New Times,
New Thinking.

  1. Culture
  2. TV
28 March 2025

Severance and the paradoxes of grief

Cold Harbor is another entry in the canon of television which use fantastical ideas to convey the scale and the impossibility of loss.

By Jonn Elledge

The second season of Severance ends as it began: with Mark S (Adam Scott) running through the endless white corridors of the severed floor, without quite knowing where he is going. In those closing moments, though, he’s running for a different reason, and in a different way – strangely, perhaps hysterically, hopeful – than he was 10 episodes earlier. And this time, he is no longer running alone.

I’m being vague about this to avoid spoilers, in case you intend to watch that final episode, Cold Harbor, but haven’t gotten around to it yet. More details later; if you don’t want to know what happens but keep reading, that’s on you. First, let’s talk about what that ending didn’t do.

Subscribe to The New Statesman today from only £8.99 per month
Content from our partners
More than a landlord: A future of opportunity
Towards an NHS fit for the future
How drones can revolutionise UK public services
Topics in this article :