Praise Kier for Severance season 2! Let’s discuss.

Severance has just wrapped up its second season. I sat down with fellow Ars staffers Aaron Zimmerman and Lee Hutchinson to talk through what we had just seen, covering everything from those goats to the show's pacing. Warning: Huge spoilers for seasons 1 and 2 follow!

Nate: Severance season 1 was a smaller-scale, almost claustrophobic show about a crazy office, its "waffle parties," and the personal life of Mark Scout, mourning his dead wife and "severing" his consciousness to avoid that pain. It followed a compact group of characters, centered around the four "refiners" who worked on Lumon's severed floor. But season 2 blew up that cozy/creepy world and started following more characters—including far more "outies"—to far more places. Did the show manage to maintain its unique vibe while making significant changes to pacing, character count, and location?

Lee: I think so, but as you say, things were different this time around. One element that I’m glad carried through was the show’s consistent use of a very specific visual language. (I am an absolute sucker for visual storytelling. My favorite Kubrick film is Barry Lyndon. I’ll forgive a lot of plot holes if they’re beautifully shot.) Season 2, especially in the back half, treats us to an absolute smorgasbord of incredible visuals—bifurcated shots symbolizing severance and duality, stark whites and long hallways, and my personal favorite: Chris Walken in a black turtleneck seated in front of a fireplace, like Satan holding court in Hell. The storytelling might be a bit less focused, but it looks great.

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