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    "text": "#sfmt2025\n48. Severance s2\nHell is frozen over, Sisyphus grapples with the fact that his life is existentially tied to the boulder, and later on he finds himself in the shoes of Orpheus. Corporate america supplants any & all institutions, even and especially religion. What a goddamn great show",
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          "alt": "Severance falls into that sweet spot that's all at the same time:\n- Critic fodder (or as people my age call it, video essay bait)\n- Easily understandable to the average viewer\n- Fodder for theory crafters\n- Has a thumb, maybe even a Focus, on a big Societal Mood of the modern age\n- Sci-fi speculative fiction of the kind that is concerned with the human element first and foremost (aka the good kind)\n- Just a really goddamn good show\n\nLike goddamn. I've spent the last 12-some years in IT support. It's basically an office job, just busier and slightly nerdier, and they got so many things right about this bullshit space. There's always a Dylan. The guy that's a bit crude, thinks he's funny, and perhaps a bit too proud of his work. There's always the immaculately crafted corporate language used by training books and HR and such. There's always the glib humor signaling to everyone that you and your team is above this facade...spiritually, and \"within reason\", anyway. And there's always that mental switch you flip when you get in the office. You're someone else...not literally, but we say these days, it's your worksona. In a lot of ways, it's a bit of a nightmare, but it's just tolerable enough to make a living.\nI do especially like the show's consistent vibes, the sense of bring frozen, stuck in time and yet straining, teeth-grindingly scratching and gnawing of the spirit, both in and out of work, especially in the first season. Like 1000xRESIST, it feels like media borne partly out of the COVID lockdowns, of that feeling of being locked in - and for the innies, it's pretty much literally being locked in. Same thing for the outies. Even if they have freedom of movement, of socializing and such, and to even potentially protest and foster counterculture, it's made clear that Lumon even owns the infrastructure and a significant amount of jobs outside of the office. And if you're on Lumon's shitlist, the only way to get out is to get on a train and just keep going.",
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          "alt": "And if you're on Lumon's shitlist, the only way to get out is to get on a train and just keep going. It's vague enough to the point where if you're like me, in Washington, this feels like the endgoal of Seattle being a city dominated by Amazon and other tech companies. Alternatively, the company towns of early capitalist America come to mind - which is maybe coming back as SpaceX is setting one up in Texas, by the way, very cool, very cool and normal and safe and worker friendly and not funded in shady ways whatsoever. Very based of the show to have a character go rogue on the company when Lumon drops them the second she stops being useful and show that she comes from a town Lumon all but abandoned, implying it was the hollowing out of the American manufacturing industry when all those jobs got outsourced. \nEven with all the theory crafting that can go on regarding the nature of the \"mysterious and important\" work and many other elements of the show's world, the show never loses focus of the human element, human questions brought on by the premise. What if your innie finds love and you don't know about it? What if your outie is part of the power structure keeping you stuck to the 9 to 5? What if your innie is finding some semblance of purpose and satisfaction in life you've never been able to find? These two seasons explore these ideas and the actor's performances breathe emotional truth into these questions, questions that aren't relevant to our everyday life, yet are the things that could happen to creatures such as ourselves, we humans. ",
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          "alt": "Mark in particular seems to be a little bundle of Greek myths. Sisyphus is the obvious one. Prometheus, sorta, for Lumon twisting the season one finale into Mark and co. \"bringing\" worker dissatisfaction to light and bringing reforms (even though it's all bullshit, naturally). And Orpheus at the season two finale, stuck between looking back for Helly, and climbing out of hell (but this time it would more or less kill him) with Gemma. That's a lot of pathos. Not necessarily because I made tenuous connections to classic myths, that's just strong emotions, thought provoking, and excellent opportunity for cinematography, world building, theme building, everything. Good shit. great shit. \nIf Severance ended there, at the end of season two, it would be the most depressing \"YAAAH HUMAN WILL TO PERSEVERE STRONG\" ending. We all want to yell \"Fuck you\" to our jobs. We all want to run free with the ones we love, in whatever capacity we can, even if it means jumping back into a hell that's on fire, rather than face the oblivion of death. When the cards are down, we just wanna fucking live, even if the very next day is a straight up unknown. But as an observer of this story, god, it's still bleak. But of course, season three is happening...so, very much looking forward to what's to come. ",
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