When Apple TV+‘s acclaimed workplace thriller Severance finally returned after an excruciating three-year hiatus, fans had but one complaint: The unskippable opening credits sequence was gone.
“They replaced the Severance opening credits with just a title card!?” one fan wrote on X alongside a photo of Zendaya’s Challengers character looking particularly unimpressed.
“Reducing the opening credits of Severance to just a short title sequence is the biggest loss in modern cinematic history. Those credits were art, they held meaning,” another fan asserted.
“I live for for that shit 😡,” a third riled up, extremely relatable fan admitted.
Since so much time had passed since Severance premiered back in February 2022, even some of the show’s most fervent fans forgot that the original opening title sequence wasn’t introduced until Episode 2. In keeping with tradition — and much to the delight of those disappointed fans — the second episode of Severance‘s sophomore season unveiled a fresh opening credits masterpiece from artist and animation extraordinaire, Oliver Latta, who won a well-deserved Emmy Award for Season 1’s sequence.
“Season 1 was all about establishing the foundation — defining the tone, style, and identity of the intro… The goal was to visually represent the themes of disconnection and duality, focusing on Mark’s two separate lives: one heading to work, the other going home,” the Berlin-based designer (who uses the artistic alias Extraweg) told Decider via email. “For Season 2, the challenge was to build on that foundation while introducing new characters, deeper themes, and a more layered narrative.”
Set to Season 1’s iconic theme music from Emmy-winning composer Theodore Shapiro, Season 2’s dark, surreal, delightfully mind-bending opening sequence delves deeper into the psychological depths of Severance, highlighting Mark’s search for answers as both an innie and an outie.
From exploring a dark green brain by flashlight to the presence of head-shaped balloons with ties, certain imagery in the Season 2 sequence clearly has ties to Mark’s reintegration process, which he and Reghabi (Karen Aldridge) started at the end of Episode 3. The goat painting and grassy landscape suggest that fans might learn more about Season 1’s mysterious baby goats beyond Episode 3’s visit to Lorne’s (Gwendoline Christie) department. And inclusions of babies, snow, an Irving mug, the black Exports Hallway, and new opening credits characters (Ms. Cobel, Helly, Ms. Casey/Gemma, and even Kier) remind us that the series is still full of unknowns. That said, with each passing episode, fans will view the credits sequence through a new lens. “As the story unfolds, perspectives on the intro may shift, which is exactly what I hoped for,” Latta explained. “It’s meant to evolve with the audience’s understanding of the show.”
In celebration of Severance‘s new Season 2 sequence, Latta opened up about his big Emmy win, his relationship with director/EP Ben Stiller, his Severance set visit, the opening credits creation process, and more.
DECIDER: To start, congratulations on your Emmy for Outstanding Main Title Design! What did that win mean to you as an artist — especially having never done an opening credits sequence before?
OLIVER LATTA: Winning the Emmy was an incredible honor, but what means even more to me is that it recognizes the thought and effort we put into connecting the sequence to the heart of the show and setting its tone. I feel especially proud to have worked on such a unique and visionary project. Being part of this, alongside so many talented people — especially Ben Stiller, whose support and trust I’m deeply grateful for — as well as Theodore Shapiro’s powerful music and Teddy Blanks’ brilliant typography, was a privilege. Awards like this matter because they highlight the dedication, creativity, and energy required to create work that resonates. It’s not effortless, and I’m thankful that these recognitions exist to honor that level of care.
Fans have deemed Severance‘s opening credits “unskippable.” What’s it been like
to see their reaction and appreciation for all of the details?
Hearing fans call the intro “unskippable” is the ultimate compliment. Their engagement has been incredible — from recreating/rebuilding the intro to analyzing every frame for hidden meaning. It’s amazing to see how deeply they connect with the layers of symbolism I worked to embed. That level of appreciation and creativity from fans is so rewarding and reflects exactly what we hoped to achieve.
Ben Stiller found your work on Instagram. What has it been like working with him, and how has your relationship grown between Season 1 and Season 2?
Working with Ben has been inspiring from the very beginning. He trusted my artistic vision and gave me the freedom to explore, which is rare and incredibly encouraging. By Season 2, our creative connection felt even stronger. Ben’s attention to detail and his ability to think visually were crucial in shaping the intros. It’s been an amazing experience to work with someone who values creativity and collaboration so much.
I saw in your Instagram Highlights that you created a PowerPoint presentation for the Season 2 title sequence. Can you share a bit more about the creation and pitch process?
For Season 1, I worked with minimal material — just the script for the first episode and a few still frames. The goal was to visually represent the themes of disconnection and duality, focusing on Mark’s two separate lives: one heading to work, the other going home. I wanted to reflect that separation in a way that felt impactful and true to the show’s tone.
For Season 2, Ben shared an image of Mark walking down a hallway with human balloons, which sparked new ideas. I organized my concepts into many presentations and also flew to New York to visit the set and meet the whole team. So this intro delves into Mark’s subconscious, presenting a darker, surreal journey that mirrors the evolving narrative. The balloons became a central metaphor, reimagined as a surreal head-shaped balloon with a tie. The concept also expanded to explore deeper psychological layers and new characters. Collaboration with Ben and the team was essential in refining the sequence into what you see today.
What was it like being on set in New York for Season 2?
As I said — being on set was an eye-opening experience. I had the chance to meet the entire production team, from costume design to set production and even makeup. They introduced me to everyone, and it was incredible to see how much detail and care goes into every aspect of the show. I’ve been to New York several times before, but I had never been on a real set like this. Keep in mind, my work usually happens in front of a computer — I can work from anywhere. Seeing what goes on behind the scenes was mind-blowing. Every element of the show is intentionally designed, and dedicated departments are crafting each detail. I didn’t realize just how massive this production was or how much effort and thought go into every single element of the show. It’s something you don’t fully see in the final product — it’s way bigger than it appears on screen. I really hope they release some behind-the-scenes content for the show because it would be fascinating to see.
