SPOILER ALERT: This article contains spoilers for Season 2, Episode 10 of “Severance,” now streaming on Apple TV+.
Tramell Tillman’s character made a memorable exit while showcasing his unique dance skills.
After his unforgettable performance in the first season of “Severance,” where his character, Mr. Milchick, delivered a viral “Music Dance Expertise” routine, Tillman initially doubted if he could recreate that magical moment. However, when director and executive producer Ben Stiller proposed a thrilling marching band sequence for the Season 2 finale, titled “Chilly Harbor,” Tillman recognized a golden opportunity to connect with his own roots. “I attended two HBCUs, one of which was Jackson State University, home to the Sonic Boom of the South, one of the nation’s top marching bands. Witnessing their incredible athleticism, creativity, and passion during my college years left me in awe,” he shared with Variety.
As Adam Scott’s character, Mark S., completes the pivotal Chilly Harbor file, Milchick takes center stage, introducing the Choreography and Merriment division as he leads the celebration with impressive drum major moves, highlighting Mark’s significant achievement.
This moment stands out as the pinnacle of an incredible season for Tillman, whose portrayal of Milchick has delivered some of the show’s most iconic quotes, including “Marshmallows are for team players” and “Devour feculence.” Below, Tillman reflects on Milchick’s standout moments from the finale, including his comedic exchange with Kier and that unforgettable marching band performance.
What was the physical challenge of filming the intense scene where you kicked down the bathroom door with the vending machine?
It felt exhilarating, honestly. The writing team, led by Dan [Erickson], crafted such a compelling backstory for Milchick that I didn’t need to act much to authentically smash that vending machine. The satisfaction was immense because the choreography for that scene was originally intended to be entirely different. Initially, I was supposed to go down with the vending machine, but during one particular take, I collided with it, causing it to topple over while I stood triumphant. That unexpected moment became the final cut, which was far cooler! I then jumped on top of the vending machine like a superhero, thinking to myself, “This is incredibly fun!”
It became a thrilling experience, and I relished every moment of it. The physical demands of that scene were significant, but they only fueled my performance. It allowed me to showcase the energy and excitement that comes with such a pivotal moment in the storyline, making it memorable for both me and the audience.
It’s interesting that you refer to him as a badass, especially since viewers have begun to reevaluate Milchick as more than just a villain. How has it felt to witness this shift in audience perception?
I genuinely love it. Witnessing this transformation is incredibly rewarding. It’s human nature to form immediate opinions about others, often as a way to protect ourselves. However, it’s fascinating to see viewers begin to question their initial judgments about Milchick. Some people still struggle to accept him as a good character, which I completely respect, but the fact that opinions are evolving is a positive sign. It indicates that we’re engaging in meaningful conversations about character complexity and morality.
The entire series invites viewers to ponder, “Who are you?” From the very first episode, we confront this question. Milchick’s journey particularly emphasizes his quest for identity within the company, reflecting the broader themes of self-discovery and the impact of corporate culture on personal identity.
Courtesy of Apple
This season has begun to explore the complex themes of race within Lumon and their impact on Milchick. What were your initial thoughts when you read the scene depicting Kier as a Black man?
Before I even read that storyline in the script, Dan Erickson approached me to discuss the inclusion of that significant narrative in Milchick’s arc. I truly appreciate that he sought my input. We took a considerable risk by addressing this topic, as failing to do so could have led to a narrative that alienated a significant portion of our audience. Throughout this process, I had numerous discussions with Dan, Ben, and Sydney Cole Alexander, who brilliantly portrays Natalie, about the experiences of these two characters of color within a predominantly white corporate structure that has elements of racism ingrained in it.
What stood out to me during the filming of that scene with Sydney was the hands-off approach Ben took. He encouraged us to explore our characters freely. While he provided subtle direction, the majority of the scene unfolded as a non-verbal exchange between Natalie and Milchick, which we discovered organically in the moment. That spontaneity brought an electric energy to the scene.
