“Severance” drops us back into the never-ending workday of Adam Scott’s Mark Scout, dashing frantically through Lumon Industries’ blank hallways, as if lost.
He shouldn’t be. The work version of Mark S. used to be comfortable with daily patterns and efficiently sensing how number groupings go together. He was fine living for his job even if he didn’t know much about the company he works for, or what he's doing. He’s the contented “Innie” to the miserable “Outie” version of himself, the one so paralyzed by his wife’s death that he chose to surgically divorce his work life from the mess of his personal time.
