Severance stands as one of the most compelling portrayals of the Marxist conception of contradictions within capitalism in recent years. It is paradoxical that such an incisive critique comes in the form of an Apple Original series.
At the heart of the story lies a corporate culture steeped in the philosophy of its founder, Kier, whose teachings pervade every facet of Lumon. The antagonists—the manager, middle managers, and higher-ups—adhere to a belief system that reflects bourgeois values. In this narrative, the managers represent not only the immediate figures of authority but also the structures and ideologies of capitalism itself.
The series excels in conveying its themes by consistently highlighting the boundaries between various categories of existence. This is particularly evident in the contradictions that arise between the employees, burdened by their material conditions and memories, and the versions of themselves that signed the corporate contract. The inherent contradictions of wage labor are laid bare as the “innie” (the worker within Lumon) and the “outie” (the worker outside) grapple with their individual needs. The outie seeks companionship that can only be found at work, while the innie yearns for freedom, which eludes him in the corporate environment. Consequently, Severance emerges as a poignant commentary on capitalism, social contradictions, and the quest for personal fulfillment.
As the broader plot unfolds, it becomes evident that the narrative revolves around a brewing revolution within the company. Milchick, the middle manager, epitomizes the role of the enforcer, employing pedagogical psychology akin to that used on children to maintain order. His techniques mirror those of a manipulative prison guard, underscoring the alarming resemblance between capitalist workplace hierarchies and the prison system. When Mark is promoted, he learns the art of making “kind eyes,” a tactic that reflects both goodwill and an insidious intent to uphold workplace efficiency—a clear embodiment of capitalism’s coercive nature.
Promotions within Lumon come with the burden of increased responsibility, including blame for the company’s failure to meet quotas. Mark’s conversations with Selvig expose the harsh realities of workplace dynamics, where the passing of blame becomes a pivotal function of managerial roles. The show unambiguously illustrates that capitalism forces individuals to choose between exploiting others and being exploited themselves. The exploiting agents emerge as robotic and apathetic, embodying the very system they serve. When Mark learns to manipulate his facial expressions, he resembles a serial killer, showcasing the dehumanizing effects of corporate culture.
The break room serves as a metaphorical torture chamber, designed to elicit specific emotional responses from workers—a tool of psychological warfare wielded by Lumon to enforce compliance. This violent mechanism operates as a fail-safe for when dissent threatens to erupt.
The board of directors represents the dictates of capital, issuing orders that echo through the ranks of managers and capitalists. The irony is palpable when Selvig, who possesses the power to threaten the very fabric of their existence, finally meets with this group during the Eagan family gala, underscoring the absurdity of their authority.
The overarching narrative also hinges on the crucial fact that the managers and bosses are not severed from their identities, meaning the severed workers remain trapped in a voluntary prison. Severance raises critical questions about the nature of choice within capitalist structures, illustrating that the illusion of autonomy is merely a façade.
In Episode 1, the alienation of labor is starkly portrayed. The spatial bifurcation of employees’ memories leads to a profound disconnection from their work. Employees exist in a state of ignorance about their contributions, engaging in meaningless tasks that serve only to reinforce the corporate machinery. The contract, ostensibly a symbol of choice, is rendered meaningless as Helly’s attempts to leave are thwarted repeatedly.
The series deftly navigates the contradictions between the social forms of labor and private appropriation. Mark’s alienation from genuine social connections—exacerbated by the superficiality of his family’s academic pretensions—highlights the loneliness that pervades his existence. His actual friendships are forged with colleagues at Lumon, as illustrated by his tender moments spent polishing a photo of them.
The tensions between the interests of capital and the needs of individuals are underscored by Lumon’s willingness to disregard contractual obligations, exemplified by Helly’s repeated entrapment. Furthermore, Petey’s predicament, hunted by mercenaries acting on behalf of capital, reflects the chilling reality of exploitation within the capitalist framework.
In summary, Severance emerges as a profound critique of capitalist contradictions, deftly intertwining themes of alienation, power dynamics, and the struggle for individual identity within an oppressive system. Through its nuanced portrayal of corporate life, the series challenges viewers to confront the complexities of modern capitalism and the ramifications of its structures on personal fulfillment and societal well-being.