Talking directly with each department gave me so much insight into the world they were building for Severance. It was surreal to walk through these incredible environments in person and understand how my work would connect to the larger vision of the series. It gave me a whole new appreciation for the collaboration and craftsmanship behind the show.
Had you seen any of Season 2 before the new credits were finalized?
No, I hadn’t seen anything in motion — just the stills I requested. Now that the titles are
finalized, I understand why Ben invited me to the set — it all makes sense now. I’m so
glad I had the opportunity to be there and see everything firsthand. It gave me a deeper
understanding of the show’s world and the emotional weight of the storylines. That
context was essential in shaping the sequence.
Adam Scott has talked about being captured for 3D animation for Season 1’s opening. Can you talk more about the technical side of creating these sequences?
The scanning process itself is straightforward, but the real challenge lies in preparing the data for production. These files are huge, so the first step is optimizing them for smoother animation and rendering. For Season 2, I had several characters to work with, which required recreating hair, textures, and clothing — everything had to be reworked for better handling during production.
When I created the first intro, I didn’t know there would be a second one. So, for Season 2, I had to rebuild everything from scratch to allow for more intricate scenes and close-ups. These are details most viewers won’t notice, but they’re essential for flexibility and quality during production. Character animation is one of the most technically demanding aspects of 3D work.
Combining it with seamless transitions, simulations, and intricate visuals made it even more challenging, but that’s what I enjoy — pushing the boundaries of what’s technically possible.
People should follow me on my social media channels. I’ll be sharing some behind-the-scenes moments and masking techniques over the next month. Stay tuned!
How long did Season 1 and Season 2’s opening credits take to create? Did you find Season 2’s more challenging?
Both sequences took roughly eight to nine months to complete, though each season brought its own challenges. Season 1 was delayed by COVID, while Season 2 faced interruptions due to the writer’s strike. While these delays were frustrating, they also allowed me time to refine and enhance the sequences further. Season 1 was all about establishing the foundation — defining the tone, style, and identity of the intro.
For Season 2, the challenge was to build on that foundation while introducing new characters, deeper themes, and a more layered narrative. One of the toughest parts was working with the same iconic music from Season 1. It had to feel fresh and meaningful, not just like an updated version of the original. As someone who’s deeply influenced by music, Theodore Shapiro’s score was central to shaping the sequences and guiding the creative process. The concept phase was by far the most demanding. It involved aligning my ideas with Ben Stiller’s vision and ensuring everything stayed true to the show’s tone and storyline. Balancing continuity with new ideas was tricky, but it’s what made the project so rewarding.
On The Severance Podcast, Ben Stiller said that your ar influenced images throughout the series, such as Mark holding the balloons in Season 2’s premiere. What has that meant to you?
It’s an honor to know my work has influenced the visual language of the show. Ben Stiller and the team’s willingness to integrate ideas from the intro into the series shows how collaborative and forward-thinking they are. It’s rare to have this kind of creative synergy, and it’s incredibly rewarding to see my art resonate on such a large scale.
How excited were you to include new characters like Ms. Cobel, Ms. Casey, and Helly this time around?
Bringing in new characters added a lot of depth to the sequence. Each character contributed something unique to the visuals, expanding the narrative while maintaining the mysterious tone of the show. Even the goats were fun to include — they added a quirky yet meaningful layer to the sequence.
The process felt like building a bridge between what fans already know and the new twists and dynamics introduced in Season 2. It was exciting to explore how these elements could visually tie into the larger story.
Can you talk a bit more about the meaning behind the inflating heads and other signature elements in Season 2?
The inflating heads are a metaphor for pressure, growth, and identity. They tie into themes I explore in my personal works, like “Escape” and “Past,” which reflect ideas of freedom versus entrapment. The human balloons, for example, represent the weight of memories or obligations. These visuals are designed to evoke curiosity and allow viewers to interpret them in their own way.
Do you have a favorite aspect of the Season 2 sequence?
It’s hard to pick a favorite because every scene has something I love. It starts with the opening shot where the wall slides across Mark’s face, symbolizing his split personality. If I should pick one — it’s the “curtain-wall” scene, where a character lifts a wall and slips under the elevator door. I also love the moment where characters carry each other — it captures the intro’s core message while leaving room for interpretation.
What was the biggest challenge you faced when creating the new sequence?
The most challenging part was ensuring everything was interconnected. Each scene had to stand alone while seamlessly flowing into the next, like a complex puzzle where every piece was essential. The concept and story were key, taking up about 70% of the process. I value storytelling and the message behind the visuals because that’s what connects the sequence to the heart of the show. Having control over every detail ensured the vision stayed true and original, though it required more time and effort. With a slightly higher budget for Season 2, I brought in freelancers for specific tasks but handled most of the work myself to maintain that
connection between the story and visuals.
What do the Season 2 credits represent to you?
The Season 2 credits were intentionally designed to leave room for interpretation. I wanted viewers to engage with it in their own way, forming personal connections and meanings. While I have my own understanding of the sequence, I deliberately avoided imposing it because I believe the beauty lies in letting each person experience it differently. As the story unfolds, perspectives on the intro may shift, which is exactly what I hoped for. It’s meant to evolve with the audience’s understanding of the show.
Has a Season 3 opening sequence been discussed yet?
Not yet, but I’m excited about the possibility. Each season brings new challenges and opportunities to evolve the story visually, and I’d love to explore how we can push the boundaries even further in the future.
New episodes of Severance Season 2 premiere Fridays on Apple TV+.
