
How ‘Severance' Uses Old Tricks to Make Its Office Hell
Contains spoilers about past episodes but not the Season 2 finale.
In 'Severance,' the Apple TV+ series about a shadowy company where some employees have their consciousness split into two parts, with the 'innie' doing all the work and the 'outie' remembering none of it, the office is sparse and lifeless.
The show reinforces that theme with its cinematography and production design. Here are some of the ways 'Severance' invokes and inverts classic film tricks to create its corporate hell.
Repetition Removes Individuality
From the earliest days of moving images, filmmakers have used the rigid geometry of desks and cubicles and dense repetition to create images of people together, yet isolated, trapped and stripped of identity by corporate bosses.
Films like 'The Apartment,' from 1960 (below, top left), and even Pixar's 2004 animated movie 'The Incredibles' (top right) use these repetitive shots to suggest a corporate mass that takes away individual identities to instead create 'company men,' said Jill Levinson, a professor at Babson College and the author of 'The American Success Myth on Film.'
Grids fill the screen in those movies and others, including in shots of the oppressive call center of the 2018 satire 'Sorry to Bother You' (above left) and the lifeless corporate floor of Mattel in 'Barbie,' from 2023 (above right), creating a claustrophobic sense of confinement.
One of the earliest examples of this image on film came in King Vidor's 1928 silent movie 'The Crowd':
In Jacques Tati's 'Playtime,' from 1967, Tati's recurring character, Monsieur Hulot, finds himself out of sync with the impersonal settings of midcentury Paris:
'Severance' uses some of the same approach. The Lumon Industries office was inspired by the workplaces of the 1960s, Jeremy Hindle, the show's production designer, told the architecture magazine Dezeen. Back then most offices were very clearly places to work, creating a strict separation between office and domestic life, he said. 'I find workplaces now kind of 'fake' workplaces — they're home-ish.'
The opening sequence modifies the multitudinous office shot to reflect the show's splintering identities, with a grid of desks that has the same worker in every cubicle: the innie Mark S, played by Adam Scott:
In other ways, Levinson said, 'Severance' bucks office-film convention. Instead of leaning on multiples, it most commonly isolates its workers in unnervingly large rooms.
Office Fixtures Trap Workers
The concept of confinement is central to 'Severance.' While many characters chafe against the limits of their roles in life, for the innies the imprisonment is literal: They are effectively trapped on the severed floor, only perceiving life in the workplace.
The sense of restriction is reinforced by the low ceilings in 'Severance,' including in the hallways and the offices themselves, Levinson noted. Low ceilings trap characters and are useful tools particularly in horror movies, like in the claustrophobic corporate spaceship in 'Alien' (1979) or the tight architecture of the Overlook Hotel in 'The Shining' (1980).
The corridors in 'Severance' recall an extreme example of low office ceilings: the 7 ½ floor in 'Being John Malkovich,' where employees have to physically hunch over as they exit the elevator:
The work itself can also be the cage. In one scene in the first season of 'Severance,' Dylan G.'s (Zach Cherry) screen resembles a shot from the 1996 movie 'American Beauty,' with both characters looking at their reflections trapped behind the work on their screens:
If the spaces or the work itself form the prisons of office life, the wardens are the clocks. Shots of them are another visual trope in workplace movies, one that calls back to the symbolic clocks in old German Expressionist films: Employees repeatedly glance at the time, waiting to be free. (Levinson shows her students a montage of similar shots across decades.)
It happens in the 2002 movie 'About Schmidt,' as Jack Nicholson, as a retiring insurance man, stares at the clock waiting for his final day of work to end …
… and in the aptly titled 1997 comedy 'Clockwatchers,' about four young women working in a soul-sucking office:
Because innies exist only on the severed floor, there is little reason for one to look forward to heading home. In the second season, when Mark S. looks at the clock as the workday winds down, it is a sign that risky reintegration surgery to combine his severed halves is starting to work.
The Boss's Throne
In 'Severance,' the managers on the severed floor exert quiet corporate power from behind the desks in their private offices. Severed workers stand before the seated supervisor, waiting to speak as in a royal court.
