‘Severance’ Season 2, Episode 6: Burt’s Dark Secret

Summary

Podcast Summary: The Prestige TV Podcast – ‘Severance’ Season 2, Episode 6: Burt’s Dark Secret

Overview

In the sixth episode of Season 2 of Severance, titled "Burt’s Dark Secret," the hosts of The Prestige TV Podcast delve deep into the intricate layers of the episode. Hosted by Amy Poehler, Rob Mahoney, and Joanna Robinson, the discussion navigates through character developments, symbolic elements, overarching theories, and stylistic choices that make this episode a standout in the series. The hosts provide a comprehensive analysis, enriched with listener insights and comparative references to other television narratives.

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**1. Dental Tools and Symbolism

One of the primary topics revolves around the surgical and dental tools featured in the episode. Rob Mahoney brings attention to the ambiguous nature of these tools, sparking a debate about their intended use within the Severance universe.

• Dental vs. Surgical Interpretation:

  • Rob Mahoney ([02:25]) posits, “I think there's some consensus that some of these tools sure look like dental tools,” while also entertaining the idea that they could be used for “perverse, perhaps basement brain surgery.”
  • Amy Poehler ([05:14]) humorously laments the absence of essential tools like syringes, stating, “Undergoing a surgical procedure like this without, quote Novocaine, we actually don't use that drug anymore. Would be literal torture.”

• Listener Insights:

  • Dr. Doug and other dental professionals contributed their perspectives, validating the dental tool hypothesis but also acknowledging the potential for alternative, more sinister usages.

• Symbolic Implications:

  • The presence of these tools hints at Lumen’s deeper, possibly nefarious activities. Discussions suggest that the tools may serve purposes beyond their apparent functions, possibly related to cloning or altering consciousness.

Notable Quote:

Rob Mahoney ([06:13]): “...maybe basement surgery... at least the fine folks at Lumen have something resembling actual tools to perform it.”

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**2. Character Analysis and Theories

The hosts dissect the complexities of key characters, particularly focusing on Mark, Helena, Heli, and the enigmatic Bert.

• Mark’s Struggles and Reintegrations:

  • Discussions highlight Mark's experiences post-reintegration, drawing parallels to characters from other series like Westworld and Lost. The characters' dual identities (Innies and Outies) are explored, questioning the essence of self when memories are severed.

• Helena’s Intrigue:

  • Rob Mahoney ([11:18]) speculates on Helena’s motivations, pondering whether she is testing Mark or has ulterior motives linked to Harmony Cobell. The interaction between Helena and Mark is likened to the reunion themes in Eternal Sunshine of the Spotless Mind.

• Bert's Duality:

  • A significant portion is dedicated to unraveling Bert’s true nature. Rob Mahoney ([54:55]) suggests that Bert might not be entirely severed, hinting at a potential cover-up or deeper involvement in Lumen’s schemes.
  • Amy Poehler ([53:41]) theorizes that Bert could be dealing with internal conflicts between his Innie and Outie selves, potentially making morally ambiguous decisions for perceived greater good.

Notable Quote:

Amy Poehler ([21:04]): “...she wants that memory. She wants that experience that she didn't get to have.”

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**3. Visual and Stylistic Elements

The episode's cinematography and set design receive commendation for their contribution to the narrative’s tension and thematic depth.

• Camera Work and Framing:

  • The hosts appreciate the unique camera angles and framing choices that heighten the sense of unease and intimacy. For instance, the tilted camera during Helle’s walk ([18:08]) and the imbalanced framing between characters underscore the psychological complexities at play.

• Set Design and Symbolism:

  • The kitchen scene with its cluttered cabinets and multiple ovens becomes a focal point for analyzing character personalities and hidden agendas. The presence of a pineapple on the counter is speculated to symbolize Lumen’s influence or serve as a subtle nod to corporate manipulations.

• Symbolic Artifacts:

  • The unfinished clown painting on the industrial-style wall suggests a fractured identity or unresolved conflicts within the corporate environment.

Notable Quote:

Rob Mahoney ([19:21]): “The acoustics of a good violent thud are very important... we're getting in Mark's head in the immediate aftermath of this procedure.”

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**4. Thematic Comparisons and Influences

Drawing from other television series and films, the hosts draw parallels that enrich their understanding of Severance’s narrative techniques and themes.

• Influence of Westworld and Lost:

  • The concept of consciousness manipulation in Westworld is compared to Severance’s severed memories, while Lost is referenced regarding the recurring motif of nosebleeds as harbingers of significant plot developments.

• Eternal Sunshine of the Spotless Mind:

  • The hosts liken Mark and Helena’s interactions to the central relationship in Eternal Sunshine, emphasizing themes of memory, identity, and the inescapable pull of past relationships.

Notable Quote:

Rob Mahoney ([56:02]): “...something about the way Christopher Walken is navigating these scenes and ominously standing in doorways makes me think, yeah, something is clearly up here.”

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**5. Listener Engagement and Theories

Engaging with the audience, the hosts incorporate theories and questions posed by listeners, fostering a dynamic and interactive analysis.

• Pregnancy Theory Corner:

  • The possibility of pregnancy resulting from the complex vessel-sharing dynamics is discussed, with the hosts contemplating its implications within the show's sci-fi framework.

• Winter Tide Speculations:

  • Rob Mahoney ([40:34]) explores the potential significance of "Winter Tide," theorizing it as a code name for future operations or internal progression within Lumen’s hierarchy.

• Bert and Harmony Cobell’s Absence:

  • Questions arise regarding Harmony Cobell’s role and her absence in recent episodes, with speculation about her actions and alliances affecting the overarching plot.

Notable Quote:

Amy Poehler ([25:17]): “...with a sci fi twist inside of a show that allows for explorations of it that you can't do inside of any other show.”

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**6. Final Thoughts and Predictions

As the discussion nears its conclusion, the hosts synthesize their insights into overarching predictions and areas of anticipation for future episodes.

• Bert’s True Identity:

  • The debate continues on whether Bert is a pure Innie or if he harbors concealed Outie traits, influencing future interactions and revelations within Lumen.

• Mark’s Journey:

  • Anticipation builds around Mark’s quest to reconcile his Innie and Outie selves, with potential confrontations with Helena serving as pivotal plot drivers.

• Corporate and Spiritual Intersection:

  • The melding of corporate machinations with spiritual quandaries poses philosophical questions about identity, autonomy, and the essence of self in a technologically controlled environment.

Notable Quote:

Rob Mahoney ([63:18]): “...there is something about just recreating that sort of impact that I think is very important to making these sorts of scenes work.”

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Conclusion

In ‘Severance’ Season 2, Episode 6: "Burt’s Dark Secret," the hosts of The Prestige TV Podcast deliver an in-depth and multifaceted analysis that not only dissects the episode's immediate content but also weaves a tapestry of interconnected theories and thematic explorations. Their lively discussion, bolstered by listener participation and comparative media references, offers both fans and newcomers a rich understanding of the show's evolving narrative and its intricate character dynamics.

Key Takeaways:

• Ambiguity of Tools: The dual interpretation of surgical vs. dental tools symbolizes deeper corporate and possibly malevolent undertones within Lumen.

• Character Duality: The exploration of Innies and Outies raises questions about identity, memory, and the true self.

• Symbolism Through Set Design: Visual elements like the cluttered kitchen and abstract art serve as metaphors for the characters’ internal conflicts and corporate control.

• Comparative Influences: Drawing parallels to Westworld, Lost, and Eternal Sunshine enriches the analysis, highlighting universal themes of memory, identity, and control.

• Active Listener Engagement: Incorporating audience theories fosters a collaborative and engaged community around the show.

Notable Quote:

Amy Poehler ([62:40]): “...this is our bit. We collect these on our travels... that's sort of like a fun thing for the freeze framers.”

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References:

• Transcript excerpts with timestamps.
• Listener emails and social media theories.
• Comparative references to Westworld, Lost, Eternal Sunshine of the Spotless Mind, and Field of Dreams.

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Stay Tuned

For more detailed breakdowns, analyses, and community theories, subscribe to The Prestige TV Podcast and join the conversation every week as the hosts continue to explore the depths of your favorite television shows.

Transcript

[Amy Poehler]

This episode of the Prestige TV podcast is brought to you by Coffee Mate. Coffee Mate has been searching the globe for flavors that pair perfectly with coffee. So when they heard that the new season of HBO's the White Lotus was set in Thailand, they were inspired to brew up two new flavors. Thai Iced Coffee and Pina Colada flavored creamers. They're available for a short time only, so for the love of coffee, go try them now. Hi everyone, it's Amy Poehler and I'm launching a new podcast called Good Hang. In preparation for that, I asked some of my friends to send in some videos and give me some advice. Just be yourself and the guests will come.

[Rob Mahoney]

Don't be the celebrity that this is their like sixth thing they're doing.

[Amy Poehler]

I love true crime and cooking podcasts. Is there any way you could combine the two? Well, everyone has an opinion and a podcast, so join me for Good Hang. It's rough out there. We're just trying to lighten it up a little. Daredevil is born again on Disney plus. Why did you stop being a vigilante? The line was crossed. Sometimes peace needs to be broken.

[Rob Mahoney]

Chaos must reign.

[Amy Poehler]

On March 4th, the nine episode event begins. I was raised to believe in grace, but I was also raised to believe in retribution. Marvel Television's Daredevil Born again. Don't miss the two episode premiere March 4, only on Disney Plus. And Bert, how did you come to.

[Rob Mahoney]

Be at the company?

