Apple’s dystopian workplace thriller Severance entered its second season as a genuine cultural phenomenon. With its brutal satire of the American corporate structure, it’s easy to see why.
It is also a masturbatory product of Apple itself that, with such a product, would love to portray itself as a corporate that “knows” and is engaged in turning a certain work culture into a new one, where one can truly be themselves at work.
The nudges at a cult of a dead leader, Jobs, or even the exlicit adoption of apple logo and eastetics of the final event of S1, where Helly R. finds out the people oppressing her couldn’t be any more similar to herself.
It’s just human and their weakness. Nobody is at fault, how tragic. How convenient.
It is also a masturbatory product of Apple itself that, with such a product, would love to portray itself as a corporate that “knows” and is engaged in turning a certain work culture into a new one, where one can truly be themselves at work.
The nudges at a cult of a dead leader, Jobs, or even the exlicit adoption of apple logo and eastetics of the final event of S1, where Helly R. finds out the people oppressing her couldn’t be any more similar to herself.
It’s just human and their weakness. Nobody is at fault, how tragic. How convenient.