“Severance” has emerged as one of television’s most compelling and enigmatic series, carving out a space all its own. What started as a slow burn psychological thriller has evolved into a full blown cultural obsession, complete with fan theories, frame by frame Reddit dissections, and a cast of characters whose secrets run as deep as Lumon Industries’ corridors. Heading into its second season, the series hasn’t just maintained its grip. It has tightened it. And with that comes even greater pressure on every casting decision, especially in a world where even a one line role can send viewers spiraling down a narrative rabbit hole. As casting director Rachel Tenner puts it, “You’re looking at a whole tapestry… even one line really can contribute to a story.”
Created by Dan Erickson and directed by Ben Stiller among others, “Severance” follows the employees of Lumon Industries, a shadowy corporation that surgically divides its workers’ memories between their work and personal lives. Season Two deepens the psychological and philosophical questions raised in Season One, picking up after the shocking revelations uncovered by Mark (Adam Scott), Helly (Britt Lower), Irving (John Turturro), and Dylan (Zach Cherry) in the season finale. Patricia Arquette and Tramell Tillman return with equally riveting performances as Harmony Cobel and Milchick, and the ensemble only expands from there.
New additions include Sarah Bock as a mysterious child named Miss. Huang whose adult like manner unsettles both the viewer and the world of the show, along with standout performances from John Noble, Merritt Wever, and Gwendoline Christie. Their inclusion could have disrupted the tightly wound energy of the original cast, but instead, it amplifies it. Under Tenner’s guidance, the second season builds out Lumon’s universe without breaking its spell. “You don’t want to stunt cast just to stunt cast,” she says. “It wouldn’t serve the overall picture of ‘Severance.'”
As Tenner shares in the conversation that follows, the goal was never to chase recognizable names for their own sake, but to find actors who could disappear into the eerie, off kilter world of Lumon. And in a show where every prop, every silence, and every glance is layered with meaning, even the most minor roles must be chosen with precision.
With casting finally gaining long overdue recognition as an essential creative craft, Tenner’s work on “Severance” stands as a model of how to build a world one choice at a time. In this wide ranging conversation with Awards Focus, she reflects on auditioning young talent, working with Stiller and Erickson, and why sometimes the best casting decisions come from a gut feeling and a memory that never left you.
Awards Focus: “Severance” has become a full-blown phenomenon since its first season. Heading into Season Two, what were your priorities from a casting perspective?
Rachel Tenner: I think the most important goal for Season Two was to continue to honor the tone of the piece and make choices that helped further the world we were living in. We were diving deeper, meeting more people, and we needed to make sure audiences stayed immersed. And yes, people reached out wanting to be a part of it, but at the end of the day, you don’t want to just add people in for that sake. It has to serve the story. We tried to add faces and people we loved where it made sense. Some bigger opportunities, we had to sit on, because they didn’t quite honor the story.
AF: For the Season Two cast additions, how much of the ensemble came through the standard audition process—and were there any roles you filled with direct offers instead?
Tenner: Obviously for Sarah, that was a big audition process. I mean, it was a big part and a strange one—you needed someone young who could deliver something really tonally specific, and also kind of weirdly wise. For Stefano Carannante, one of the replacement people, we had auditions because we really wanted fluent Italian speakers and true Italians, so that one was a little more specific. The rest were mostly people we had ideas about and brought in—we’d either seen their work or just had a strong gut feeling. Robbie Benson actually auditioned. We were thrilled to get that tape back. Honestly, we were like, please let this be right—and it was.
AF: Let’s discuss Sarah Bock in the role of Miss Huang—such a compelling and complex character. Was the intention always to cast an Asian girl for that role, or was it open on the basis that the actor could fulfill the tone and depth you were searching for?
Tenner: It was open. She just had this very old soul quality, and she understood the tone and story in such an impressive way. Her instincts were amazing. In callbacks, we played with how she presented, but her understanding and choices were excellent.
AF: Among the new characters introduced this season, which role presented the biggest casting challenge—and why?