[Amy Poehler]

Me? Yes, I'm very curious. Well, as a matter of fact, I was guided to Lumen's door by Jesus. Oh, Jesus Christ. That's the one. Foreign I'm Joanna Robinson. I'm Rob Mahoney and we're here at the world's most awkward dinner party to talk to you about severance. Rob, how are you doing?

[Rob Mahoney]

I'm doing great, I gotta say. You know, of the dinner party participants. Just a quick power ranking.

[Amy Poehler]

Oh, sure.

[Rob Mahoney]

I think Irving is the number one dinner party guest here. I thought Fields, for his part, showed potential to be delightful. Granted, he's in a very unusual circumstance. Maybe not being his best self. Bert Shady ass, Potentially evil Bert, I'm not getting the invite.

[Amy Poehler]

I'm sorry. No. In the background of that clip you might have heard crackling. And that would be from the roaring fire.

[Rob Mahoney]

It's very normal. Not ominous. Not telling.

[Amy Poehler]

That is, not at all, you know, sort of letting us know that our fondest ship. Everyone's talking about Bervin, as you know. But now, are they still.

[Rob Mahoney]

Are they talking about Fert? Are they talking about everybody's talking about Bervin. Everybody's talking about Bervin.

[Amy Poehler]

I'm so upset that you just introduced Fert into my life. I'm really mad. I would say Beeldz. Let's go with Beelzebub.

[Rob Mahoney]

I kind of like Ferd. Kind of like Ferd, but all right, I deferred. You're the expert, Jo.

[Amy Poehler]

Am I? I think we should ask Billy Bush. I'm kind of like hashtag Team Fields to a certain degree on this.

[Rob Mahoney]

Sure.

[Amy Poehler]

Like, I was really feeling for Fields and I, I was a big fan of what John Noble did in this episode, so same. All right, before we get into that, just a quick reminder that elsewhere here on the feed we're double dipping on White Lotus. So Bill and Mallory and I are doing post White Lotus immediate reaction pods and then Rob and I are doing whatever were doing a little later in the week, you know, Rob and Joanna. Special question mark. So that's, that's, you find that in the feed. And then also a lot of people have been emailing and asking where is Yellowjackets on this feed? If, if you have pressed play on this episode, wondering if we would answer that question. Here we are. Yellow Jackets is being covered on a different podcast feed this season. House of R. It's the same hosts, Mallory Rubin, Joanna Robinson. That's me. But it's a different feed altogether. So you can find, we'll be doing weekly coverage of that show over on that feed is where you can find it. And then we're gonna be back, we're gonna do another couple other pit stops is on the schedule for us. So thanks. You guys are still sending your pit emails and we are enjoying them. So thank you for that. Speaking of emails, Rob, so many emails this week, Joe.

[Rob Mahoney]

You guys continue to show out delight with the theories, with the dental opinions. A lot going on and I appreciate every single one. So thank you for everyone emailing pineapple bobbingmail.com or prestigetvpotify.com your. Your theories and queries always welcome.

[Amy Poehler]

And if they're, if they're listening to this and they're like, ah, what was that email? I could write in about White Lotus thoughts. Rob, what is, what is that email?

[Rob Mahoney]

That would be monkeyshootoutmail.com if you're so inclined. But again, if you forget, you can always email prestigetvotify.com There is a fail safe plan here for our madness.

[Amy Poehler]

We've got this. We've got this. All right, so to, to check in on some of the, you know, most popular subject that people sent us emails about.

[Rob Mahoney]

Please.

[Amy Poehler]

There is the. The dental tool question, the surgical tool. Where are you sitting now, Rob? A week later on what kind of tools those are. Based on the emails we got, we've.

[Rob Mahoney]

Heard from a lot of dentists, a lot of dentist adjacent professionals. And I have to say, I think there's a little bit of a mixed opinion out there. I think there is some consensus that some of these tools sure look like dental tools. And we had some dentists email us in, going piece by piece through the collection. Dr. Doug, very much appreciated. Thank you, Dr. Doug. But we also had some medical professionals saying, you know what, maybe Rob's onto something. Maybe these could be for some kind of perverse, perhaps basement brain surgery as we got this week. You know, a lot of just improvised surgeries happening, and I'm glad that at least the fine folks at Lumen have something resembling actual tools to perform it.

[Amy Poehler]

Of all the houses, of all the rooms in the house, is the basement the last place you want to have surgery, Rob? Is that.

[Rob Mahoney]

Good lord.

[Amy Poehler]

Right. I take bathroom and kitchen, which are the, like, other two, like, sort of cross contamination, most compromised rooms in the house. But there's still, like, an idea of sterility inside of those places. You at least, like, regularly wipe down those surfaces, in theory. Whereas the basement or the attic surgery. Oh, it's a no. Simply no.

[Rob Mahoney]

See, that's the thing. Is it? Do you want it to be actually clean or just make you feel better that it might be clean? Because the kitchen makes me very nervous. If you're in the kitchen of somebody who washes their chicken, we're not performing surgery in there. Like, that's simply a no.

[Amy Poehler]

Washing chicken makes it feel less sterile to you.

[Rob Mahoney]

Oh, it makes it less sterile.

[Amy Poehler]

Okay. I definitely don't wash my chicken. You wash it in the sink, Rob, and then you clean the sink.

[Rob Mahoney]

Well, the problem is it sprays out everywhere, spreading the bacteria all over. Know the place.

[Amy Poehler]

This is the problem. I don't know what kind of slap dash chicken washing you've been experiencing, but I am not.

[Rob Mahoney]

That's for damn sure.

[Amy Poehler]

All right. Okay. Yeah. So Dr. Doug went through all of the tools in the tray here. We. We did. We got mostly dentists saying, hey, yeah, that those are dentist tools. And a few other people being like, hey, if you wanted to do spooky little basement surgery, you could maybe use this tray as well. Dr. Doug wanted to point out that there's, like, diagnostic tools, dental scalers, but he said, most interestingly, various surgical blades and instruments Used to cut gum tissue, peel, peel gum tissue away from jawbone, scrape out and clean away infection from tooth sockets after teeth have been pulled. And a fine bone file to smooth sharp edges from bone for better healing. Following some of these procedures, he also was like really objecting to the way that the tools were laid out on the tray. He's like, that's not how any. That was my favorite part. And he said, unfortunately, this is my favorite part. Unfortunately for whoever ends up on the other side of these dental tools, there was one very important instrument missing from this tray, and that is the syringe used to give the dental injections necessary to make this procedure even remotely tolerable. Undergoing a surgical procedure like this without, quote Novocaine, we actually don't use that drug anymore. Would be literal torture. Love the show. Be sure to brush and floss. So thanks Dr. Doug and all the other dentists who emailed us. We really appreciate you. I was reminded after we recorded that in season one, the MDR crew go to this wall of smiles that is actually called the quote Lumen Legacy of Joy. That is just like a bunch of people's creepy photos of a bunch of people. Smiles up on the wall that like you would get at a dentist's office, actually.

[Rob Mahoney]

So there's a lot of floor to ceiling giant ass pictures of smiles.

[Amy Poehler]

Not like that. But my childhood dentist had like a wall of just like close up. Yeah, close up of people's smiles.

[Rob Mahoney]

I mean, yeah, there is the close ups. I think it's the scale of. Of the printout that is so disconcerting about those giant ass smiles.

[Amy Poehler]

That's a. That's a great point. What we've had a bunch of theories about what it like, let's say these are dental tools. Okay, let's say seven out of eight dentists agree that these are dental tools. What could Lumen be doing with dental tools? If we are engaging in this sort of like were building copies of people. Or alternatively say your wife got terribly burned in a car accident, but she's not dead. But you need people to believe that that's her body. And perhaps they might check the dental records. So perhaps we need the right teeth to be in the a different corpse.

[Rob Mahoney]

I don't know how that as one does.

[Amy Poehler]

If it were me, I would simply switch the dental records and not move the teeth.

[Rob Mahoney]

Agreed.

[Amy Poehler]

I don't work for Lumen and I'm not a big picture thinker. So who's to say any thoughts or theories about the dental tools or surgery tools? Rob?

[Rob Mahoney]

Yeah. Something coverup related makes sense. Although at this point in the game, our view of severance is so narrow and it's so much focused on Mark and the MDR team that we don't know about other coverups that might need to take place with other people who are being brought into the company for other projects that are not Cold Harbor. So I'm almost not inclined to follow that particular thread. And I'm thinking more. Say, for example, you have a clone of Gemma, Ms. Casey, and the time has come to move on to the next model. What do you do? Maybe you furnace the majority of that body, but you preserve the teeth for DNA purposes, cloning purposes. It's getting dark and weird in here, but that's what happens when you make teeth the center of the frame.

[Amy Poehler]

I think it's you using furnace as a verb that has really brightened my day. Okay, on Earring Watch, I have been told that I was incorrect and then I went and looked and absolutely I was incorrect.

[Rob Mahoney]

They're not the same.

[Amy Poehler]

That's the last time I believe something someone says on Reddit without checking it with my own eyeballs. I've been told before and I usually learn my lesson, but I did not. I was not top of my game last week. What do you want to say, Rob?

[Rob Mahoney]

I disagree with the specifics of Earring Watch. Those are so clearly not the same earrings and not even the same style of earrings.

[Amy Poehler]

Nope, they are nuts.

[Rob Mahoney]

But the camera does still linger on them in a weird way on Rigabe's earrings specifically. And they do have a similar blue green color scheme that is not just Helena coated but Lumen coated. And I have a lot to get into with Regabi this week. Like I'm feeling increasingly nudged in the direction of she is in some way working with either Lumen or Helena on the side. There's something weird happening with her character and her role in this story. And my my haunches are raised a.

