Warning: This article contains spoilers for the Severance season 2 finale, “Cold Harbor.”

Oh, did you want answers about WTF is going on in Severance? Well, how are you feeling after seeing that season 2 finale jam-packed with answers, which only led to more questions?

Apple TV+’s office thriller did not hold back in the second half of the season. Every episode was chock-full of revelations — from the goats, to what’s happening to Gemma (Dichen Lachman), to Burt (Christopher Walken) and Irving’s (John Turturro) relationship, to Cobel’s (Patricia Arquette) history at Lumon. But nothing could have prepared fans for that game-changing finale, which featured twist after twist all the way until the scream-inducing final seconds.

The intense episode, appropriately titled “Cold Harbor,” began with a seriously chill-inducing moment as Helena’s (Britt Lower) father/Lumon CEO Jame Eagan (Michael Siberry) told Innie Helly that he doesn’t actually love his daughter; he “sees Keir” in her. Creepy! Meanwhile, Innie Mark (Adam Scott) and Outie Mark got into a fight (yes, with each other!) via a video camera about their next course of action until Cobel finally clued Innie Mark in on what’s actually going on at the company: “The numbers are your wife. The MDR numbers on your console, they’re a doorway into the mind of your Outie’s wife, Gemma Scout.” The clusters that he’s been filing away? Each one made a new consciousness for her, a.k.a. a new Innie. 24 new Innies total! Mark’s horror at what he’s been complicit in doing to Gemma was palpable.

Mark finally returned to Lumon with a plan to save Gemma, but he begrudgingly had to finish the Cold Harbor file first, much to Jame and Milchick’s (Tramell Tillman) delight. Milchick’s resulting comedy routine and “choreography and merriment” dance performance alongside a full-on marching band in MDR was instantly a series highlight (give Tillman all the awards now), but then Helly and Dylan (Zach Cherry) trapped him in the bathroom, giving Mark the chance to slip away to find Gemma.

His big rescue mission went sideways when he interrupted Mr. Drummond (Darri Ólafsson) forcing Lorne (Gwendoline Christie) to kill one of her beloved goats, Emil. Mark and Drummond got into an all-out fight in the hallway, and Lorne saved Mark by helping him overpower Drummond. Mark tried to use Drummond as a hostage, but accidentally killed him while taking the elevator because he transitioned back into Outie Mark and lost control. He was able to find and reunite with Gemma and safely get her out of Lumon. The two of them even made it through the severed floor, transitioning back into Innie Mark and a very confused Ms. Casey, yet it somehow worked. Gemma was free!

But because this is Severance, a season can’t end without a massive, maddening cliffhanger: Innie Mark chose to stay inside Lumon’s severed floor with Helly rather than letting Outie Mark get out and run away with Gemma, forcing Gemma to watch helplessly outside the door as her husband’s Innie turned away from freedom, grabbed Helly’s hand, and smiled as they disappeared inside Lumon. The red end credits fit Gemma’s shock and fury perfectly.

Below, series stars Scott, Lower, and Christie break down that wild season 2 finale.

ENTERTAINMENT WEEKLY: Why did Innie Mark choose to stay inside Lumon with Helly rather than letting Outie Mark escape with Gemma?

ADAM SCOTT: I mean, for Innie Mark, it’s a no-brainer, right? But it’s difficult — actually, it’s not, because I think emotionally it’s a no-brainer, but logic-wise, they went through logically what’s in front of them and decided, “You should go,” but their hearts told them something else. And I think for Innie Mark and Helly, it’s one thing, but then watching it, I feel horribly for Gemma. Obviously, it’s heartbreaking. And for Outie Mark too, they finally were right there, and it got pulled out from under them. So I don’t know, I have very mixed feelings about it because I think of it as a two-pronged decision. And when you have colliding interests, but you’re in the same body, then it’s going to come to a head at some point.

Helly really stood her ground with Milchick in the MDR department. What was it like filming that whole scene with the marching band?

BRITT LOWER: I played the trumpet in the marching band in high school, so it was incredible to be with that band. I mean, that marching band is so amazing. And then to have that be happening inside of MDR, this space that we’ve all spent so much time working on computers, just explode with sound and this radical joy in this dire circumstance, it was wild.

I didn’t think that Severance could top Milchick’s big dance scene from last season. But then he pulled out an entire choreographed routine with the marching band.

