the divided floor. And Helly rallies another department against Lumon’s severed-worker policy, reminding everyone that they are treated like “machines” that can be controlled at the company’s whim. (“They give us half a life,” she snarls, “and think we won’t fight for it.”)

According to Lower, the series has been preparing for this plot turn since its initial season, and the dramatic surprise is amplified by her perception that Helena’s character underwent a slow-burning radicalization while disguised as Helly during the second season. In simpler terms, she explains that Helena is engaged in an internal struggle within her own body, which she finds both thought-provoking and relatable. This conversation took place during an impromptu art session on a bench at Pratt Institute Sculpture Park, where we both added paint and marker strokes to our shared canvas.

Did you already know Helly’s entire storyline before the start of the second season? I had a clear understanding of the plot for the whole second season prior to filming. Since we filmed episodes out of order, as we did with the first season, it was crucial for me to be aware of what was happening right from the beginning.

Could you share some questions that helped provide clarity during the project? When working on a project, one seeks as much information as possible through brainstorming and discussions. However, there’s always an element of surprise – that sudden insight when filming, such as an actor’s reaction or the lighting, reveals something unexpected about the character. This was particularly true in season two, especially with the Outie character, like how Helena’s interactions with the world are so heavily influenced by her father, and it seems she doesn’t have many women in her life.

Were there any unexpected aspects concerning Helena’s growth during this season that struck you?The depth of longing in Helena was particularly touching, especially when she was in disguise. It seemed as though she was reconnecting with a part of herself she had lost or never fully experienced. Watching the story unfold through her eyes really moved me. Helena shared such relatable connections with Irving, Dylan, and Mark, and they had a profound impact on her. On the contrary, her scenes with her father felt cold and unyielding. The pain inflicted by one generation upon another was palpable, as both were trapped within the same organization, albeit in very different circumstances. I tried to approach their situations with empathy, understanding that they were each confined in similar ways but struggling under vastly different burdens.

Are you viewing her affection as being romantic, platonic, or any kind of broad human bonding?

In the first four episodes, during a rewatch, you’ll notice how much she seems to enjoy becoming Helly.

From the way it seems, she isn’t pretending or hiding her true self? Despite wearing many different masks, I’d like the viewers to make their own judgments. However, there’s a genuine emotion within her – a desire for connection that she hasn’t been able to experience fully yet. She does possess a good sense of humor and manages to connect with Helly on that level, just about making it past the threshold.

In our discussions, we pondered whether the audience would easily recognize that Helena was the one in question during those episodes. On set, even some of the other actors occasionally forgot, but I always remained aware. As an actor, I felt empathy for Helly because her friends were being deceived, and I also felt sympathy for Helena, who is going through this experience. It’s like a natural process of reintroduction. By mid-season, Helly and Helena have had a glimpse into each other’s lives. Helly has seen the father both from the outside and in that peculiar office scene from the ninth episode. Conversely, Helena has experienced Helly’s chosen family within the office environment. They still have much to learn about each other. I think of it as the inner critic and the inner child. We all possess these aspects: the inner child that’s curious and the inner critic that’s critical. The goal is to maintain a sense of wonder, but not be so overwhelmed by it that we can’t accomplish anything. The ego serves to protect us, but it can also hinder us from living freely.

In response to your previous question, it seems that Helena has multiple roles or personas she needs to maintain. She’s trying to win her father’s approval and is also worried about his well-being, as there appear to be mental health concerns. Michael Siberry’s portrayal of the father suggests these issues. Furthermore, she must present a different face at work among other female employees. It seems like Helena wears a series of masks much like nested Russian dolls.

Is it your belief that Helena might aspire to become CEO? From what I’ve observed, she seems too entrenched in her current circumstances to even consider such a question. Her upbringing appears to be quite restrictive, similar to the solitary, royal character portrayed by Tilda Swinton in Orlando. I find that film fascinating.