[Amy Poehler]

Raised haunch and we're furnishing things. A lot is happening. Okay, last busy morning. Last but not least, we got a lot of emails about sort of the Midwest representation inside of this show. We were sort of circling the drain on this, but we got a couple emails sort of putting all the pieces together. So this one comes from Kim P. Who says, I'm so glad you mentioned Kellogg and Ford as a Michigander. They've been on my mind for a while. The perpetuity wing in particular brought up Henry Ford vibes. You can visit the Henry Ford Museum in Dearborn, Michigan, where An entire historical village is set up outside, including including Henry Ford's childhood home. The whole place is a testament to his greatness. That obviously leaves out the questionable parts of his past. I would also like to point out that the Edmund Fitzgerald was on its way to Michigan when it sank. And this is me, Joanna adding something in Kellogg Sanatorium was in Battle Creek, Michigan, Kim said. I've even seen people on Reddit theorize that the state of PE could be something like Peninsula Egan, potentially. The Egan family made the Upper Peninsula a separate state. The setting certainly has some of the remote and cold wilderness vibes of the up. I'm writing all of this from Grand Rapids, Michigan where Mark W. Had to give up his lease. So shout out to Mark W. Though.

[Rob Mahoney]

I hope he's doing all right.

[Amy Poehler]

Oh yeah, I'm always thinking about him. So what do you think of all of this sort of this collection of Michigan based references?

[Rob Mahoney]

It makes a lot of sense. Like geographically we are placed somewhere that is very Midwest, that is very lakeside, that is very Canada adjacent. And so why not Michigan? And overall the Peninsular theory, I buy that that could be split off into another state in whatever form of whatever timeline we're in. And maybe we never get concrete answers on this stuff. And maybe it's supposed to be this sort of nebulous idea that we are somewhere in this region, but not exactly a real place. I would buy that too, in in.

[Amy Poehler]

The era where we're trying to re and I use we very loosely trying to rename the Gulf of Mexico.

[Rob Mahoney]

Wait, that wasn't your pet project?

[Amy Poehler]

I think this idea of all of.

[Rob Mahoney]

The Gulf of Kier.

[Amy Poehler]

Yeah. Can't you just see sort of like the Gulf of Musk? Like that could easily something that could happen tomorrow. Okay, we're here to talk about episode six, Attila, written by Erin Wagoner and directed by UTA Breshewitz. And she is one of my favorite TV directors, so I am absolutely thrilled that she was working on this episode. Among many other things, she directed one of the best episodes of television I've ever seen, Kiksuya, which is a Westworld episode. And spoilers for Westworld Season 2. I'm about to describe this episode to you if you've never seen it. A character searches for his wife. A character, Akechita, searches for his wife, Kahana, played by Julia Jones. Zach McClarnon, who, stop you have heard this, has had her memory wiped and is in a deep freeze in the basement of a massive shady organization.

[Rob Mahoney]

Interesting.

[Amy Poehler]

Sound familiar?

[Rob Mahoney]

Interesting.

[Amy Poehler]

We've been Mentioning some Westworld comps throughout, because that's a show that deals with reconstructing bodies or immortality of consciousness inside of fabricated bodies and stuff like that. So that is, you know, something on our mind. But UTA Bershowitz is, especially in that episode, which again, is one of the best episodes of television I think I've ever seen. Zach McClarnon, an actor I really enjoy, spends a lot of that dialogue less and just sort of processing things, sort of wandering around the park and processing things. And so especially when we get to the scene in this episode where Helly R is processing what happened at the ORP Bow, I thought that was like a really good demonstration of what this particular director is quite good at, which is taking us. It's a great performance. But also as a director, she's very good at taking us just inside and leaving space for the dialogue less moments inside of a character's head.

[Rob Mahoney]

I'm so glad to hear that. Cause not only that scene jumped out to me on watch, but also the post coital scene where Mark and Helly are walking back down the hall together. And it's like, you don't need to say anything in this moment. Like, we're getting so much from both of these performances. We're getting so much from just the vibe and their energy and their body language and the relief and the shift in these characters. I love that Severance can be that kind of show and has the confidence to be that kind of show. Cause you and I both, Joe, have seen plenty of other series that don't have that confidence, that feel like they need to have a voiceover in moments like Helle having to ponder that have someone muttering aloud to themselves or like writing on a piece of paper, it's like, let us just kind of stew into what we all know are the emotions of this moment and trust that we all can get there together.

[Amy Poehler]

Something I didn't have a chance to listen to the entirety of the official podcast this morning, but something that Stiller said about UDA as a director is that she, you know, he was like, we thought we had filmed in all of the nooks and crannies of the NBR apartment department. He was like, but she had the idea of going inside of a bathroom stall, which is something we hadn't done. And he was like, the way that they. That she blocked that. To be both incredibly intimate between the two of them inside of this very small space. But then also when Hel understands what sharing vessels means, like the way in which all of a sudden she seems so far away in the corner of this nonetheless, very small space or something like the tent, you know, the. The tent that they construct out of, you know, the plastic drop cloths and st. Like just finding these sort of, like, enchanting or unusual settings inside of a, you know, dry, soulless, corporate place I thought was really interesting.

[Rob Mahoney]

I think there's so much happening visually in this episode, not just with, as you're saying, that kind of forced intimacy based on perspective, but there's a lot of weird framing choices, like imbalances in terms of where a character is in the frame, all this empty space on the other side, like a lot of headroom randomly in some shots in a way that you're getting all of that intimacy. All of these, like, very close emotional connections between people, but also this distinct feeling that something is off in a lot of these sequences.

[Amy Poehler]

I love that you pointed out. I forgot to write that down. But yeah, I think it was like the second time I watched this episode, I was really trying to parse. I think it's just maybe it was one sequence or maybe multiple. When Brit Lauer, as Helle, is walking down the hall towards the camera. And it's like the camera is tilted in a way that is very unusual. And the way she comes into frame is very unusual. That's a great point. I also saw someone pointed out, and I loved this, that in last week's encounter in the elevator, speaking of sort of like unusual close spaces inside the show, someone pointed out that in that scene between our guy Milchick, who's going through it in this episode, he really is. And Mark that there is a seam on the wall of the elevator, sort of equidistant between them. And then he, Milchick, crosses that line in order to get into the space. And I saw someone, I think it was on. I probably read it, but it might have been one of the God for station social media apps that I'm on. Like, show other examples inside of film and television where directors or cinematographers will create a physical line just to show someone transgressing it inside of the set deck or something like that. So I thought that was really cool.

[Rob Mahoney]

And we know that they love that shit on Severance. They love any kind of hard line color play. We even get it some later at the dinner party where you get Irving on one side of sort of the cabinetry, which I think is more of a wood finish, and you get fields on the other side of the cabinetry, which is very, like, white, almost like linoleum. Y finished. Like, this is exactly the kind of space this show loves to live in.

[Amy Poehler]

How do you feel the show handled the violation for Helle and Mar? Like figuring out what happened to the orpo and then processing it and then having their own sexual encounter inside of this episode. You know, there are versions of the show where that feels hasty. Like we didn't really, you know, deal with what happened before we rolled onto the next thing. What do you think of the way it was handled here?

[Rob Mahoney]

I think it makes a lot of sense for the pacing of the show and the kind of story that they're trying to tell. And it also makes storytelling sense in the way that the Innies world is so small. And I think it needed some prompting for us to remember that Helly R goes from getting a quick smooch as she goes down the elevator with Mark to being basically drowned in a lake like that. Like, that is the instant transition for her. And so we are living in this broader world. We're seeing inside and outside. We're seeing all of these different characters and perspectives. This is all these people have. And so the idea that Mark, rather than like backing himself into a corner in an office of exactly five people, like, what are you gonna do? This is not something you're gonna be able to hide from forever. And so instead coming right out with it. And I think Heli's response, which is at once cognitively understanding and trying to explain maybe this is a tactic to separate us, but in the process pulling back because she cannot help but pull back, that just rings really true for that character.

[Amy Poehler]

For me, something that Ooda, the director, said in the post episode interviews that they put up on Apple. She was talking about this as like this emancipation of Heli from Helena. That there's an interpretation of this that is about Helle like sort of fighting over Mark, fighting with herself over Mark or fighting her man or whatever, which is like true in a way. But she was like, mostly she's fighting for herself to free herself. And I really liked that interpretation.

[Rob Mahoney]

Well, even in the way she explains it. It's not that she wants Mark. It's that she wants that memory. She wants that experience that she didn't get to have.

[Amy Poehler]

We must, I regret now engage in a theory that I was hoping to avoid, but I feel is now unavoidable.

[Rob Mahoney]

Okay, is it time for Pregnancy Corner? Is that where we're going?

[Amy Poehler]

It's time for Pregnancy Corner. And here's the deal with Pregnancy Theory Corner. I hate when that is a go. I hate when that is a go to after two characters have sex on a show. Because usually, I don't know, there's this air of like, there have to be consequences for sexual encounters. Or in a particularly horrible version of this was. I remember on Game of Thrones, people were sort of like body checking Sophie Turner between seas and stuff like that. Not really, like, like, pissed me off. So I try to, like, avoid this. However, if you're doing a television show where you have innies and outies and this very strange dynamic and you have two characters have sex or two vessels share space with each other, in the.

[Rob Mahoney]

Span of how many vessels are being shared here? There's. There's a lot of vessel sharing.

