Famine. Plagues.
Severance was made shortly after the COVID-19 pandemic. Many things during the pandemic are surreal, and parts of Severance evoke the same feeling.
Employees must wash their hands 10 times a day. Departments are isolated in order to contain pathogens. Soap is just weird.
Everything is so empty. Mark's neighborhood, Baird Creek, "never really filled up," and beside it is a massive graveyard. (On Irving's map of Kier, PE, almost all of the severed employees he marked live right by cemeteries.)
Lumon Industries and Kier Eagan are all about perfecting and curing people and the world. Lumon started as a medical company and still seems to be, at least to some extent. Dentistry, medicine, neurosurgery; they were recruiting pharmacology and psychology college students. Mark and Irving's license plates show Kier's face and, instead of a state name, "remedium hominibus". Latin for "cure for mankind". Lumon wants to "save the world".
Kier was sick as a boy, but healed. Dylan's Eagan bingo cards listed "picture of a boy with rickets"- some part of the Eagan history (or Kier's personal history) included rickets. Illness. Everything at Lumon is about "healing".
There is a lot of weird stuff about food, inside and outside of Lumon. At Devon and Ricken's "dinner" party, they don't eat at all. Patton's "friend in Lima hasn't had a food-based dinner event in-" some significant amount of time. Their guests have discussions about food vs. life. The Kier song that Harmony sings says that he "brings the bounty to the plains".
Dylan's theory might've be a little off, but I honestly think he is very close. "Shit must've gotten pretty bad out there. Famine. Plagues."
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Welcome to a series I'm calling:
Yes, that scene did foreshadow Mike's monologue was disingenuous
Because you'd be surprised how many times the show (even prior to s4) has poked fun at Mike's monologue in the most random ways.
The Bingham's Beautiful Performance
First we have Suzie's sister on the floor, bedazzled and sporting a veil all while her brother is filming. This is basically the kids attempting to present a tale of a romance ending in gruesome tragedy.
Our bride here is El. The edition of the veil could be a nod to the loud majority's series long assumption that Mike and El are going to end the show together, preferably getting married.
Unfortunately, this is the closest thing they'll ever get to it, with the acknowledgement of that possibility in and of itself being mocked.
This next shot makes the likelihood that these scenes are connected pretty much indisputable, that being the edition of the record player behind the bride's head.
The only reason they made a point of having Will push the radio out of El's way, was to subtly connect this moment in Surfer boy to the beautiful performance we saw at the Bingham's only a few episodes prior (scenes that are widely known to be filled with foreshadowing for the season's ending).
A few bylers have already talked about these parallels, so this isn't new knowledge per say. But I do know some have dropped it altogether as possible foreshadowing for whatever reason, while most fans outside of the byler fandom insist it only foreshadowed Eddie's death. However, I think there are too many details that equally, if not more connect it to Mike's monologue than to Eddie's death.
Some fans have also noticed how Will was missing in quite a few shots at the Bingham's, which is interesting, but not all that surprising. Especially in this case...
Will. Will is the director
Director Will: GET THAT RADIO OUT OF MY SHOT!
Will directed the monologue when he used his feelings to inspire Mike, with the reminder of it (literally in the moment) directing Mike to confess to El, just like Suzie's brother directed that beautiful performance. Both performances convincingly left its audience thinking that the performers feelings in that moment were believable and...
genuine...
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FLUXES [Celestis: Engineered Participants / Technologies]
Example: "DOCTOR, The"
[Image description, courtesy of @quailfence: a series of pictures of text, alternated with screencaps and gifs from Doctor Who.
1: Text: Fluxes: [Celestis: Engineered Participants/Technology] Individuals transposed backwards in time but not too far in space, using a very high chaotic limiter setting and tied to their home period by a thread of biodata
2: The Eleventh Doctor stands in the future corpse of his TARDIS, looking and a pulsing stream of light that has replaced the console. He says, "That is the scar tissue of my journey through the universe. My path through time and space."
3: Text: He raised a finger. 'Look. There.
Now she could just make out the thread in the moonlight. It was just a faint reflection, maybe a foot or two long, about a metre off the ground. A taut strand of spiderweb hanging in the air, not attached to anything.
'What is it?' Fitz asked.
'It's only partially rotated into three dimensions,' he said. He pushed his finger right through the glimmering line, without affecting it. 'That's why it looks one- or two-dimensional. The rest is still perpendicular to what we can see - woven into higher space, or the time vortex…'
'Yes,' said Fitz, 'but what is it?' 'It's what your friend mistook for a ley line.' The Doctor was scuttling around the silver thread, peering at it from every angle, getting more and more agitated. 'It's part of the fabric of space-time itself. What DNA is to your genetic code, this stuff is to biodata. And it's all just exposed here now. Personality, history, memory, perception, all vulnerable…'
'I'm going to have to ask you again, aren't I?' said Fitz.
The Doctor said, 'It's me.'
4: The Fourteenth and Fifteenth doctors in the TARDIS. 14: "But you're fine?" 15: "I'm fine, because you fixed yourself. We're Time Lords, we're doing rehab out of order."
5: Text: The subject is turned loose in his or her own history, and the limiter setting allows tiny actions taken by the future version to have considerable effects on the past version. The biodata link then transfers these changes to the future version, which alters it, and thus alters the changes made to the past version. Therefore, the individual's history is kept constantly in flux.