As I reflect on this, I can’t help but wonder, “Where is Helena’s mother?” It seems to me that both Helena and her counterpart, Helly, are embarking on journeys of self-discovery, trying to answer the question, “Who am I?” The realization that they share a similar character has left Helly feeling somewhat envious. However, Helly is more focused on the ethical implications, often expressing thoughts like, “This isn’t fucking ethical.”

Initially, Helly was determined to escape at any cost. But as time went on, her perspective shifted from “Get me out of here” to “Get us out of here.” To her surprise, she began to see this group as her family. And in season two, each member of the family started to develop their own desires, creating a complex web of objectives within their unique family unit. Navigating through these contrasting desires is what helps them grow, deepen their relationships, and define themselves as a family.

In my film critique, I’ve noticed that there’s an intriguing enigma surrounding Helena’s character – an unsolved puzzle regarding her maternal background. I choose to keep this secret veiled for now, adding a layer of suspense and anticipation to the storyline.

How else have you developed the characters to enhance your performance? Some elements aren’t spoken aloud. I listen to Patti Smith to embody Helly and use sweeping classical arrangements for Helena. This helped me tap into their subconscious, which was also shaped by an unusual environment. She lives with her father, follows a strict routine of eating an egg in the morning and swimming every day. It’s all quite harsh. Her behavior has a corporate, cult-like quality, suggesting this might have been her life long before. Playing Helly in season one allowed me to wander Lumon and question their actions and behaviors. Now, I find myself in the role where I too act and speak as they do. However, Helena is rarely alone, with only a few exceptions, such as when she watches the security footage of Mark and Helly. So, there’s always a sense of being watched, even when no one else is present. This raises the question: does Helena wear a mask, even when nobody’s looking?

In your question, you’re asking if we believe Helena/Helly when she expresses remorse after sleeping with Mark. To answer that, I’ll discuss her sincerity based on her self-awareness and empathy shown in other situations.

Firstly, Helena acknowledges her own unkind behavior towards Irving, stating “I was mean. That was mean of me.” This shows a level of self-awareness, which can be an indicator of honesty.

Secondly, there’s a scene between Dylan and the character we now know as Helena on the outdoor retreat that was cut for plot reasons. In this scene, Dylan expresses discomfort with his exterior self by saying “I don’t like the outside.” This parallels Helena/Helly’s sentiment of not liking who she was on the outside.

Lastly, during this same scene, Helena as Helly is present and attentive with Dylan, understanding and empathizing with him by saying “I get it.” Her ability to connect with and understand another character can suggest that her remorse may also be genuine.

So, considering these points, I think there’s some validity to what she says about feeling ashamed of who she was on the outside. However, it’s important to remember that this is based on the information provided in the question and may change as more details emerge.

As a devoted movie enthusiast, I can’t help but reflect on the intricate process behind this season’s production. With numerous rewrites and delays, it’s natural to ponder about what could have been for our beloved character Helena-Helly. It feels like we, as actors, are piecing together a captivating puzzle, each detail interconnected with another. However, there might have been aspects of Helena-Helly’s storyline that, unfortunately, didn’t make it to the final cut, but only time will tell if they would have added depth and richness to her character as we envision it.

Are you equally captivated by Lumon’s corporate background and the interactions among the characters? I find myself intrigued not only by the what (the events taking place), but also the why and how (the motivations and strategies of the individuals). The people and the goats are what truly grab my attention on screen. Some questions about their relationships are resolved as the story unfolds, but it’s like a self-similar pattern – when you delve deeper, there’s even more to discover.

There seems to be a slight softening in Helena’s views towards the Innies, as her initial description of them as “fucking animals” has changed. Now, it appears that she is questioning her actions and the company’s practices due to what she’s encountered, making her more relatable and human.