[Amy Poehler]

It's. Yeah, there is a lot of vessel sharing. Um, we've talked about this, about the complicated, like, love quadrangles, polycules that are going on inside all of the plot lines on this episode. But if Mark had sex with Helena and then had sex with Heli, and if that vessel becomes pregnant and the sexual assignations were so close in the timeline to each other, then, like, I do think we need to consider that this could be like a Whose baby is it?

[Rob Mahoney]

Yeah. And it's a way to raise the stakes emotionally. I get it. And you hope that a show as well crafted and well written as Severance would deal with that in the appropriate way and in a way that would be narratively satisfying and maybe make us cringe a little bit less. It also, just within the construct of all the sci fi mumbo jumbo we're working with here, is a kind of an incredible body horror sort of premise. Like, if one of Heli or Helena is kind of switched off for an extended period of time and is switched on and is suddenly months pregnant, like, that is a jarring reality for the story to have to then deal with that I think could work. But like you, I've been a little reluctant to go down this path one because of all the reasons you described and how uncomfortable they can be. Also, I think in a lot of cases, it's just boring storytelling. And I am hopeful that this could be better than that. But sometimes it just is.

[Amy Poehler]

And I think that there's a couple things, and we've talked about this before, about the way in which Severance engages in, like, high sci fi, high minded sci fi concepts and also just like very basic soap opera storytelling. And so, you know, inside of this episode we've got, you know, Burt bringing, as Walken described it in the podcast, Burt bringing his boyfriend home to meet his husband. You Know, essentially, or, you know, we've got Gretchen cheating on her husband with also her husband. Or, you know, we've got a. We've got a dead body that actually she's still alive. Like, this is all soap opera stuff, but with a. With a. With a sci fi twist inside of a show that allows for explorations of it that you can't do inside of any other show. So this is the like, oops, she's pregnant sort of storyline or something like that, but with added layers of complexity. I don't know. I would like to trust that if they're doing this, that Severance will do this very well.

[Rob Mahoney]

I hope so. And another touch point that people have been emailing us about, especially now that John Noble is on the show, is Fringe, which I think doesn't deal with the pregnancy element, at least as far as I can remember. My Fringe watching is a little incomplete, but there was a lot of relationship Persona swapping shenanigans happening on that show.

[Amy Poehler]

Faux Olivia, faux Livia.

[Rob Mahoney]

Oh, God, yeah. A wig change can do a lot, apparently.

[Amy Poehler]

It really can. Okay, two more things on the sharing vessel front that I want to note. One is the red color scheme we talked about for Helena and Mark. And so we're in a very much a blue color scheme for Heli and Mark under the sort of plastic sheeting inside of this episode. And then also what I wrote in my notes was Ben Wyatt nerd Riz, when. When Mark pushes Helle against the wall and then makes out with her and then bleeds all over her, minus the bleeding part. This is like a classic. This is the thing about Adam Scott is that he. And this is what Severance captures so perfectly. He has played some of the like, scumbaggiest assholes inside of Properties or. Or fun versions of sort of his scumbag asshole performance, which I would say is something like party down. But he is most famous for playing Ben Wyatt like an apple pie, like sweetheart. And so the duality of that possibility inside of Adam Scott sort of all wrapped up into these various marks that we're meeting. But that was just like such a. A nerd Riz. Ben Wyatt moment to me. That like sort of against the wall kiss moment.

[Rob Mahoney]

It's funny to me that you wrote down that moment because I wrote down of the sequence where Mark, Scout and Helena meet in the Chinese restaurant when she starts getting on him about how, yeah, you should be sorry, hello, Helena. There is something happening here that I am responding to. And that, like, honestly seeing her with that much game in the outside world is a little bit shocking given what we saw of her on the severed floor. But maybe she just needs him a little bit damaged too. You know, she needs the Mark Scout energy and not the Mark S energy.

[Amy Poehler]

That was my favorite scene, I think. I loved the dinner party, all of that, but I think that scene. I went back and rewatched this, the opening part of Eternal Sunshine of the Spotless Mind, when, like, Kate Winslet's character and Jim Carrey's character, who have dated in the past but have had their memories of each other erased, foresee each other in a diner, sort of in a similar thing, like several booths down sort of thing, and then again on a train when she, like Helena comes over and tries to talk to him and stuff like that. There's a lot of. It was too long for me to cut, like, a convincing clip for you, but, like, there's a lot of similarities there. And we've talked about eternal sunshine. And also this episode ends with a needle drop sunshine of your love sort of moment. But. But I was thinking about that. The juice again, once again, the juiciness that's only available inside of Severance of, like, the. The weighted history of what we're watching here. We're watching Mark's Audi, Mark Scout. Like, he is flirting with her and he is drawn to her while also knowing that she is the head of an evil corporation, you know, and then she can't stay away. She's Harmony cobelling her way through this season, man. But they have a connection. And so this is the. This is the question we have to keep asking ourselves is, like, what bleeds through? Or what is eternally true about the severed. Like, what do you want to say about this encounter?

[Rob Mahoney]

Well, first of all, as far as the eternal sunshine element, I think the most poignant part of that scene is the ending where Mark gets up to leave and they are again standing uncomfortably close to each other relative, you know, as people in Severance apparently do. And what Adam Scott is giving me in that scene as Mark is that a reintegrating Mark can almost feel the pull between them, but doesn't know what it is or what to do with it. And I think he's processing it in real time. Helena obviously is privy to a lot more information as to what their relationship and dynamic is. And because of that, I'm walking away from these sequences at the Chinese restaurant wondering, like, what exactly is Helena after here? Because she strolls in, hey, I saw you shoveling fried rice into your mouth with your hands from across the restaurant. And I really like your vibe, but, like, it doesn't really make sense that she would just be coming here on neutral terms. Like, she has a purpose. And so I don't know what your read on this was, Joe, but I'm wondering, like, does she just want Mark's vessel in the way that Heli wants Mark's vessel? Is that a thing? Is she more broadly obsessed with Mark in the way that maybe Harmony Cobell was fixated on him for whatever reason? We don't quite know yet. Is she testing Mark in some way, specifically by calling Gemma Hannah Hannah very pointedly and kind of seeing if he will correct her? And related to that, is Helena working with Regabi in some way? Because this is immediately following the scene where Mark has freaked out and left Raabi and gone out. And presumably it's a question Mark as. As to whether he's going to continue reintegrating. And just like that, Helena appears out of nowhere to kind of nudge him back on course. It's just. It's a little suspicious.

[Amy Poehler]

Yeah. Yeah. I think this is definitely paying something for me in terms of, like, Helena and Regabi and Kahoot's question. Like, I think absolutely the timing of that is a question, I think, as is the case with sort of like, why has Helena opted to go into the MDR department in the first place undercover? I think the answer could be nine different things. And I think that's what's really interesting about the Helena character is that I think she likes, like, she has a crush and also she's got weird corporate agendas and she, you know, she got to have. She. She liked the way that this person looked at her when, you know, she had sex with him, even. Even though he thought she was someone else. So I, you know, I thought all of that was really interesting. I think, to your point, in terms of, like, reintegrated Mark, we got this really fascinating email from our listener Liz, that I really liked where we were talking last week about, or I was talking at least last week about Mark in the elevator with Milchick feeling like Audi Mark bleeding into Annie Mark. And she had a sort of, like, different interpretation, which I really liked. I love this. Yeah. She said during the last pod and everywhere on the Internet there was conversation on how Annie Mark was acting more similarly to Audi Mark and attributing that to reintegration. This wasn't my interpretation, actually didn't cross my mind as a possibility until later. Any. Mark just watched a friend quote die Irving and experienced a huge betrayal and assault by the woman he had feelings for. I think any Mark is acting like Audi Mark because they're both the same person. But now as any has had experiences more comparable to what his Audi has experienced. Severance doesn't make you another person. It just removes the memory of the experiences that have shaped you into who you are currently. It stands to reason that if you have similar experiences, you'll react and begin to behave in similar ways. Britt Lauer has been doing an amazing job portraying Helen Helen differently. But I also think it's important that we as an audience remind ourselves that they're the same being without with the same brain, just a couple parts shut off. The only time I doubted Helena was Hell Helly was when she was laughing at the Orpo fire. Her response was so helly. And I think that's another good example of these being the same person without being around family or in a formal, formal job slash cult setting. She gets to laugh at the ridiculousness. I think it's an important thing to keep in mind for us in the audience since the show does a good job of showing us the difference between any. The similarities aren't just gonna show up when reintegration happens. They're already there. That's a long email, but I thought. I think it was all worth reading because to your point about this, the reason I was reminded of Eternal Sunshine, the Spotless Mind, is that when Joel and Clementine, those characters meet again, despite having had the memory of each other and their relationship erased, there's a certain something between them and they're drawn to each other again. And so Helena knows what's going on inside of this Chinese restaurant, but Mark is drawn to her because there's something in Mark that will always be drawn to something in Helena, despite the differences between the Innies and the Outies.

[Rob Mahoney]

You know, it's cosmic, right? Like there is something kind of very specific to those people that will have that attraction. And I love the idea of the Innies specifically living in such a sterile environment that they don't have the context and the life experience in ways that I think for someone like Dylan can make him feel lighter and more confident. But for someone like Mark makes him into this, like, very rigid kind of caricature of a middle manager boss. But now he's getting to experience actual shit for the first time. And maybe this was the fatal flaw of the Ortbow, in addition to everything else, is that Milchick has exposed these Innies to actual human experience. And once you get a taste of that you're not just going back in.

[Amy Poehler]

The box once you've heard the theremin and tasted the marshmallow.

[Rob Mahoney]

This is what I'm saying. Well, this is the thing. They haven't tasted the marshmallow, Joe. It's been dangled, but not yet.