The filmmakers Joel and Ethan Coen often use that image of 'the man behind the desk' in their films, including, clockwise from top left, 'The Big Lebowski,' 'The Hudsucker Proxy,' 'Fargo' and 'Barton Fink.' The boss's desk is a barrier between the protagonist and real power:
Employees' desks are, by contrast, vulnerable. Their cubicles make them easy targets for bosses 'just swinging by,' like in the 1999 workplace malaise movie 'Office Space' …
… or the accommodations could be absurdly ineffective, as in the 1985 sci-fi black comedy 'Brazil.' One desk is divided by a wall and split between two employees who must play tug of war for the work surface:
The boss's desk and its power are consistent, even if the person behind it isn't. Between the two seasons of 'Severance,' the supervisor Harmony Cobel (Patricia Arquette) is replaced by her subordinate Seth Milchick (Tramell Tillman); he takes her place both at the desk and in the same shots she occupied.
Elevators as Symbolic Portals
In 'Severance,' the office elevator is a site of transformation between a severed worker's two identities. As it nears the severed floor, the elevator acts as a breaker switch between the innie and outie identity, with the innies waking up on the office floor, locked away from the outside world.
In the 1957 drama 'A Face in the Crowd,' the main character's fall from grace is made literal as he goes down the network television company's elevator, watching the buttons tick to lower floors:
By contrast in 'The Hudsucker Proxy,' the inventor turned executive played by Tim Robbins is crammed into the back of an elevator until the operator realizes he is important and goes express to the top floor. The doors close behind him as he looks uneasy with his ascent:
The other pivotal elevator in 'Severance' is at the end of a pitch black corridor. It goes to the mysterious testing floor, and it haunts one character so much that he repeatedly paints it in gobs of black oil paint without knowing what it is. That elevator is all descent.
Infantilizing Perks
Lumon Industries emphasizes its workplace perks for innies, which create brief spots of color within the office's otherwise drab environs. In 'Severance,' employees strive for melon bars, finger traps and Music Dance Experiences as rewards for their hard work, supposed morale boosts that are infantilizing and ultimately — and laughably — ineffective.
Other shows, like 'Silicon Valley' and 'Broad City,' have also memorably used moments of forced fun to emphasize the awkward sterility of office life:
In 'The Office,' a sad celebration features a depressing fruit tray …
… a forebear of the various melon-based functions in 'Severance.'
'Office Space' includes an even sadder birthday scene, in which the downtrodden employee Milton is passed over for a slice like the most unpopular kid at a party:
It's a deeply uncomfortable moment for Milton, but is it any more awkward than other petty workplace slights? It's yet another office indignity most workers would like to forget, the kind that 'Severance' visually aggregates in order to build its humiliating hell for innies — and spare the outies.
It all may make severed life seem not so bad.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
an hour ago
- Yahoo
Dennis Lehane Roasts ‘Draft Dodger' Trump's $45 Million Birthday Parade as ‘Height of Performative Masculinity'
Novelist and 'Black Bird' creator Dennis Lehane went off script Tuesday to call out Donald Trump's $45 million military parade Saturday commemorating the U.S. Army's 250th anniversary — and, yes, the president's June 14 birthday. He called the spectacle 'the height of performative masculinity.' Speaking to TheWrap for his new Apple TV+ project, 'Smoke,' the acclaimed author ('Gone, Baby, Gone,' 'Mystic River,' 'Shutter Island') briefly weighed in on Trump's antics, calling him a draft dodger and even comparing the president to a 'whiny little bitch' character from the new series. 'I usually steer away from politics,' Lehane said, bringing up the topic himself, 'but let's just say, on one very simple issue, to be a draft dodger who's trying to throw yourself a military birthday parade is the height of performative masculinity. I don't even know where to go with that. We've literally met the death of irony.' Trump is rolling out a military parade on Saturday to commemorate the 250th anniversary of the U.S. army — and it also happens to fall on his 79th birthday. An Army spokesperson said that the parade is expected to cost upwards of $45 million. On Tuesday, amid reports that protests against the parade are being planned online, the Trump told White House reporters, 'And if there's any protester that wants to come out, they will be met with very big force.' Lehane's comments sprang out of a discussion of the tightly wound arson investigator Dave Gudsen in 'Smoke,' played by Taron Egerton, reuniting with the creator after 'Black Bird.' Lehane explained, 'Taron and I wanted to get at that with Dave. He's so unempathetic, and yet he's such a whiny little sentimental bitch when it comes to his own needs.' In the series, which premieres with its first two episodes June 27, Dave is frustrated by being assigned a female partner (Jurnee Smollett) he never asked for to track down two serial arsonists. 'Taron and I are both fascinated by performative masculinity. It's just an interesting phenomenon that we're starting to see the worst end result of right now. We're living in it,' Lehane continued. Dave also clashes with his apathetic teenage stepson, who's made it clear David will never live up to his own father. 'That's what Dave Gudsen represents in a lot of ways. When he says to his wife, 'The kid just needs to f–king man up.' And she says, 'Oh, we're here for some truth?'' 'Some people are always like that. The people who were always like, 'Why should I feel anything for anybody?' are always the whiniest bitches,' Lehane said. 'Smoke' premieres with two episodes on June 27 and airs new episodes Fridays. Check back later for TheWrap's full interview with Lehane. The post Dennis Lehane Roasts 'Draft Dodger' Trump's $45 Million Birthday Parade as 'Height of Performative Masculinity' appeared first on TheWrap.