When was the conflict between Innies and Outies first hinted at in the series? This tension became apparent as early as season one, when Helly’s self-harming behavior escalated to a point where it could be seen as a form of warfare rather than suicide. As Helena’s alter ego, Helly had taken control of Helena’s body by the end of season one, and in season two, Helena temporarily assumed control of Helly’s consciousness. The themes of autonomy and consent were particularly prominent during these episodes, and we took care to portray them sensitively while considering what Mark and Helly might have experienced. When Helena returns in episode five, she discovers the consequences of their actions. Immediately after sharing an intimate moment under the makeshift tent with Mark, Helena goes to confront him at the Chinese restaurant.

It appears Helena may have orchestrated that situation as a test, given the unique dynamic between her and Mark which varies each time they meet. The only versions yet to cross paths are Outie Mark and Innie Helly. Throughout season one, Helly and Mark share camaraderie and witty banter. That’s when Helly says, “I think we should kill Mark and I should wear his face.” Mark understands the joke and responds in kind. This is where their connection begins – a shared dark sense of humor that helps them find laughter in an otherwise intense situation.

How did you prepare for the climactic scene where Innie Mark decides to flee with Helly instead of escaping with his Outie’s wife? This dramatic moment is a breathtaking collapse of independence. To approach this pivotal moment, we certainly discussed parallels to The Graduate. As the tension builds in every nook and cranny of Lumon, it all starts with Helly pleading for Mark’s survival. If he manages to escape while saving Ms. Casey, that could be his ticket to living longer. The turning point occurs during the tense encounter in MDR with Mr. Milchick and Dylan. From there, they embark on a shared journey. Once the alarms blare, it’s instinctual – she runs towards him, perhaps seeking one last moment together.

In the finale, there’s a mix of feelings. They’ve decided on something, so I sense joy in them. It seems to me they appeared quite exhilarated while running. When we were filming it, it felt like we were two untamed horses finally set free. The scene that stood out for me and made it into the final cut is when Helly spots Gemma. Mark pulls her back, she hesitates, and in that moment, they’re truly connecting with Gemma for the first time. This moment is crucial for what follows next, a point I’m proud of having preserved during editing.

Instead of portraying a “I see you and I won” type of look, there seems to be a more intricate competitive dynamic at play. Helly is grappling with another person who shares her feelings for the same individual, yet their relationship remains unspoken and hidden. The situation is multi-layered and complex. It’s essential that the scene conveys Mark making this decision with the audience, allowing you to feel involved in the process. While it could be that Helly is merely checking on him one last time, the focus shifts significantly towards Mark’s choice at that moment. He finds himself confronted by an unfamiliar woman, who serves as a symbol of his dilemma. In that instant, he ponders whether Mark’s alter ego (Outie) was truthful, if they will reconcile again, and if the other man will honor their agreement. The decision he faces is nearly insurmountable.

How does this account mirror the developments we witnessed in the third season, where all the Innies are discovering their individuality and autonomy? Dylan is part of that transformation, as well as the marching band from another department. Helly seems to be suggesting that perhaps there are more allies among us than we realize, and maybe we can find a solution down here.

As the series progresses, it’s fascinating to see the contrast between Helena and Helly, as if exploring different facets of one character. It’s like peeling back layers to reveal the complexity within oneself that we all relate to. This exploration could potentially foster empathy and understanding, especially for the enigmatic head of this company who has some morally ambiguous actions. With such a strong inner conflict brewing inside her, how does it impact the company’s future? On a personal level, what happens when the wilder, more rebellious side of this woman re-emerges – a side she’s lost touch with? What lessons can she learn from this transformation? How can she grow and evolve? In season two, we may delve into whether the Innie and Outie represent two distinct souls or simply separate conscious minds sharing a single body. While I don’t know if there’s a definitive answer to that question, it adds an intriguing layer of complexity to the narrative.

I completely agree with your perspective. Helly appears to have more autonomy while confined on the MDR floor compared to Helena’s life as an Outie. The system at Lumon doesn’t encourage questions; there’s a rigid structure in place, and one shouldn’t challenge authority or deviate from protocol. Helly, however, embodies the opposite of this. She serves as the spark that ignites curiosity among all characters, causing them to question their circumstances. This sentiment gradually seeps into every version of them.

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2025-03-21 15:59