[Amy Poehler]

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[Rob Mahoney]

Yeah. Before the home brewing started.

[Amy Poehler]

I was reminded of one of my favorite sports movies of all time that I watch all the time actually, which is Field of Dreams. When. Sorry, When Costner. I love Field of Dreams.

[Rob Mahoney]

I mean, you would pick the sports movie with fucking ghosts in it.

[Amy Poehler]

Yeah. When Costner sees a younger ghost version of his dad on the baseball field and I'm crying at that point, right. And he says, my God, I only saw him later when he was worn down by life. Look at him. He has his whole life in front of him and I'm not even a glint in his eye. What do I say to him? This idea of seeing someone you love.

[Rob Mahoney]

Yeah.

[Amy Poehler]

Before life gets in the way, you know? So I thought that was really interesting.

[Rob Mahoney]

And I would say, in addition to that, too, someone you love before life has gotten in the way. Someone you love who is confident in what they do. And also someone you love who is seeing you for the first time and wanting you for the first time in a way that feels novel to them. Like, there is that child. The childlike puppy love in Dylan at seeing this woman who is his wife, who, yeah, clearly on, like, a chemical level, he is attracted to. And he just. Our guy just wants a hug, you know, he just wants some physical contact.

[Amy Poehler]

Stiller on the official podcast implied that they did not bang in the security room, but I was not sure. I thought there was enough of a cut away from the camera that we could have inferred. Yeah, but there's something we know.

[Rob Mahoney]

Ms. Rowing is asleep on the job. People are banging all across the severed floor. What's another one?

[Amy Poehler]

When is Ms. Wong's, you know, like, what do you call that? Progress report. No, that's cool.

[Rob Mahoney]

The internal review is going to be scathing for Ms. Wong.

[Amy Poehler]

That's. That's the. That's the corporate terminology I'm looking for. Anything else you want to say about Dylan and Gretchen?

[Rob Mahoney]

I think we're just seeing the continual raising of stakes for Dylan. Like, you see in him that this is a character that now has something to lose. Right. That has this intimate connection that he's developing with Gretchen for this version of Dylan the first time. And you can already see him pulling away from Mark and Helly because of it and being hesitant to go find the mysterious dark hallway with the shady elevator. Like, he doesn't want to do these things. I think it's a good reminder because the momentum at the end of season one was so strong and that season closes in such a convincing and dramatic and fun way that it's easy to forget that the members of mdr, while they have had the occasional common cause, are not always aligned or often aligned. They are on very separate journeys for the vast majority of this show, and they were kind of brought together because of their distrust of what was going on at Lumen. But these are characters who are after their own things, and Dylan, as we know, has always been after a perk, even if it's like a little makeout session with his maybe kind of wife in the side room.

[Amy Poehler]

He's really leveled up from finger traps, as far as I'm concerned.

[Rob Mahoney]

I don't. I don't even want to touch finger traps in this context.

[Amy Poehler]

Great. Great point, Rob. On the. On. On your point, Kai. Will you play my favorite heli line in this episode? I left it there behind the poster. Why didn't you just take it?

[Rob Mahoney]

I just didn't.

[Amy Poehler]

Okay? I don't want to get in trouble right now. Okay, well, I don't give a about that, so I'll go get it. You said it's behind the poster of you actually being brave.

[Rob Mahoney]

Okay, yeah.

[Amy Poehler]

You.

[Rob Mahoney]

You don't know everything.

[Amy Poehler]

Then tell us.

[Rob Mahoney]

Did everyone sever their balls in the elevator this morning? Joe.

[Amy Poehler]

Also very good. Great stuff from Ellie. Great, great, Great. You mentioned Ms. Wong and her shoddy supervisory work inside this episode where while our guy Milchick was really going through it with the paperclips. Yeah, Lore drop Winter Tide. Right. Milchick says you know about her being ready for Winter Tide. So couple things. Do we think Ms. Wong is here on a fellowship from Myrtle Egan School for Girls?

[Rob Mahoney]

Is that we would check out.

[Amy Poehler]

Okay. Is that your understanding? Okay. Winter Tide is sort of like a next thing that she might do. Do you have any thoughts or feelings about what Winter Tide might mean? Let me posit some things really quickly.

[Rob Mahoney]

Please do.

[Amy Poehler]

Winter Tide and Cold harbor both just, you know, sound like ice cold water that perhaps the Edmund Fitzgerald might be wrecked in or something like that. But also, Winter Tide just means winter time. That's just what that means. The same way like even tide means evening sort of thing. It's. It's. It's a way to say winter in a way that would get Milchick in trouble. Like a little highfalutin.

[Rob Mahoney]

Right?

[Amy Poehler]

Could Wintertide be the code name for what happens on the floor below? Or what do you think Wintertide means?

[Rob Mahoney]

Yeah, I thought of it just on first blush. Again, this is our first mention of Wintertide in the show. We will see what this turns out to be. Given the context and Ms. Wong's fellowship, it sounded to me like kind of the next academy level. Like this. For your further indoctrination, you go from the school for girls to now Wintertide, where you're, you know, turned into management. You're groomed for these jobs. You're. You're given, you know, even fuller sense of the mythos of Kir. And you're drinking the Kool Aid nonstop over there. Like it felt like to me a progression in her process, but not necessarily at the company. It might be the kind of thing where she does this and then leaves.

[Amy Poehler]

And then comes back in the SNL. There's something about Ms. Wong like her. I don't know. I want to Say, like, entitlement.

[Rob Mahoney]

She wants to sit at that desk.

[Amy Poehler]

Unusual to her age, obviously. And. And if she's just here on sort of like an internship unusual to her position, that is either trying to, like, say something about a younger generation's sense of, like, I belong here, which is really both good and bad, in my view. When I think about younger generations, I'm like, that's great. But also, I have other things to say about that. But also, it's complicated.

[Rob Mahoney]

I don't want to make it too generational, because I agree with you, and I think that could be in the air here. But I also, you know, I see a lot of my quote, unquote, gifted and talented peers growing up. Like, there is a precociousness to her that is familiar to me. Even crossing generational lines.

[Amy Poehler]

Absolutely. Yeah. Yeah. And then I think also I was thinking about interns that I've experienced when I worked at Vanity Fair. A lot of people who intern at Vanity Fair are like, like children of quite famous people or. Adam Sandler detailed this in his SNL50 song that I cried over this last weekend about, like, all the interns at SNL who were, like, the children of famous people. So, like, I wonder if Ms. Wong's odd and approach, like, she's acting like someone who is above Milchick, even though she is technically below Milchick, like, that she has connections on the board or something like that that would make her feel like she is above his supervisory. Do you know what I mean?

[Rob Mahoney]

I definitely know what you mean.

[Amy Poehler]

That's just the vibe.

[Rob Mahoney]

So their dynamic is one of the most interesting on the show to me. And a lot of that has to do with just everything that is going on with Milchick and clearly the brewing distrust between them as he is kind of pulling away from her more and more and trying to get his own shit together. I hope we get a lot of time with them over the back part of the season. But I'm also a little nervous, Joe, because we've gone now three full episodes without Harmony Cobell.

[Amy Poehler]

Where is Harmony Cobell?

[Rob Mahoney]

What is she doing? We saw her last kind of getting spooked. Helena Lumen driving out of the parking lot, and she has been gone doing God knows what in whatever throuples she is able to conjure for herself. Like, there. The possibilities are really endless. And I also can't wait to see what's going on with Harmony.

[Amy Poehler]

If we don't get Harmony next week, because we haven't seen her since episode three. If we don't get her. Next week I'm going to introduce a house of our bit, which is. It's been this many days since we last saw Cobb Vance. It's been this many days since we last saw Harmony Cobell. Where is she? What is she doing? Okay, we've. We've danced around it. We've covered a lot of other things. Well, actually, before we get, I, you know, I want to go to the dinner party before we get there. What do you want to say about Seth? And not just the paper clipping, but the. The mirror conversation. One idea I had. I really liked this inside of this episode. I did wonder if perhaps this was done slightly out of order only because wouldn't it make so much more sense for you fucked her outie at the orpo to come after the mirror, like, you know, transitioning from this highfalutin language to grow the fight.

[Rob Mahoney]

Something so much more direct.

[Amy Poehler]

Yeah. Something more vulgar and direct.

[Rob Mahoney]

Yeah, That's a great call. I really like that, I gotta say. Look, I'm of two minds about these sequences because on the one hand, it's very like self flagellating, break room sort of behavior, what he's doing to himself, which makes sense. Like, this is how Milchick knows how to manage. Why would it not be the way he's trying to manage himself?

[Amy Poehler]

Right.

[Rob Mahoney]

On the other hand, the writer and self editor in me Jo also does some version of this same thing very often of like, let's take this thorny sentence and condense it down to its simplest idea. Which is not a bad instinct to have, but maybe don't do it in a way where it feels like you are punishing yourself with every syllable.

[Amy Poehler]

I do similar. Yeah, you have to strip out the. The alienating. Like, is this word doing the work that I want this word to do? Or is it getting in? Is it distracting? Is it getting in the way? Like, I love precision of language, but, like, can I say this in a more straightforward way that feels less alienating to a reader? Is. Is something I ask myself more often when I used to write more than I do now. Okay.

[Rob Mahoney]

When you stare into the mirror and tell yourself to grow up repeatedly grow.

[Amy Poehler]

All right, we're gonna go out to a dinner party and I would like. This is the first clip. This is the first clip I knew I wanted to clip from this episode. It was almost our opening clip, and I just want that on the record. Before I heard that they used the same clip on the official podcast, but it's just that good. This is a condensed Version of it. Kai, will you play this, please? We also have corn.

