‘Everyone feels like two individuals’

The Apple TV+ series “Severance” concluded its second season last month, leaving viewers with an enduring sense of discomfort regarding what just transpired and what lies ahead.

“Severance” narrates the journey of a group of office employees who opt for a procedure that divides their consciousness into an “innie” who only exists in the workplace and an “outie” who exists everywhere else, each lacking any recollection of the other’s experiences. It discusses the balance between work and life, but it’s also about autonomy, identity, and the sensation of internal conflict.

Nicky Weinstock, one of the show’s producers and a Harvard College alumnus of 1991, has a conversation with the Gazette about “Severance” as a “willfully bizarre” challenge and a television phenomenon, recounting his migration from Cambridge to Hollywood.

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What stands out most about your experiences on campus?

During my time at Harvard, I encountered numerous friends, professors, and sources of inspiration from around the globe. It was an incredibly stimulating environment.

Ironically, I dedicated much of my time away from it, as I was an anthropology major engaged in fieldwork in Kenya, attending the University of Nairobi for a period, and journeying as extensively as possible. All of it was very interconnected, I believe, in terms of being open-minded and discussing writing and creativity with diverse individuals in various settings.

Honestly, when I arrived in Hollywood and began producing, I was astonished by the apparent lack of interest in places outside the U.S. I persevered and took on many enjoyable, Hollywood-centric projects, but I always yearned for a global perspective. Ultimately, about three years ago, I established my own company, allowing me to source stories from around the globe.

How did you become a part of “Severance” and what were your initial thoughts on the concept?

“Severance” came my way through sheer luck. It was a script authored by Dan Erickson, who had never produced a television series before and actually did not have an agent. The script began circulating, garnering attention and generating buzz. At that time, I was leading a company called Red Hour with Ben Stiller. I had never encountered a concept like it before. It’s what everyone aspires to find in film and television: something that A) hasn’t been done previously and B) is executed flawlessly. This had both attributes, all credit to Dan.

We started collaborating to develop and refine the pilot script. We secured a deal with Apple and proceeded to assemble a cast with Ben directing, manifesting it in a manner that typically doesn’t occur in Hollywood. Usually, you begin with a renowned writer; you start with big-name actors. In this instance, it was genuinely the appeal of the concept that drew in everyone: John Turturro, Christopher Walken, Patricia Arquette. They all resonated with the sheer freshness and significance of the concept.

Are you astonished that the show has gained such a following?

In some ways, yes and in others, no. It amazed me because it has always been willfully peculiar. It has consistently adhered to the uniqueness of its world. That often leads to a niche phenomenon that does not resonate with a broader audience.

However, I was not entirely surprised, because what captivated me upon my initial reading is what resonates with viewers, which is that everyone feels like two individuals in their lives, at a minimum. Everyone adopts a certain persona at work and a different one at home, and all individuals strive to reconcile different facets of their lives into a unified whole, a pursuit we undertake throughout our lives.

“Everyone adopts a certain persona at work and a different one at home, and all individuals strive to reconcile different facets of their lives into a unified whole, a pursuit we undertake throughout our lives.”

The narrative arc of the show appears to parallel our experiences during and post-COVID. Season 1 debuted in 2022, presenting a distinctly enclosed atmosphere, while Season 2 broadens that perspective to explore larger inquiries about what it means to exist as a person.

I completely concur. Season 1 was undeniably influenced by our living conditions at the time, where feelings of tightness, confusion, and isolation deeply permeated our culture. I believe that’s why many individuals reacted to it in the way they did. And since then, the environment has only become more bizarre. The unpredictability and uncertainty that we are all currently experiencing contribute to why audiences have connected with the show.

For all, across every political divide, irrespective of one’s location, there exists a sense of “Where is the world heading?” and “What knowledge do those in authority possess, and what are their intentions?” This concern was not present during my upbringing. “Severance” has transformed into a vessel to illustrate that mysteries abound and trust is ambiguous.

The conclusion of the second season leaves viewers with a cliffhanger, which I won’t reveal, but it revolves around an “innie” character making a pivotal choice that raises the stakes and introduces numerous questions for the upcoming third season. Can you share anything about the show’s future direction?

I can’t provide much detail, but I can state that the concept of severance is incredibly vast. We aimed to present a first season that felt oppressive. We sought to create a second season that expanded into the world. The notion of splitting one’s life into different selves can take many paths. All I can reveal is that Season 3 will be markedly different from Seasons 1 and 2. It’s a broad concept.