[This article includes spoilers from Severance season two, episode eight, “Sweet Vitriol.” ]
Jane Alexander, an acclaimed actress, was introduced to the series ‘Severance’ by her grandsons. During a Zoom conversation, she speculated, “It seems to resonate a lot with younger viewers.”
While it’s challenging to find concrete demographic data for the show’s audience, Alexander might be onto something. Many younger fans may not fully grasp the significance of her role in the latest episode. For context, Alexander is a celebrated figure in cinema, recognized for her performances in memorable films such as 1970’s The Great White Hope, 1976’s All the President’s Men, 1979’s Kramer vs. Kramer, and 1983’s Testament. Her outstanding contributions to the arts have earned her multiple Oscar nominations, two Emmy Awards, a Tony Award, and leadership of the National Endowment for the Arts (NEA) from 1993 to 1997.
Now at 85, Alexander reflects on her storied past and shares insights on how society’s relationship with the arts has shifted. “The arts have always been inclusive,” she tells The Hollywood Reporter. During her tenure at the NEA, she fought tirelessly to defend the organization against political backlash during the Gingrich-led Congress. “There was once a sense of civility,” she recalls. “The idea that grants could be revoked feels deeply disconnected from what I know.”
In her role in ‘Severance,’ Alexander portrays the sharp-witted Sissy Cobel, the aunt of Harmony Cobel, played by Patricia Arquette. Situated in the desolate town of Salt’s Neck, Sissy’s character history is entwined with dark elements, mirroring contemporary issues like the opioid crisis. The episode titled “Sweet Vitriol,” alludes to a drug slang that further underscores themes of disassociation reminiscent of the show’s central severance procedure.
Although Alexander admits, “I honestly don’t know anything” about the show’s myriad theories, her appreciation for it is unmistakable. Thanks to her grandsons, she’s well-versed in its trivia. Notably, she highlights the cameo of novelist Jerry Stahl, linking the intricate webs of creativity that Ben Stiller, the series’ creator, weaves. “He has such a discerning eye,” she remarks.
Below, Alexander offers her perspective on her character’s development, her advocacy for the arts, and the lingering mysteries of the series.
How did your casting in Severance come to be?
Ben chose me for the role, and it was a thrilling moment. I’ve known him since he was a child; we lost touch over the years, but our families were close—he’s the son of Anne Meara and Jerry Stiller, both esteemed comedians. I was already a big fan of the first season.
What background did Ben provide about your character?
I received limited information. The production team maintains a high level of secrecy, which builds intrigue for viewers. I was informed that I would be working with Cobel—Patricia Arquette’s character—which piqued my interest. The news about filming in lovely Newfoundland was an added bonus since I have a fondness for the area’s rugged landscapes.
With such little context, how did you approach developing Sissy’s character?
Dan Erickson, the head writer, played a crucial role. The writing guided me through the character’s complexities in the episode. There’s not much that needs to be added on my part when the script is so compelling.
Had you worked with Patricia Arquette before?
I hadn’t worked directly with her, but I was aware of her talent. My late husband, Edwin Sherin, frequently collaborated with Patricia. He had always lauded her professionalism and dedication, and he was absolutely correct. What sets her apart is her remarkable focus, often going silent between scenes to stay in the moment.
Is that characteristic similar to Sissy?
Indeed, my character is anything but still. Sissy embodies a unique volatility that provides a window into the turmoil of Harmony’s upbringing.
This episode almost feels theatrical, primarily set in one room. Did your theater background influence you?
It’s certainly something to consider, given the confined set. Sissy definitely brings a theatrical flair with her dramatic presentation. I aimed to contrast that energy against Cobel and James Le Gros’s character, who have a different experience with substance use.
Did you collaborate with Ben on the dramatic elements?
Ben knows how to guide the performance. Having worked as an actor himself, he balances pushing the limits of drama while knowing when to pull back. He was very collaborative, allowing me the space to explore while he made the final decisions on the takes.
That’s an incredible line—”You are a weed.”
Absolutely, it’s very classic drama. Sissy certainly has a grandiose sense of self.
What are your thoughts on her costume?
It was a choice made by the costume designer, Sarah Edwards. Ben instantly favored the white outfit, which adds depth to Sissy’s solitary existence and her idolization of Kier, whom she adorns shrines for in her home.
Could Sissy return in future episodes?
There’s a lot to resolve in the story. Unless the narrative revisits Newfoundland, I’m not sure how they would bring Sissy back. However, I suspect her relationship with Kier runs deeper than what has been revealed.
How do you feel about the filming locations and visual storytelling?
I appreciated Ben’s unique visual style. The crew was adept at capturing the dark, moody atmosphere, and the unconventional angles he employed were refreshing in my experience as an actress.
What’s next for Cobel?
I’m eagerly following the developments. My grandsons help decipher the plot intricacies, especially with the online recaps circulating. It’s quite fascinating to navigate this new era of television.
Are there any storylines you are particularly enjoying this season?
The evolution of Mark and his “outie” is exceptionally poignant. Plus, I’m curious about the trajectory of Milchick and the intriguing new character of Miss Huang. Likewise, Mark’s relationship with Helly is evolving in captivating ways.
Reflecting on your time as chairwoman of the NEA, what was that experience like?
My time there during the Clinton administration was enlightening. I served from ’93 to ’97, receiving unanimous Senate confirmation. Shortly after my tenure began, our political landscape shifted dramatically, highlighting challenges to the NEA’s existence. We faced intense scrutiny over controversial grants related to artists like Robert Mapplethorpe and Andres Serrano.
What strategies did you employ to support the NEA?
I hit the road to engage with the public. In just over a year, I traveled across all 50 states to raise awareness of the NEA’s contributions. Many people recognized the local benefits from our grants, which helped galvanize support—even from some Republicans.
How did your testimony before Congress unfold?
Initially, I was nervous for my confirmation hearing. However, receiving bipartisan support, even from senators with whom I had stark differences, was a sign of a bygone era of civility in politics.
From your viewpoint, how has the landscape changed since then?
The arts should remain accessible to everyone. Historically, funding was sought for all audiences, including underserved communities. Presently, there’s an unsettling tension about arts funding that doesn’t reflect public demand for continued support.
Given your experience with the NEA, do you feel that influenced your career choices?
Not necessarily, I feel fortunate for the opportunities. Influential projects like All the President’s Men came my way, allowing me to be part of culturally significant moments.
Severance resonates with many contemporary issues.
I enjoy how it reflects our current realities. The unfolding narrative is a puzzle, prompting us to question our understanding and responses to societal dynamics.
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‘Severance’ season two is currently streaming on Apple TV+, with new episodes released every Friday. Stay tuned for detailed coverage by THR on the unfolding storylines.