[Rob Mahoney]

Oh, yes.

[Amy Poehler]

We could feed him a pile of loose corn. Oh. What your innie ever saw in this philistine is beyond me. John Noble. What a presence, the way this pile of loose corn just, like, scratches something in my brain. I think it's incredible. Okay, pineapple at Bert's house on the.

[Rob Mahoney]

Counter, just hidden away.

[Amy Poehler]

Pineapple on the counter directly between Irving and Fields when they meet for the first time inside of this kitchen, which I'm going to let you go off on this kitchen in a second. Rob Mahoney.

[Rob Mahoney]

Very complicated feelings about the kitchen, I gotta say.

[Amy Poehler]

I want to hear all of them. There's a pineapple on the counter. So is this pineapple here on the counter, right around when Field says, what's mine is yours to denote sort of the polycule definition that we talked about earlier? Or is it an indication that Milchick was there at that house earlier this, you know, this week, and he dropped off a fruit basket, and that's the pineapple. The lumen pineapple.

[Rob Mahoney]

Or I would say, is it a broader gesture, if we want to just kind of associate pineapples with lumen in general, as to what Bert's role in this story might ultimately be?

[Amy Poehler]

Oh, because Bert's definitely still working for Lumen.

[Rob Mahoney]

Shady as fuck.

[Amy Poehler]

Bert. You fuck. Okay.

[Rob Mahoney]

Shady as fuck.

[Amy Poehler]

Fields. The kitchen. Rob Mahoney.

[Rob Mahoney]

Oh, my God. Okay, first of all, from a set deck standpoint, it is incredibly chaotic in there in a way that I think is great. Like, there are elements of this kitchen that I am incredibly envious of. There is a level of clutter that makes me very anxious to even see on screen. There is also the feeling of, like, the melding of two lives that would happen with two people of very defined taste coming to live together. I am torn onto whether above the cabinetry, there's like, a row of what I think are, like, salt and pepper grinders of varying sizes and shapes. Almost all wood. Would I want that in my own kitchen? I'm on the fence about it. I've been going back and forth, literally, since I finished the episode.

[Amy Poehler]

On the one hand, I definitely would. This is a very Deborah Vance and Hacks thing to collect salt and pepper shakers.

[Rob Mahoney]

But something about the grinders and the wood make it feel a little more on theme.

[Amy Poehler]

I. I would want that. I love that those would have to be dusted constantly, because, as you know, Rob, if you don't. If you don't get the high places in the kitchen, that's where like oil particles and dust come to like joined together in a horrific goop situation that you only discover like on the top of your cabinets when you move out of a place or something like that. So I just feel like those, those shakers are in the danger zone. So it would have to be just like a constant dusting and degreasing process at the top of the kitchen.

[Rob Mahoney]

This is something that we can speak to Joe. I remember reading a profile of the former NBA player Sean Bradley, who's 7 foot 6, and the interview asked him like, what is something that, you know, being your height that other people don't? And what he said was the top of your refrigerator is disgusting, absolutely disgusting. And he's right. The top of all of your cabinetry. You and I have the privilege of looking down on many of these surfaces, even in the home, the homes of our friends and family. And let me tell you, you guys are not dusting up there enough. It's, it's tough.

[Amy Poehler]

Correct. Okay, I'm sorry you're taking the tour. So we did the salt and pepper grinders. What else?

[Rob Mahoney]

It's a lot, but there is a mid century modern meets exposed brick meets luscious plant life. All the fruit strewn across the counter, as you mentioned, that I'm into and as you so lovingly pointed me to Jo, the multiple ovens situation is making me actively angry that this is not something I have in my life. We see. I would say it's too full ovens and maybe an oven warming drawer is the arrangement here. Maybe it's a third fully functional oven, I don't know. But as someone who's out here living the one oven lifestyle, I'm furious that this is a love any kind of luxury that people just have in their lives.

[Amy Poehler]

I've been in houses that have like a two oven stack and I'm like.

[Rob Mahoney]

That'S great, that's something. That's the dream.

[Amy Poehler]

But this is a kitchen island with I think it's three ovens. Because I was wondering if the, if the middle one was. I think there's maybe like a warming drawer underneath that one, which is why it's half half size. But it's got a glass front and usually like a warming drawer doesn't have a glass front to it. So I'm like, I think that's also an oven. Fields is operating Fields is making his cumin glazed ham and potentially loose corn in like three separate ovens inside of his kitchen island. It's incredible. I thought John Noble was incredible. I would like to apologize for most people in my life because I erroneously was going around saying that John Noble was in the finale last season, and that is incorrect. It was a different actor.

[Rob Mahoney]

Oh, interesting.

[Amy Poehler]

He's like John Noble esque, but not John Noble.

[Rob Mahoney]

Doesn't have his essence, doesn't have the gravitas, doesn't say philistine the way that John Noble does.

[Amy Poehler]

The one thing that I loved about the salt and pepper shakers, and I love the way that you put it. Do you say like distinct. Two people with distinct tastes or defined tastes?

[Rob Mahoney]

Yeah, very defined, for sure.

[Amy Poehler]

There's like a creepy clown painting here in this house. The salt pepper.

[Rob Mahoney]

Can't talk about the clown cloud painting. What. What is going on with the cloud painting?

[Amy Poehler]

The salt pepper shakers were giving to me. We. This is our bit. We collect these on our travels. These were the ones we got in Sicily. These are the ones we. Or whatever these countries are called in this alternative reality. But like, you know, when we were in France, we got these. When we went to Japan, we found these. You know, like, that's, you know, an older couple who's well traveled and artistically minded. Like, that's sort of what that made me think of. Okay, what do you want to say about the clown painting?

[Rob Mahoney]

Why? How. Who painted it? Yeah, please don't. For those who did not spot this clown painting, it's on sort of the exposed brick style wall as you're entering from the foyer into the kitchen.

[Amy Poehler]

It's not even exposed brick. It's like concrete.

[Rob Mahoney]

I guess it's style. It's like. Yeah, you're right. But I thought there was kind of a brick, like a gray brick arrangement there, but it's some kind of contrasting styled wall.

[Amy Poehler]

It's bricked, but it looks like almost industrial. It's not like cozy, red, warm bricks. It's like this weird industrial wall inside of this home. Go ahead.

[Rob Mahoney]

Gray industrial wall. And there's this painting of what appears to me to be a man sort of halfway into a clown costume. Like, he has the bald cap on, but not the wig on. He's got the makeup, but not all the makeup. He's not fully transformed into a clown. And maybe we're just kind of waving our hands, yada, yada. Reintegration with this. I don't know exactly what sort of the symbolism is, but there is a. This is a midpoint of a man, and that man happens to be part man, part clown. And it's distressing to me.

[Amy Poehler]

Midpoint of a man. Your memoir at Some point.

[Rob Mahoney]

I really hope not. I hope we get to the end point.

[Amy Poehler]

Part man, part clown. You remember that at some point, that's.

[Rob Mahoney]

Just true to life.

[Amy Poehler]

Okay, listen, Let me give you my thoughts on who Bert is and what's happening here.

[Rob Mahoney]

Let's get to it.

[Amy Poehler]

And you can agree or disagree with me, or let me ask you some questions. Do we think Bert invited Irving to his house just so that Drummond could then break into Irving's house while he was gone?

[Rob Mahoney]

Check.

[Amy Poehler]

Okay, side question to. I'll return to Bert in a second. Does Drummond have the key to every single person's home in all of Kier?

[Rob Mahoney]

If you're in corporate housing, I assume so, yeah.

[Amy Poehler]

Okay. It was just like a big key of rings on our guy Drummond. Okay, back to Bert.

[Rob Mahoney]

And I will say the Bert Drummond connection, as far as, like, the causality of that is part of why I look at the Regabi Helena stuff askew, too. There's sort of like a mirroring situation of cause and effect that I'm wondering, are these similar situations as far as kind of dealing with damage control?

[Amy Poehler]

Do we agree with deep in his cup's fields that Bert was working at Lumen 20 years ago, well before severance was a thing?

[Rob Mahoney]

Very much so, yes.

[Amy Poehler]

Do we think potentially Bert was involved in the development of severance in the first place?

[Rob Mahoney]

Seems entirely possible.

[Amy Poehler]

Okay. Do we think Bert was ever actually severed on the floor?

[Rob Mahoney]

We do not.

[Amy Poehler]

This is where we disagree, but okay, yeah. Okay, tell me why you think. You think Bert was always playing Irving. Take me through that.

[Rob Mahoney]

I don't know the why or the how. And maybe it's as simple as this. Maybe Lumen was suspicious of Irving, who they caught wind. For whatever reason, he was kind of poking around things and wanted to manipulate him in some way. And this is the means to do it. That seems possible. There's just something about the way Christopher Walken is navigating these scenes and ominously standing in doorways that makes me think, yeah, something is clearly up here. And there's something about the way that Burt. And the way he looks at Fields when Fields is explaining information, when he's like, over explaining some of the circumstances. And something about the Fields question, too, of even, like, so, did you guys fuck at work? 1. If that were a true thing, neither one of them would know it. Unless, for example, Bert was somebody who was never severed in the first place. And the existence of a previous work partner would suggest that there has at least been a time at work where Burt was not severed. We know that Based on the timeline. But I think there's just a strong enough implication that Burt, while, quote unquote, retired at work, that's just a video of him talking to himself in a room with a bunch of people. He's gonna leave while playing Undercover Boss. That's how it read to me.

