Gemma’s Big Episode Terrified Severance’s Dichen Lachman
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Spoilers follow for Severance season two episode seven, “Chikhai Bardo.”
No, “Chikhai Bardo” isn’t a bottle episode. Instead, Severance gave us something even better: answers. Tragic but legitimate answers. The latest episode confirms Gemma (Dichen Lachman) is alive and being held against her will on one of Lumon’s severed floors, having gotten there, as we see through flashbacks, after being marked by one of the company’s doctors (Robby Benson) at a fertility clinic. The episode bounces around the highs and lows of Mark (Adam Scott) and Gemma’s relationship — their meet-cute at a university blood donation drive, their surprisingly enjoyable dinners with Devon and Ricken, her miscarriage — interspersed with scenes of Gemma’s captive life following a car crash implied to be staged by the company. Inside Lumon, Gemma’s life is overseen by a nurse (Sandra Bernhard), who marches her through a rotation of severed doors and into rooms where her various Innies are forced to endure scenarios with Benson’s doctor that range from the annoying to the traumatic.
When Gemma’s mad dash of an escape plan — knocking the doctor unconscious and briefly reembodying Ms. Casey on another severed floor — fails at episode’s end, she seemingly resigns herself to a prisoner’s existence without parole. Lachman believes her character still has hope of being released and reuniting with her husband when the experiment concludes. “But they’re always changing the rules of the game for her,” she says. “They just keep moving the goalposts.”
As someone of the belief that Gemma was brain-dead and living as a subconscious entity, it was lovely to see her alive despite the awful circumstances surrounding her existence.
When I read season one, I had that theory too. I didn’t quite understand what was happening. I was like, Has her brain been affected and they’re trying to rebuild her?
Did you know Gemma would get her own stand-alone episode when you first started filming Severance?
I definitely wasn’t aware in season one that this would happen. As the scripts for season two started coming in, I was like, Oh, okay. I’m not in this episode, and I’m not in the next one. Did I do something wrong? Then Dan Erickson talked me through how it was going to play out. It was really exciting. At the same time, I felt a lot of pressure. I didn’t want to let the fans down. This is obviously something they’ve been waiting for. I was really scared.
What scared you the most?
Having to jump between lighter and darker moments, and the scope of it was so large. Knowing we’d have a very limited time to do it and then doing the flashbacks on film. I know Jessica Lee Gagné, the director, had always envisioned using film and it was her goal. When I started my career, we used to shoot on film all the time, but then digital became the preferred medium because it never ends and there’s more freedom. With film, there’s only so much; you could run out in the middle of a scene. You don’t want to make a mistake because it’s an actual, physical thing an image is getting printed onto.
The big connection we get this episode is when Lumon’s doctor spots Gemma at a fertility clinic before her car accident. His eyes linger on her for a beat, but Gemma and Mark don’t clock him in the waiting area.
Oh, you got that?
Not the first time!
I’m so glad.
Can you tell me a bit about how this scene was staged?
Jessica has been integral to setting the tone and mood of Severance. She’s phenomenally talented and has such a unique eye, but she’s really good at doing things subtly. That scene had a lot of technical stuff. One of the great things about that moment is that even though the shots, framing, and camerawork are really technical — more than I’ve ever done in my entire life on any show — it always goes back to how they can keep it real and grounded among all of that chaos. There was a lot of stuff they had to do and capture so the audience could have that little moment, which is so subtle, so I’m impressed you picked up on it. I just remember focusing on what Gemma was feeling and us talking about the mood and temperament.
Given what we learn about this doctor throughout the episode, what did you infer about the motivations behind Gemma’s staged death? Did this man target her specifically because of a weird infatuation, or is a fertility clinic just an ideal location for Lumon to scope out potential subjects?
That fertility clinic is a place where they have access to people’s biometric data. I suppose it’s the perfect place to zone in on a target. The whole world they live in is filled with Lumon employees, businesses, and stuff like that. I have my own fan theories, but I think what you said — a place where they’re getting people’s blood and their DNA — is probably the best theory.
The other person Gemma interacts with is Sandra Bernhard’s nurse. How would you define their relationship? Are there any sympathies there?
In my mind, her nurse has been there for a while. Sandra brought an incredible warmth to that role, even in playing a captor. She brought almost a motherly feeling to it even though it’s still very cold, controlled, and oppressive down there. Maybe it’s just her eyes. Or maybe she was working on something with the character that I wasn’t aware of, but their dynamic is really interesting. I think she has compassion for Gemma. She’s just doing her job, but there’s a humanity to her.
Inside those rooms, Gemma’s Innies are forced to play out different scenarios: A dental patient getting work done, a passenger in a crashing airplane, and a wife at Christmas forced to write thank-you notes. The doctor inquired if Gemma felt “despair” after leaving any of them. How do you view what this experiment is trying to accomplish?