Tenner: Sarah’s character felt daunting at first. But once we started seeing people, it got less intimidating. The world of younger actors right now is really strong. And then Sarah came in early in the process, and it was clear.
AF: Many of the new characters navigate a delicate tonal balance between dark humor and emotional resonance. What specific qualities or skills were you prioritizing when casting them?
Tenner: We knew everyone needed to be very well-rounded. Some shows lean more comedy or more drama, but here, the actors needed to be able to navigate all of it. Even if we hadn’t seen certain qualities in their past work, we saw the depth in their auditions. And some roles got more complex in Season Two—more Innie/Outie play, more emotional arcs. We had inklings of where things could go and wanted to pick actors who could handle anything thrown their way.
AF: This season brought in standouts like John Noble, Gwendoline Christie, and Merritt Wever. What went into casting those roles, and how did you collaborate with them (and with Ben Stiller, Dan Erickson, etc.) once they were on board?
Tenner: Gwendoline was a huge fan of the show, and we were excited that there was a role for her. Merritt—she’s just so dynamic, with humor and vulnerability. She felt like a great pairing with Zach. I brought her up to Ben [Stiller], he loved the idea, and we went from there. I honestly can’t recall John’s full process right now—it’s been a long stretch—but I’ll circle back.
AF: Looking back at Season One, was there anyone in the primary cast whose performance grew in ways you didn’t expect—someone who really surprised you with where they took their character?
Tenner: I think everyone has really risen to the challenge, but I’ve had so much fun watching Zach Cherry and Trammell Tillman. Their storylines became more complex than I originally knew, and it’s been exciting to see them navigate those arcs.
AF: You mentioned earlier not wanting any one actor to overshadow the ensemble. How do you strike that balance with so much interest in the show now?
Tenner: You just don’t want to stunt cast for the sake of it. It would be a distraction in a show like “Severance.” We tried to cast actors we loved, some more recognizable, some less, and keep the integrity of the story.
AF: With a series like “Severance” that keeps its cards so close to the chest, how much information are actors actually given ahead of time—especially when it comes to understanding their characters and long-term
Tenner: In Season Two, it’s easier. People know what the world is, and they understand why we can’t give full story. We change names, sides, and anything that might give clues. In Season One, we conceptually explained the show and asked for a bit of a leap of faith. Surprisingly, most people went along with it.
AF: What’s it been like to experience the show as a viewer, especially given how much theory and fan speculation surrounds it?
Tenner: Watching it is a completely different experience than reading it. When I watched Season One, I was blown away. I mean, I’d read all the scripts, obviously, but the production design, the costumes, the props—just the whole world-building—I wasn’t prepared for how beautiful and unsettling it would all feel on screen. I remember at the Season Two finale screening, I was gasping at things like I’d never seen the script. My friend Jackie Cohn, who’s a producer, leaned over and said, ‘Did you not read this?’ because I kept reacting to everything. Jeremy Hindle, Sarah Edwards, Kat the prop master, Jessica Lee Gagné, Teddy Shapiro—so much care and detail. People really go above and beyond.
AF: How has working on “Severance” impacted your growth as a casting director?
Tenner: I feel like I get to work at my highest level on Ben’s projects. There’s so much trust and fun in the process. Dan Erickson created something truly special with this story, and it lives with me in a really meaningful way.
As casting finally begins to receive long overdue recognition with awards, what do you wish more people understood about the craft itself—especially in terms of its creative impact on a series like “Severance”?
Tenner: Casting is about looking at the whole tapestry. Even one-line roles contribute to the story. You’re making creative choices that shape the entire world of the show. It’s a visceral, instinctive process. Sometimes you champion someone no one expects for a role because you know they can do it. Our work helps build the emotional fabric of the story—it’s foundational.
AF: And after the finale, are you Team Britt or Team Deak?
Tenner: Oh, that’s my Sophie’s choice. I’m going to say both. I’m hoping for a throuple—that’ll solve everything!
AF: You never know on “Severance!” Thank you so much for the time, Rachel.
Tenner: Thank you! This was fun.