[Amy Poehler]

Me. Okay, so you think he is more Helena in this season in terms of he was down on the floor, he was snooping and spying around, but all the while he was reporting back on what was happening there. Yeah, I'm inclined to believe, and I don't have all the evidence on this. And your case is going to be as compelling as mine. I think I'm inclined to believe this religiosity reason I'm inclined to believe that Bert has blood all over his hands for stuff that he has done at Lumen. And I'm inclined to believe that his partner Fields, who I think he actually does care about, was like, we're gonna. I'm gonna go to heaven, you're gonna go to hell. And that distresses me. And so he's like, okay, I'll do my time on the inside in order to like, get an. Any version of me that gets to go to heaven, because then I get to believe in Birvin from season one and believe that this bird is evil as fuck, which is what I would choose. And so then it's more of like a helly hell in a. Where the Innie version of Bert is like a good sweet guy who just likes weird art, and the Audi version of Bert is a piece of shit who uses. Who lures you to his home with a promise of cumin glazed ham.

[Rob Mahoney]

I know. And loose corn.

[Amy Poehler]

And loose corn. Just. Anyway, I think both things are possible.

[Rob Mahoney]

Yeah.

[Amy Poehler]

And I think. I think personally it's slightly more compelling if any Bert exists and any Bert is innocent and Audi. Burt is villainous or at least compromised. But we will see. I thought the conversation about the church and Lumen was really interesting. I want to talk about in a second. What else do you want to say about this?

[Rob Mahoney]

Well, as far as the church element, there was something so pointed to about Fields and Burt have been having these conversations and then all of a sudden the church pastor starts talking about how Ennis can have a soul.

[Amy Poehler]

Sure.

[Rob Mahoney]

And Fields even points out. Oh, it's like they were listening to our conversation. I think ultimately there's a version of this where we're kind of both right. Where my interpretation based on what we know now is that Burt's cover story to Fields is that he is severed and going to work on the severed floor. But in reality he's not severed. And so he has this cover. He's able to give a level of relief to his partner, who I agree with you, he does seem to care about. But ultimately is just like in such shady business and in so far over his head in whatever he's doing that there's probably no coming back from that.

[Amy Poehler]

I think it's really interesting to think about the church and Lumen. I am not a religious person, but the intersection between technology and faith or shady corporations and faith is of interest to me. This woman who was cutting my hair recently was talking to me about she is much more pro AI than I am. And she was talking about what AI might tell us about, inform us about what it means to be human or what it means to have a soul or something like that. And so we got this really interesting email from Asher last week before this episode dropped. He was talking about some Battlestar Galactica comps, which I think is interesting, but Asher, Asher wrote it also made me think about the comps in both shows regarding. Regarding spirituality, slash faith. More than just Christian references. Specifically, I think of how sci fi explores how new cult like religions might develop after huge scientific breakthroughs that raise questions around the nature of the soul or within groups who may be considered, quote, less than human. Human.

[Rob Mahoney]

Yeah.

[Amy Poehler]

So for us on the AI front right now, this question of like, what makes us? What makes a human, what makes an AI something like that. But like in a severance world, what makes you you, the you you are? If, if severance is a possibility, what is it? What is inherently you that is true across the Marx, across the Dylan's, across the Helenas. And what does that get to spiritually? Is there something like a soul that is just you across all of these various things? And how this tech innovation might make people question their thoughts and positions around spirituality.

[Rob Mahoney]

You know, I think these sorts of texts lend themselves to that. Not just because of all those sci fi trappings, but specifically the ones where you have a Battle star element, you have a severance element, you have a Jurassic park element of like there was someone here playing God, right? They are humans. We're talking about whether humans have souls. We're talking about the religiosity that can result from what by Lumen standards, like they're telling us that Cold harbor and Mark's role in it is gonna be one of the most important things to happen to humanity. Whether that's true or not, or whether it's Something that they believe. And these people are wielding, it seems, a certain godlike power of creation, of cloning, of consciousness altering. Just the very act of putting a chip in someone's brain that turns them off is a level of power that humanity should not be able to access. Like, they. They were so preoccupied with whether they could Joe, they not stop to think if they should.

[Amy Poehler]

Wow, you hit us with a gold blue in the middle of that.

[Rob Mahoney]

You got to hit the pause.

[Amy Poehler]

Oh, Josh. The park. One of my. A perfect movie. Obviously. I think that. I don't know. All this is really interesting to me. I'm really curious to see. I think this is a great use of Bert and I'm really curious to see how this unfolds. Walkin was talking. Watkin was talking about on the podcast about how much. How happy he was to play Burton season one, because people often don't want that kind of performance from him. They want, like, evil, schemy performances.

[Rob Mahoney]

Well, guess what?

[Amy Poehler]

And he was like, well, here we are in season two. He was also talking about how he was like, I thought when I would get older, people would just want grandpa roles for me that I'm just sort of like telling people, like, do the right thing and it will guide you. He's like, but they still want me to play the weird roles. They still want me to play, like the vampires. And then I think it was Stiller who said, grandpa vampire or vampire Grandpa or something like that. I was just sort of like, yeah, that's Christopher Walken. Vampire Grandpa. Love it. You love.

[Rob Mahoney]

Also would watch Vampire grandpa pause. If somebody wants to greenlight that 100.

[Amy Poehler]

In terms of Drummond's little B and E here. I guess he broke. Broke nothing KE here. Radar. Our guy Radar asleep on the job. Absolutely useless inside of.

[Rob Mahoney]

What are you doing?

[Amy Poehler]

He finds the chest with the papers that we saw in season one. Anything you want to note you of the famously fond of a freeze frame. Anything you want to note. Note from these papers. We've seen them before, but what did you notice this time?

[Rob Mahoney]

I mean, revisiting them. I'm just reminded that the systems at work in Irving's note taking are all over the place. And I'm sure some of that is by design. This is meant to be sort of coded probably for just this sort of occasion. Right. If any. If these notes get into the wrong hands, he doesn't want his full spread of information laid out right in front of them. But, man, just the. What gets me is not the handwritten notes, but the chaotic nature of the Printed notes which are at various places and indentations not aligned, not uniform in any way.

[Amy Poehler]

There's forward slashes, there's brackets, there's bolding.

[Rob Mahoney]

Again, as a dedicated note taker, I am aghast at everything that is happening here.

[Amy Poehler]

My understanding is that that severance spells out that, like, if you take the bold letters because people poured over this last season, you can spell out severance at a certain point, which is just sort of like a fun thing for the freeze framers, I think. But also I think we should note there is this note, this handwritten note on there about settlement led to severance question mark by someone's name.

[Rob Mahoney]

Yeah.

[Amy Poehler]

So like there was something. And as a result of the court case, someone was severed. Is that ominous?

[Rob Mahoney]

I'm trying to think of how a settlement could lead to that, but yeah, I mean, that is what the text says and it's sure as hell ominous.

[Amy Poehler]

Okay.

[Rob Mahoney]

I also think we've deciphered one critical piece of symbolism here in the notes, which is a big old X next to Petey's name. What could that possibly mean?

[Amy Poehler]

All right. I think that's a good transition to our favorite medical professional, Dr. Agabi. Really going through it. Eating what I believe to be a tub of frosting. At one point in the. Yeah.

[Rob Mahoney]

I couldn't tell if it was yogurt, but I like frosting better.

[Amy Poehler]

It looks like it might be. I. No, that is. That is a tub of frosting. It's very. Death becomes her unsettling.

[Rob Mahoney]

Just what you want your medical professionals to be doing.

[Amy Poehler]

Yeah. Frosting is just like. That's like raw cookie dough. I'm sort of like. I think we've all at one point in our lives.

[Rob Mahoney]

No, but there's such a thing as too much. Like. I don't know if you've ever been to those places that scoop raw cookie dough as if it were ice cream. This was like a brief phase some years ago.

[Amy Poehler]

Oh. Like a dippin. Dots sort of craze. But it's.

[Rob Mahoney]

Yeah. Like a very short lived. And I tried one of these and it's just as you would expect, way too much of the thing you think you want to the point that it actively disgusts you. And that's kind of how I would feel if I were to go spoon deep in a vat of icing.

[Amy Poehler]

You never go spoon deep in the icing. Please don't you skim the surface only. That's as far as we go. Okay. For Gabi, Mark. A hole in his head. Gross stuff. He. The the makeup work on Adam Scott in the final sequence when he's just sort of, like, sweaty and, like, pinched and deep shadows under his eyes, stuff like that. And the fact that Devin's like, oh, are you still at the flute? Like, if I. If I. My brother opened the door and looked like that. I don't have a brother, but if I did and he looked like that, I would be like, oh, are you dead? Should we go immediately to the hospital? What's happening?

[Rob Mahoney]

I want to give a quick shout out to an emailer, Emily, who asked us if we wanted to opine a little bit about Audi Mark turning into Spider Man 3 Emo Peter Parker over the course of this episode. I would say peek at the restaurant, because at this point, he is so sweaty.

[Amy Poehler]

Yeah, yeah.

[Rob Mahoney]

But, like, even when our guy is eating literal fistfuls of food, he's got, like, teary eyes, full sweat, that incredible bang sweep.

[Amy Poehler]

Yeah, the swoop.

[Rob Mahoney]

I love the styling of what's happening with Mark overall, and I love how distinct it feels, clearly, from Mark.

