Severance’s Title Sequence: Full of Clues or Just Plain Creepy?

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Engaging with Severance’s title sequence feels akin to being enveloped by a comforting yet unsettling nightmare – in an appealing fashion. When this series premiered in 2022, there was a palpable delight in the unique ambiance of its opening credits, especially considering the strikingly similar styles prevalent in numerous other productions. The captivating design is the work of Oliver Latta, also known as Extraweg, who was discovered by executive producer Ben Stiller on Instagram. This assemblage of images offers a blend of the absurd, the unsettling, the grotesque, and the breathtaking: black goo seeping from a meticulously crafted recycling bin, hordes of Marks being drawn up by a colossal needle, an infinite array of doors, all set against Theodore Shapiro’s haunting theme music. These images linger in your memory as you delve further into the episode, not only due to the abundance of brain-related symbolism but also because of their intrinsic appeal.

The second season’s opening credits sequence, designed by Latta, don’t make an appearance until the second episode, echoing the abstract eeriness of the first season’s opener but serving a slightly different role this time. Unlike the previous openings that were purely thematic and centered on Mark’s inner and outer selves and the enigma surrounding Lumon Industries, these new credits seem tailored for viewers who enjoy digging into theories online, similar to fans of the series “Lost.” Intriguingly, the updated credits hint at upcoming events in the season: For instance, when we see innie Mark limping across a hillside in the opening, it turns out to be the setting for a scene starring Gwendoline Christie in episode three. The opening sequence still maintains its original purpose of setting the tone, particularly with the chilling final shot featuring innie Mark attempting to escape from his outer self’s head, reminiscent of “The Grudge.” However, this new foreshadowing element raises an intriguing question: What other hidden clues might we be overlooking?

The fresh title sequence might spark wild guesses about the upcoming season, yet it’s likely there’s a boundary to how accurately it can predict the storyline. As stated in an interview with Latta in the Los Angeles Times, while the designer had some concepts of the main plotlines, he prefers working with minimal specific details, a method backed up by Stiller’s allegedly cryptic instructions. “I asked him, ‘Why babies?'” Latta told the Times. “He simply replied, ‘I like babies.’

Could it be that the infants shown during the season two opening credits are more than just a creative touch or a reference to Devon’s significant event in the first season? Or perhaps they hint at Lumon Industries being involved in producing faceless babies? While some of these theories may sound far-fetched, given that Severance possesses the spirit of a show filled with surprises and unpredictable events, it wouldn’t be entirely out of character. After all, might we not witness a faceless figure roaming the severed floor in the upcoming episodes? With this speculative frame of mind, let’s delve into some interpretations of what these new credit images could symbolize.

The Balloonheads

This season, balloons are all the rage. They’re prominently featured in the show’s previews and even star in the updated opening sequence. Typically, they resemble Mark’s belly button with his inflated head serving as the balloon itself, while his striped tie acts as the string. Initially, we witness a balloon-headed figure drifting out from an elevator that transports Lumon staff to the lower floors, and as Mark descends into what seems like his own underground lair, more of these balloon figures appear floating around. Later in the credits, there’s a change in the motif when Mark’s outie bumps into his innie on what appears to be an icy lake. Upon collision, the innie collapses onto his knees, causing his head to expand into a faceless balloon that floats away from his body. Subsequently, outie Mark pulls his innie’s tie and ascends, with numerous other balloon-headed figures also appearing to be afflicted by this peculiar condition.

From my perspective, while I’d be thrilled to witness an actual event where someone transforms into a colossal lollipop, it seems more likely that the balloon imagery is merely a creative symbol for Mark finding himself lost amidst the enigma. Nonetheless, Severance didn’t hesitate to introduce the motif tangibly, as Mr. Milchick presents a towering bunch of blue balloons to Mark in one of the opening scenes of the season debut. However, it’s the icy lake that catches my attention, with Harmony Cobel’s vehicle seemingly submerged within it. Could this hint at a future event beyond the Lumon offices? Or perhaps the corporate campus houses a room designed to simulate an icy lake? Regardless, brace yourself for chilly scenes ahead.

The Goats

In the show “Severance,” goats are notably warm. They were initially introduced in an impactful manner in “The Grim Barbarity of Optics and Design,” when characters Mark and Helly found themselves lost within the maze-like corridors of the severed floor and stumbled upon a room housing newborn goats, with an unidentified employee feeding one from a milk bottle. (“They’re not prepared! It isn’t yet!” he yelled at them.) The second season delves deeper into this discovery in “Who Is Alive,” as Mark and Helly come across another room that resembles a picturesque countryside, hinted at in the opening credits, only to be confronted by the hostile workers within, who are overseen by Gwendoline Christie.