6: The Fugitive Doctor says, "Let me take it from the top: Hello, I'm the Doctor."
7: Text: Let me finish. Think back to that time when you went to see your previous selves.
8: Ten, Eleven, and War talk to each other. Ten: "You're not actually suggesting that we change our own personal history?" Eleven: "We change history all the time. I'm suggesting far worse."
9: Text: 'Maybe there's no one home on Gallifrey,' said the boy softly. There was just the one of him.
The Doctor looked at him, cupping the small white cube in his hands. The boy said, Maybe they all left. Or maybe the whole planet's being destroyed, and undestroyed, and destroyed, and you just caught them at the wrong moment.
10: The TARDIS by the ruins of Gallifrey
11: Text: 'It's impossible,' said the Doctor. 'It's impossible for my people. Our past is unreachable. What's written can't be unwritten.'
'Who said your history can't change?'
Another boy answered, 'Someone from his history.'
And another: 'Maybe it's the second-biggest lie in Time Lord history.'
12: Dhawan!Master tells Thirteen, "You are the Timeless Child."
13: Thitreen stares at a ruined house. Swarm whispers in her ear and tells her, "All the memories you've lost, all the people you've been. It's all in there, contained within that house."
14: Text: And it was like the Doctor's home. As if his ship understood the loss of the House and had compensated to fill the emptiness. Shadowy corridors, alcoves and stairways, a secret at every turn. Like being in the Doctor's head. Like his life, for that matter, the details of which were strewn like flotsam across the floor.
15: Text: 'Sweet,' said the little boy. 'That's my favourite of your origin stories, too.'
The Doctor opened his eyes. He had been laughing, he realised, he felt that lightness in himself. The boys had all moved away, behind him, leaving him facing the empty dark of the warehouse.
'What do you mean?' he asked. His voice sounded very small.
'Is this the version where they banned all mention of his name, and yours, for consorting with aliens? Or the one where he got every record of himself deleted from the files?'
'Feel free to believe either of them,' snapped the Doctor, 'or both of them, or neither of them. If you're curious about my past, I want there to be as many wrong answers as possible.'
16: The Eighth Doctor tells someone, "I'm half human. On my mother's side."
17: Text: 'Well he's a hybrid, you know that. A Gallifreyan not born of Gallifreyan, the one who unites the two races and brings good old human niceness into their alien society. Aliens need that, y'know.'
'A human hybrid? She saw the contempt in his curling lip. 'Pseudoscientific nonsense. There's no evidence,' he repeated.
'He's allowed to be different. He's got a prophecy and everything.'
18: Lady Me says, "By your own reasoning, why couldn't the Hybrid be half Time Lord, half human?"
19: Text: Someone giggled. 'Let's play pin the tale on the donkey.'
'Maybe you didn't use to have a father.'
'Maybe you're living in the middle of a time war. Maybe there's an Enemy out there -'
The Doctor shouted, 'I'm not listening!'
'- who's rewriting you when you're not looking!'
'Maybe you weren't always half human.'
'But now you've become always half human.' 'Maybe you weren't always a Time Lord.'
But now you've always been a Time Lord.'
'Maybe you originally came from some planet in the forty-ninth century. Fleeing from the Enemy who'd overrun your home -'
'I said I'm not listening! Laa laa laa laa laa -'
'- and you've just been written and rewritten and overwritten, ever since.'
'Pin the tale!'
'How d'you know it's not true?'
'How could you know it's not true?'
The voices crowded in. 'How would you know, huh?'
'How would you know?'
'How would 'How would you 'How 'How would you know? you know? you know? know?'
'Why would I care?' shouted the Doctor.
The boy fell silent.
20: Lady Me asks, "Am I right? Is it true?" Twelve replies, "Does it matter?"
21: Text: However, the one group from the Homeworld which has excelled at flux-engineering is the Celestis.
22: Two asks the Time Lords, "Now then… what about me?"
23: Tecteun tells Thirteen, "Which is ehy we engineered the Fluyx: Shut the universe down and you within it."
24: Text: Even Mictlan itself can be considered a kind of enormous flux, an endlessly-shifting realm so cortosive to the rest of history that its heartland has to be kept on the outer skin of the universe
24: The Fourteenth Doctor tells Donna, "I invoked a supersition, at the edge of the universe, where the walls are thin and everything is possible."
25: The space station from Wild Blue Yonder
26: Text: There are suggestions of a stable middle-ground between the two fates, in which the physical matter of the flux is lost but the meaning of the subject/ victim is retained, a series of memetic connections with no flesh to support it. Yet this entity exists only on a purely theoretical level, relying on the perceptions of others to survive at all.
27: The Twelfth Doctor walks up to the TARDIS console. He says, "Can't wait to hear what I say." Glancing at the viewer, he adds, "I'm noting without an audience."
28: Text: You know what Sam represents. If a tree falls in a forest and no one's there to hear it, does it make a sound? Stop me if I'm getting too abstract here, but if a Time Lord saves the world and nobody witnesses him doing it, does history care? She's your witness. The thing you need to make you whole.
29: The First Doctor looks at the viewer and says, "Incidentally, a Happy Christmas to all of you at home!" End description.]
[Plain text: Fluxes [Celestis: Engineered Participants / Technologies] Example: "Doctor, The". End plain text.]
@dw-described
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