I have a confession. I do not think that the “Songrance” is the second coming of “Twin Peaks”, or a masterful science fiction saga, or the biggest program on television. I do not try to come with the hot catches – it is always felt for me. Season 1 has great moments, namely at first and at the end, but a large part of the middle for me looked like gestures during better mystery box shows, but with very little earth for the biggest science fiction ideas. He seemed not attached – a “fair vibrations” approach to gender narration which has run short from his many interesting questions about the identity and control of businesses.

For the most part, I appreciated much more season 2. He had a particularly good race during the last episodes, with dramatic changes of landscapes, developments of great characters and a lot of visual flair in episode 7 in particular. But unfortunately, “Severance” Season 2 Episode 8, “Sweet Vitriol” “ Bring back many of the same problems as season 1 strewn: momentum, unlimited characters and twists and turns that are more confusing than gratifying.

“Sweet Vitriol” is in a way a tangent episode, after Harmony Cobel (Patricia Arquette) during a road trip in her hometown of the neck of Salt – an ancient city of Lumon Company left to decompose after the closure of the local factory. Harmony confronts an old flame and his sister Sissy (Jane Alexander) while looking for an anonymous article from her past, which turns out to be the original plans for the starting procedure and related technologies.

Yes, Harmony Cobel invented the dismissal and the world has never felt smaller. During all this time, episode 8 continues to keep us away from the real story of the series, which seems to once again blocking for fear of really revealing some answers to its number of questions constantly increasing.

It has been well established that Lumon is a massive multinational society. We have encountered employees cut off from the branches of other countries, and we have seen many suggestions for the scale of operations. And yet, each twist that “dry” seems to reduce the world more and more. Mark (Adam Scott), Gemma (Dichen Lachman), and now harmony are apparently THE The most important people in the world, or at least in Lumon, and all the evil essence of the company seems to focus on a single room.

Perhaps all this will have a meaning once “help” will begin to share certain answers, but for the moment, it seems more interested in taking secondary roads and showing flashbacks for fear of disappointing with real revelations. And of course, you could say that everything that is important happens in the only office because it is the branch based in the city by the name of Kier Eagan, so of course, it would be more important. But that does not prevent the twists and turns of the series from making history absolutely tiny.

The great revelation of the episode may have worked better for me if we knew something about who is harmony. Although we now know a lot about it What She is and where she comes from, the character always feels caricatured and absurd. All the additional details on its past magnify the same singular and vague characterization that we have had from the start: it is “crazy” because it has been raised in a cult. And now that it is apparently the most important person on earth, and I still don’t know who they are.

Let me be extremely clear: I really liked to see a city of Lumon in ruins. Episode 8, Like most season 2 of the “dryer”, looks great. The locations are magnificent, the energy of the rust belt is powerful and the new treats on the disguised children’s work programs in Lumon add a new nightmarish texture to the company.

But the real story of “Sweet Vitriol” is absurd limit. Harmony presents himself in Salt’s neck after being dismissed from his old work, clearly angry with Lumon despite his happy appearance to come back if she received her original job as a coupé soil director. In other words, we don’t really know where Harmony’s loyalty are at the start of this episode, but we are just in a way said during it that it is now anti-lumon. All right.

She hides in the truck bed of an old friend during the walk to her childhood house and begins to rage in the house in desperate research of something. It is extremely important, but not so important that it cannot afford to take a long nap in the bed in which her mother died during research. After waking up and sniffing a little gas that has, she remembers her mother’s cellar and almost immediately locates her original starting plans.

For what? Presumably so that she can prove her role in the ascent of Lumon, or more precisely, because the intrigue requires that a person with in -depth knowledge of deteriorating can help to mark his reintegration.

The greatest thing that bothered me to look Season 2 of “Severance”, episode 8 (which had nuances of the worst scenario “lost”) Is it not that it moves more from the real mystery, or that the torsion comes out of nowhere, or this harmony takes a nap. This is the whole atmosphere of the episode. It is perhaps the most concentrated dose of the style of house “sown” that we still have, where everyone speaks strange, the conversations feel disjointed, and Ben Stiller apparently orders everyone to blur their faces and to mumble aggressively. It is as if the screen had a message writing that says: “Look how weird It is. Isn’t that so weird? “”

Yes, well, it’s weird. I understand it’s weird. But there is a thin line between effective surrealism and too strong fitting. “Severance” has a lot of fascinating and original ideas with regard to business science fiction stuff. I love conversations on the question of whether or not the Inies have souls and glimpse of a company on the verge of full -fledged Cyberpunk dystopia. But the show insists several times that what is more interesting is to point with enthusiasm David Lynch and to say: “I can do it too.” Except that he is proven repeatedly that he cannot. He just doesn’t have magic.

In the end, this type of tone is a matter of taste. Your mileage will vary on specific lines or marks of oddity attracts you to a fictitious world, and those who keep you away from this. It clearly emerges from the general feeling that most people really like “help”, and it’s great. People should love things. But I was really ready to start loves it too, and “Sweet Vitriol” rejected me right away, which is a real shame.