In the opening scene, there are two intriguing elements that might spark your curiosity. The first is a strange sight on the hillside from the credits, which instead of goats, seems to feature small, headless figures resembling Mark and Helly crawling around on all fours, along with what look like inflated head balloons. It’s quite eerie. The second intriguing detail is a recurring visual cue similar to the first season’s credits, where outward-facing Mark jumps into inward-facing Mark, who then controls a Lumon computer terminal. This time, however, the visual style changes to one reminiscent of an oil painting, possibly hinting at Lumon’s unusual appreciation for classical corporate art or perhaps signifying Irving, himself a painter. In this scene, Mark transforms into a goat, much like characters in the book series ‘Animorphs’. This could suggest a theory: Could the goats on the show be used as vessels for human consciousness? Given the head-balloon motif, this second hypothesis seems more likely within the context of ‘Severance’.

There’s a symbolic aspect to the goat imagery as well. A fascinating discussion on Reddit, initiated by user Shayray during the first season, connects this theme with Pan, the Greek god who is half-goat and represents fertility, sensuality, and music – essentially, a symbol of enjoyment. However, Lumon Industries isn’t exactly a fun place, despite Mr. Milchick’s attempts to arrange corporate-sanctioned joy (such as the defiant jazz). But considering the focus on babies in this updated opening sequence, perhaps there’s some truth to the fertility aspect of Pan. Or maybe Mr. Milchick is the embodiment of Pan. It’s all quite confusing!

Cobel’s Giant Gaping Face

In addition to scattering enigmatic hints, one significant change in the credits for Severance‘s second season is the introduction of characters other than Mark. One such character is Harmony Cobel, also known as Ms. Selvig, who has a chilling entrance as an imposing figure with her face replaced by a vast opening, similar to a powerful spotlight, casting an ominous shadow over the green room on the hillside. At first glance, the symbolism in this imagery may not appear overly complex: Cobel being the head of the severed floor and the architect of whatever peculiar plan that the Macro-Data Refinement team is working towards.

To begin with, it’s evident that Cobel has faced some challenging circumstances this season. She’s been implicated in the uprising led by Mark, Helly, Dylan, and Irving, resulting in her being formally sidelined by Helena Eagan, who is also known as Helly’s alter ego. By the end of the third episode, she becomes visibly upset and exits in a rage. Given Patricia Arquette’s significant role in the series, it seems likely that Cobel will reappear; however, her future role remains to be seen.

The opening credits depicting Cobel looming over Mark’s descent into his own mind hints at their complex relationship. This visual motif could suggest a powerful influence or control that Cobel has over Mark’s mental state. Lastly, the question of why Cobel was posing as Mark’s neighbor has yet to be fully addressed within the series.

The Black Hallway

We haven’t fully explored the missing part of Cobel’s head yet. The final shot of the opening sequence shows the camera moving into the area where her face ought to be, creating a scene where Mark rushes down a dimly lit hallway towards the foreboding elevator with the red “down” sign. As the camera adopts Mark’s viewpoint and darts along the hallway, we find Gemma, his deceased wife who is also known as “Ms. Casey,” in the elevator on the damaged floor, but as we approach closer, her physical form seems to interchange with Helly’s.

One key aspect of the TV show “Severance” is the enigma surrounding the dark corridor, which seems to be deeply intertwined with its overall mystery. This hallway frequently appears in Irving’s subconscious paintings from within his mind. It’s reasonable to assume that Gemma/Ms. Casey, who was presumed missing at the start of this new season, is likely found wherever the elevator takes us.

A more intriguing point is the interplay between Gemma and Helly, which might hint at the complex romantic relationships within the storyline. Instead of a love triangle, it could be more accurately described as a pair of entangled lines, reflecting the intricate web of romance in play.

If we consider the show’s philosophy, Mark’s inner and outer selves are not two parts of the same person torn apart but rather two distinct individuals sharing one body. Therefore, it’s less about Mark being conflicted between two lovers and more about him being caught between two providers of affection. Whew, that’s a head-scratcher!

The Baby Kier

Indeed, for quite some time, I had assumed that figure was young Irving. The most plausible theory appears to be that Lumon Industries’ secret projects on the lower floor are somehow related to recreating their esteemed founder. This could involve transferring his consciousness into a goat or perhaps engineering a baby in an extraordinary way. Alternatively, we might witness a plot where Mark S., who seems to receive particular attention from Ms. Cobel and Lumon Industries, is being readied to give birth to Baby Kier. The intricacies of this series are such that anything could happen. I believe I need some rest.

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2025-02-06 01:54