Yahoo
an hour ago
- Yahoo
Netflix's Little House on the Prairie Reboot Releases First Cast Photo as Filming Begins in Canada
Filming on Netflix's Little House on the Prairie is now underway in Canada — four months after the series was first greenlit — and with that milestone comes a photo of the full cast, at their first table read. Described as 'Part hopeful family drama, part epic survival tale, and part origin story of the American West,' Netflix's 'fresh' adaptation of Laura Ingalls Wilder's iconic semi-autobiographical Little House books promises 'a kaleidoscopic view of the struggles and triumphs of those who shaped the frontier.' More from TVLine Boston Blue: Gloria Reuben Joins Blue Bloods Offshoot as Family Matriarch Rachel Brosnahan to Follow Up Superman With Presumed Innocent Season 2 Lead Jonathan Jackson's General Hospital Exit, Explained: 'The Hope Was to Stay On Longer' Alice Halsey, whose previous TV credits include playing daughter to Brie Larson in Apple TV+'s Lessons in Chemistry, will play wee Laura Ingalls, while Skywalker Hughes (Joe Pickett) will fill the role of older sister Mary. Filling the roles of Ma and Pa will be Crosby Fitzgerald (Palm Royale) and Luke Bracey (the Aussie star of 2015's Point Break remake), as Caroline and Charles. Jocko Sims (New Amsterdam) will play the 'generous and kind-hearted' Dr. George Tann, while Warren Christie (Alphas) will fill the role of John Edwards (a Civil War veteran 'who catches the eye of every single woman in the county'). Additionally, Meegwun Fairbrother (Burden of Truth), Alyssa Wapanatǎhk (Riverdale), Wren Zhawenim Gotts (Echo) and Xander Cole will form a family as a farmer named Mitchell, his 'opinionated' wife White Sun, their 'wildly imaginative' daughter Good Eagle and their 'good-hearted but bull-headed' son Little Puma. Rebecca Sonnenshine (The Vampire Diaries, The Boys) serves as showrunner on Little House and will executive-produce alongside Trip Friendly (son of original series EP Ed Friendly), Joy Gorman Wettels, Dana Fox and Susanna Fogel. Sarah Adina Smith (Lessons in Chemistry, Hanna) is set to direct the first episode. With production on the eight-episode Season 1 just getting underway in early June, no release date or premiere window has yet been announced. Want scoop on, or for any other TV show? Scrawl it in chalk on your classroom slate, or shoot an email to , and your question may be answered via Matt's Inside Line! Best of TVLine Young Sheldon Easter Eggs: Every Nod to The Big Bang Theory (and Every Future Reveal) Across 7 Seasons Weirdest TV Crossovers: Always Sunny Meets Abbott, Family Guy vs. Simpsons, Nine-Nine Recruits New Girl and More ER Turns 30: See the Original County General Crew, Then and Now
Yahoo
an hour ago
- Yahoo
Rachel Brosnahan joins 'Presumed Innocent' Season 2
June 10 (UPI) -- Apple TV+ announced Tuesday that Rachel Brosnahan would star in a second season of Presumed Innocent. Brosnahan also will executive produce. Season 2 of the show is based on the Jo Murray novel Dissection of a Murder. Due in 2026, Dissection is about an attorney named Leila Reynolds defending a man accused of murdering a judge. Season 1 was based on the Scott Turow novel Presumed Innocent. It starred Jake Gyllenhaal as Rusty Sab****, a lawyer on trial for the murder of a colleague with whom he was having an affair. Turow wrote two other novels about Sab**** and others about his lawyer Sandy Stern, who replaced with a different character on the show. Aside from the choice to adapt Murray's novel, Apple is keeping plot details secret. David E. Kelley remains a showrunner with Erica Lipez. Gyllenhaal and Turow remain executive producers. This summer, Brosnahan plays Lois Lane in the new Superman movie. She recently appeared in The Amateur and previously starred in The Marvelous Mrs. Maisel and Manhattan.