Carrying that moment into Episode 5, just before Milchick undergoes his performance review, I was grateful they kept that scene intact, as there was discussion about cutting it. I felt it was crucial for Milchick to have that opportunity to connect with another character of color regarding their shared experiences, allowing Sydney’s character to respond authentically, adding depth to both their arcs.
This season, Milchick has faced repeated reprimands for his sophisticated vocabulary, despite other characters like Cobel and Jame Eagan using colorful language. Do you see this as a reflection of the underlying racism within the company?
Absolutely, it represents a classic microaggression. His colleagues are scrutinizing his language and dictating what they deem appropriate for him to say. It’s belittling and controlling for Drummond to confront Milchick while he is already being reprimanded, further chastising him for his choice of words. This isn’t merely about company protocol; it likely stems from Drummond’s ego, as he probably doesn’t even understand what “devour feculence” means. He just learned that day.
Courtesy of Apple
Your delivery of “mon-o-syl-a-bic-ally” and “devour feculence” in Episode 9 were some of my favorite line readings of the season. How did you approach that intense confrontation with Drummond when Milchick stands up for himself for the first time?
I aimed to channel personal experiences where I felt my speech was policed. Growing up in PG County, education was highly valued, and we were encouraged to present ourselves as intelligent individuals. However, within the context of my upbringing, intelligence often equated to whiteness.
So, whenever I expressed myself a certain way, using proper vowels and consonants, it felt like I was being labeled as “trying to be white.” Those who criticized my vocabulary and diction were projecting their insecurities and expectations onto me. Thus, for me, that moment represented a powerful stand against being controlled. I wasn’t about to let anyone dictate my speech, and in that confrontation, I tapped into my younger self, embodying Tramell’s defiance through Milchick. It was a significant moment for me.
Let’s dive into that epic marching band scene. Did it arise from fan reactions to your Music Dance Expertise performance in Season 1? How long did it take to learn that choreography?
Initially, I was hesitant to do another dance sequence. I expressed my concerns to some of the creators, saying, “I don’t want Milchick dancing every season.” I worried we might try to replicate the magic of the Music Dance Expertise, which was an iconic moment in its own right. However, when Ben mentioned incorporating a marching band, my interest piqued. I attended two HBCUs, one of which was Jackson State University, home to the illustrious Sonic Boom of the South, and I would watch their performances in awe during my college years, captivated by the musicians’ athleticism, creativity, and passion.
Upon learning that a marching band would be featured, I asked Ben about the style, inquiring if it would be military or HBCU-inspired. When he wasn’t sure, I proposed, “How do you envision my role? Should I be the band director or the drum major?” I knew that if it was going to be HBCU style, like Jackson State, I had to take on the role of the drum major.
Courtesy of Apple
It was an exhilarating experience. I must credit Ty, Teddy, and Tyrone, the choreographers and organizers of Choreography and Merriment, who skillfully brought together all the musicians and dancers to create the choreography and ensure the movements were flawless. It was an epic collaboration. We had a blast filming that sequence over several weeks, including rehearsals during our days off to ensure everything was perfect for this outstanding performance. I cherished the time spent bonding with the band.
Just before that moment, you engage in a unique comedy routine with an animatronic Kier. While it initially seems scripted, it feels like you snapped back after Kier insulted Milchick’s vocabulary. What was the reality behind that scene?
That moment started off scripted with planned jokes. However, things quickly became real. Milchick has been holding onto so much frustration, and it was all starting to bubble up. The line about “devour feculence” wasn’t even planned; it just slipped out, mon-o-syl-a-bic-ally. This moment reveals the layers of Milchick as he begins to confront the facade he has maintained for so long. He stands up against the very thing he has been criticized for: policing his own language.
Reflecting on Choreography and Merriment, the presentation of the musical numbers is significant. “The Kier Hymn” is performed in a traditional manner, adhering closely to the script. In contrast, “The Ballad of Ambrose and Gunnell” allows Milchick to showcase his personality. This differentiation seems intentional, highlighting how Milchick infuses his identity and history into the corporate world of Lumon, evident in his leather jacket, ORTBO outfit, and the choreography he brings to life.
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