[Amy Poehler]

S. Yeah, absolutely. We've already mentioned basement surgery. I think. I think the most harrowing, you know, as. As upsetting as it is to think about loose piles of corn or going spoon deep in frosting or anything else, this shot of. Of Mark trying to pick up that glass of water and not being able to make his motor skills work is deeply uncomfy to watch. Put it mildly. Yeah, absolutely. And then he goes down. He goes down in the same. I saw this. I. This. I will credit Reddit for I saw this last night. Someone pointed out that. Were you a better Call Saul watcher?

[Rob Mahoney]

Of course. Yeah.

[Amy Poehler]

When Chuck goes down in the coffee shop, it's the same thing of, like, the camera tilting down with the person, then just, like, really feeling that head hit the floor. Oh, just. Yeah.

[Rob Mahoney]

The acoustics of a good violent thud are very important. See also the film Parasite. Like, there's something about just recreating that sort of impact that I think is very important to making these sorts of scenes work. Cause, yeah, otherwise, like, we need to feel it. And I think they do such a good job of that. With all of the sort of side effects of reintegration. This deep, deep bass, droning, throbbing visual and audio cue. We're getting in Mark's head in the immediate aftermath of this procedure. The migraine, the flickering. Again, I love how Severance handles things like this and puts us in the minds of even split characters who are going through something that we could never possibly relate to and making it feel grounded. In its kind of way. But yeah, overall, I love this sequence. Even if I gotta say between this and the pit. Joe. More surgical retractors in my life than I need on a recurring basis. Just incisions getting spread open in ways that I do not enjoy watching.

[Amy Poehler]

I gotta tell you, Rob, I'm okay with zero surgical retractors.

[Rob Mahoney]

I would love zero.

[Amy Poehler]

Okay.

[Rob Mahoney]

Especially if they're concealing a big old hole in your skull that's just been sitting there.

[Amy Poehler]

Do. So do all of them have that? I mean, all of them do have like decent heads of hair. So, you know, you wouldn't be able.

[Rob Mahoney]

To like, it itself is. Is healed. It's just in the skull, there's a hole.

[Amy Poehler]

Right in the skull, there's a hole.

[Rob Mahoney]

And Mugabe's plan is. What if I just squirted some liquid into your brain using a. An 8 inch needle?

[Amy Poehler]

Okay. A few odds and end to round up before we go, please. Our listener Jeremy tweeted at us. People do still use Twitter. The pupil dots on Milchick and Captain Frolic. Drummond giving off big replicant vibes. So if you've seen Blade Runner, you will note that the. The people who play replicants have these sort of reflective lenses, like lens effect in Blade Runner. And so there. I did notice it on Seth inside of this episode. I didn't go back to look at it and Drummond. But Seth is often shot where you see. Like, I was curious how they did it in the mirror scene, because where is that camera in the mirror scene? I guess digitally erased. But like, where is the lighting rig in that mirror scene? Because there are like, yeah, these pinpricks of light in his eyes that are just like unsettling. Quite good. Someone pointed out that. So the Chinese place that they go to. We should note, despite all the Michigan references, the filming locations are New York and New Jersey. And my good friend, friend of the pod, Kristen Russo, lives in Kingston, New York. I was there this summer or this fall. They filmed a lot in Kingston. And so I have seen the Chinese restaurant that they filmed here. They changed the sign of it. It's not Zufu Chinese restaurant, but Zufu is the name. And when Mark is walking out of the restaurant, the zu is not lit up and the fu is. Which is fun in all of itself. But xufu in Mandarin means paternal grandfather. You take away the zoo and you just have the fu part. And fu by itself doesn't really mean father, but the zoo is what means grand. So like father lit up right above Mark when he's Walking out of this conversation with Helena, just something to think about. Short, did you catch the price tag on the bottle of wine that Irving brought?

[Rob Mahoney]

I have thoughts about it. Oh, I don't. I don't think we saw a concrete price, did we?

[Amy Poehler]

I couldn't read it in because he was like, you know, fucking with the price tag and I couldn't read it. Yeah, here's.

[Rob Mahoney]

Here's what we do know, and this is really, as we know, one of the burning questions of the show. If you ask Irving to bring an expensive bottle of wine, how expensive a bottle of wine will he bring? Yeah, we know it's a 2009 Malbec that we know that you can read from the label. It seems to be based on my research from a fictional winery. Not a real place, not an actual bottle of wine. So we can't actually price check it, but it seems to be from a fictional winery called something Cabra, which of course means goat in Spanish. We see you, severance. We see what you're doing.

[Amy Poehler]

I think it's the painted goat. I think is what the painted goat. You think the painted goat. I think that's what it is. Is. So, yeah, that's just goats all the way down. We have fun. And then let's see what else I already mentioned Ri and the frosting. Oh, fun fact. Attila the Hun died from a nosebleed. That is a fun fact.

[Rob Mahoney]

Did you take anything away from the Attila couple? Cutesy Ness. Other than the natural transformation of people who've been together for a long time becoming slowly and slowly more insane?

[Amy Poehler]

I thought it was darling, and then it is darling. Also, having a character that we thought of as like, sweet and honey, like being now called Attila is. Is fun in its own right. You know it is. Okay, I know that you have not watched the TV series Lost, but we did get an email about this episode from Colin that I do think is worth reading. For those of people who have seen.

[Rob Mahoney]

Lost, we got many Lost related emails. Yet again, it just continues to be in the firmament here.

[Amy Poehler]

The most famous episode of Lost is called the Constant, and Colin lays out the comparisons between this episode and the Constant. He says both characters flash uncontrollably between two different versions of themselves, at times struggling to piece together when where they are, both characters begin to experience nosebleeds as a result of the predicament they find themselves in which we have been shown will eventually lead to death by a brain hemorrhage if they do not resolve their situation. Both of Their jumps revolve around one version of themselves desperately trying to make contact with a woman they love. Penny and Lost for Desmond, Gemma for Mark, this could all just be a fun little homage to loss. But do we think there's any chance that Mark will need to find his own constant to cure his reintegration sickness? And if so, will this mean that Mark may need to seek out Helena Egan again in the real world to be his constant? So the constant is just a concept from loss, but this idea of, like, being unstuck in time or location. The nosebleed, the ticking clock on the nosebleed especially, I think is interesting. Like this character in Lost, Desmond Hume starts bleeding from the nose. We have previously seen another character start to do that, and we know that soon thereafter it's death. So. Well, this is like we're thinking about Petey. When we see Mark starts to bleed from his nose, we're thinking about Petey. Also, someone pointed out that in season one, episode one of Severance, they were talking about Petey's last day. They're talking about how he came to work with a cough.

[Rob Mahoney]

Yeah.

[Amy Poehler]

Which is part of this reintegration sickness. And, you know, that is what Mark is experiencing right now, as Ms. Wong is trying to minister to him. So just always thinking about Lost when I'm thinking about TV shows in general, as one does, specifically Severance, how do.

[Rob Mahoney]

You feel about the element of that that would involve Mark going back to Helena in the outside world as this sort of constant parallel?

[Amy Poehler]

I definitely think Mark and Helena are gonna bone in the outside. I don't know. I just, like.

[Rob Mahoney]

I don't like this about myself, but I kind of want to see it.

[Amy Poehler]

Absolutely.

[Rob Mahoney]

I like. I just. I'm interested in what's happening there.

[Amy Poehler]

The vibes were awful and yet also immaculate in that scene. The way that they're sort of, like, immediately, like, you know. Yes. Anding each other on this little bit about, like, take you home to meet the parents and stuff like that. The little, like, quirk of Mark's, you know, mouth as he's, like, sort of playing along and then remembers himself and is like, oh, wait, Lumen. Right. Also, something I think that's worth noting inside of that conversation, when Helena in. In the Zufu Chinese restaurant says, you know, talks about how important she is at Lumen and how she has control and oversight over everything.

[Rob Mahoney]

Yeah.

[Amy Poehler]

When we know that to be very much. Not this. That's just more of a fantasy for her to engage in because we know how powerless she is inside of that. That structure, I thought was really interesting. Last but not least, I'm gonna end with, like, a what would I sever question. Anything. Anything else you want to cover before we go out with a what would I sever proposition from a listener, I.

[Rob Mahoney]

Just had one big question, which was, how was this, given the level of making out and office banging involved, not the Valentine's Day episode of Severance like it was. It was right there. You couldn't finagle the schedule a little bit?

[Amy Poehler]

Yeah, no. We decided to go with President's Day week. That sounds right to us. Okay. Richard says. And this is. This is something we kind of heard before. But Richard says, my thought is, if I. If I get my innie to go to the gym, for me, my innie gets to work out in whatever way they choose. They get whatever food and supplements that support a healthier lifestyle. All they have to do is maintain an exercise regime that benefits both of us. And having written that, I realized I've just fallen into the trap of the substance. So I was thinking about the substance when I saw. When we. When we had to watch Mark consume that, like, milky substance or thing for his reintegration procedure, we also got. I. I don't have this one in front of me. We did get an email from someone, like, if I were to sever my commute, let's say. And I couldn't. And my. The commute. Me listened to your podcast, right? He. He was like, audi, me would also listen to your podcast. He was like, so you would just double your listenership.

[Rob Mahoney]

Let's get those numbers up, Joe.

[Amy Poehler]

Come on, let's do it.

[Rob Mahoney]

Let' I'm suddenly pro severance. I don't know where I came from, but I'm seeing the vision.

[Amy Poehler]

We love to severance inflate our numbers. So call us Lumen. We're interested. All right, well, that does it for our coverage of Severance today. Thanks to Kai Grady, as always, and Justin Sales and Rob Mahoney and everyone at Lumen who's going to help us get our numbers up. We will be back with double White Lotus coverage and pineapplebombingmail.com with your thoughts and questions. We'll see you soon.