I think it’s leaning into something that’s happening within our culture, which is that we don’t want to experience anything unpleasant. To some degree, I totally understand. In season one, you have the birthing center. That’s one of the most painful things you could experience in your whole life — I would know. What if you could delegate that experience to someone so you didn’t have to go through the pain? Even though, as a human being, there’s some ownership of that. Going through it and having a connection to the child is so beautiful. But we kind of want to get on a prescription of not having to suffer. If you think of it from a pharmaceutical point of view, it’s like, “We’re just taking it up a notch. You hate going to the dentist? We’ve got you. We’ll send somebody else, but you’ll still be going to the dentist.” Or having the fear of flying. I know Dan loathes writing thank-you notes — not because he’s ungrateful but because sometimes it’s so hard to figure out what to say to express your gratitude. I’ve done this before when I’ve worked on a movie: I’ve written 80 thank-you notes to all the crew members and they all start sounding the same. You lose your creativity, and you’re struggling to figure out a way to say “thank you” in a different way so that if someone reads someone else’s card, they’re not like, Oh, this isn’t personal. It says the same thing.
So you don’t view this technology as being strictly malicious in intent?
Yeah. It could go further, of course. That’s the thing with technology: The intention is always to make someone’s life a little bit easier. Then it becomes integrated into our life. Everything is a double-edged sword. It’s our job as human beings to try and find the balance. We’re in a world where we have AI and robots. We’re creating a world where we don’t even need to exist, in a way. What’s really cool about the show is it gets people to ask themselves about their relationship to technology or their relationship to having contrast in their life. You don’t get to experience pleasure, joy, or something that tastes really amazing if you don’t get the sad moments, too. When you’re severed, you don’t have contrast. The weekend isn’t as good because you’re perpetually experiencing only the good things. Those good feelings just become feelings and are not special anymore.
You get one of the best lines of the season when Gemma is being examined by that doctor after visiting some of the rooms: “Can you please just talk like a normal person?” She’s saying what viewers are thinking, and it made me laugh.
The whole language is a bit culty. They have their own way of communicating. The words they use are so bizarre. I tried reading that line in many different ways and played with intensity. It was stretching me as an artist. I’ve never had the opportunity to explore and collaborate as much as I did on this show. I could have said “Can you please just talk like a normal person?” 15 or 16 times, maybe more, and every time it would’ve been a little different.
Did you get the sense Gemma had tried to escape before? There’s this comment Mr. Drummond gives the doctor midway through the episode about how she once tried to break his fingers. It struck me as very fight-or-flight.
Yes. I picked up on that same line when I was reading the script. Jessica and I talked about it a lot. I think every now and then, Gemma has been like, Screw it. I’m going to go for it. I don’t care if I have to hit him over the head or break his hand. Then there are days where she feels like it’s pointless, but then she’ll get pushed and pushed harder and she’ll try again. She’ll never be able to escape. Her tolerance level will go back to baseline, and it’ll build up and she’ll try again.
We’ve seen how people involved in the severance program can be driven to madness; Helly tries to kill herself in the first season. Where does Gemma find the strength to continue on in this prison of a life?
Based on the scenes she has with the doctor just before she hits him over the head, I feel like there’s been some promises made: “Oh, you just have to do this and that”; “Look, it’s for your own good”; “Now you just have to get through this.”
How many takes did you get to whack Robby with a chair? Was it oddly satisfying?
You know what? That’s something we didn’t do as many times as some of the other scenes. It wasn’t too complicated. Robby is such an amazing person. He was lying on the floor for hours, just so dedicated to this role he was playing. The man is a machine. I felt really bad. I’m like, “Oh, Robby, I’m sorry.” It was just about getting the chair at the right angle so that we could sell it, because obviously I couldn’t hit him over the head.
At one point, Gemma directly asks the doctor what will happen when her Innie “sees all of the rooms.” What do you think will happen?
Gemma thinks that when she’s done, she’ll get out of there and be free. That’s what she wants. Ultimately, toward the end, she resigns herself to being there. When she comes out of the elevator, knowing her escape plan didn’t work, she feels so broken. Well, that’s it. I’m never going to get out of here. That’s why she has to be picked up off the floor by Sandra’s character. In my head, when she’s tried to escape previously, she’s probably fought them all on the way out. Like, What am I doing back here? But when she falls to the floor into a puddle, calling Mark’s name, it’s just like, I can’t anymore. There’s nothing else I can do.
You previously portrayed a multiverse-programmed character in Dollhouse, which shares a few creative parallels to Severance. Your work in Altered Carbon also explored how consciousness can be “resleeved” into different bodies. What makes you excel at portraying so many distinctive personas in one human?
Maybe I willed it into my life because I love exploring these concepts, I love science fiction, and I absolutely feel like it’s somewhere where my creativity thrives. I feel so blessed that I’ve gotten to do it in different eras. Altered Carbon is hundreds of years in the future, where severance technology has completely changed the way people live and given them the ability to live forever. Dollhouse is more contemporary. Severance is this timeless era. It’s quite strange and weird.
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