LOWER: Yeah, my god, Trammell is a genius. That marching band sequence really embodies, for me, the juxtaposition of the show, like this corporate world with this fully established band that they have at the ready. There’s something so wonderfully surreal about that. And at the same time, these characters are on this very human journey inside of this surreal moment. I feel really proud to be a part of this incredible team, the cast and crew and the designers of our show, who have built and put so much sweat and thought into each aspect of this huge puzzle that we’re all building and solving at the same time.

We finally learn more about what Lumon is doing with all those goats: Lorne is forced to kill them. But there’s maybe more to the story? What is going on there?

SCOTT: I think it is great [we didn’t reveal all the answers]. I mean, people are always looking for answers of some sort, and I always wonder if people actually want answers or if they just want a little bit more of a hint of what something may be or may not be. But I think this is a satisfying angle on the goats, and hopefully it will satisfy people.

GWENDOLINE CHRISTIE: I do actually have the answers, but one of the conditions of doing the show from the creative team was they asked me something and I agreed to it, which was that I had to actually undergo the severance procedure. That means that I will never be able to release what the goats mean.

Tell me about little Emil the goat — how was it working with him on set?

CHRISTIE: Emil and I, we really bonded, actually. Even the animal handlers said, “Emil has bonded with Gwendoline.” I really adored being around all those goats. It’s heaven. I’ve always felt a strange affinity with goats, and Emil was a very professional goat — a very young goat, a proper child star goat, and extremely well-behaved, but just so affectionate and [full of character]. I didn’t have to act, I just responded to the goat. It’s sort of a bit like riding a horse in a way, in that I realized you have to calm your body down and you have to get in tune with the animal, and you have to be open to really actively listening to the animal and listening and responding so that Emil wouldn’t freak out too much. I could maybe hold Emil’s legs in a certain way, or I could really learn how Emil was comfortable. And I found I quite fell in love with that goat, and I felt very sad to be parted when we were finished shooting the scene, and I kept making jokes, which nobody laughed at, saying, “I’m so thrilled you’ve decided to give me Emil as my wrap gift.” No one laughed. No one responded. Emil has not arrived. I need to live with that goat in real life, truly. It added to the glorious, intense lunacy of the piece.

What was it like filming the big fight scene with Mark, Drummond, and Lorne?

SCOTT: It was so fun. The fact that I got to be in a fight scene with Gwendoline Christie was the greatest. You see just her expertise and how brilliant she is as an actor, but also with combat like that, she just puts a thousand percent of herself into it, and just emotionally, the fight becomes part of her emotional journey. She puts everything she has into it. So we were all just trying to keep up with Gwendoline.

CHRISTIE: I haven’t talked to anyone about this, at all! This is the first time I will speak about that. It was thrilling and exciting. And I realized that I have a whole combat lexicon, and I love performing it and telling the story through the fight. And it was also exciting because we shot [episode] 3 a considerable amount of time before the final episode, so there was a lot of space to think about how pain manifests itself and how it releases itself, and the lengths that people will go to. And so I really thoroughly enjoyed working with everyone and working with Darri, who’s such an exceptional actor and a generous soul, and Adam. I can’t stop saying how enjoyable it was, but honestly, it’s been one of the most thrilling creative endeavors of my career.

How did you film that intricate, escalating argument between Innie Mark and Outie Mark, all taking place on a video camera?

SCOTT: It was the first thing we shot when we got back from the break for the strike, which was like nine months or something. So it was diving in the deep end, getting back to the show after a while. I was freaked out about it — I think anyone would be freaked out about how this is going to end up, how this is going to look and feel, because it could so easily go wrong. In my apartment, I just recorded dummy tracks on my phone just to put into the camera so I could watch something, and I just sort of played to those. Also, while we were shooting, I was recording on the camera when I was holding it, so then we could take that footage and use it for the response. As we went along, we had more and more footage to play with for me to react to, but it’s still you, so it feels silly. I don’t want it to feel silly.

With anything you do where you’re sort of exposing yourself a little bit and trying to do something different or that you think feels special at all, the big fear — and it’s the same fear as it was when I was 14 and I was rehearsing to be in a play — is that someone’s just going to laugh at you and think it’s silly. But that’s the sort of thing that you need to just say, “F— it,” and “Who cares if someone’s going to laugh at me? Whatever. Let’s just do what we can and try to make it good.” At the end of the day, we just dove in head first and tried to shake off any fear of feeling silly.

Season 2 did not hold back with finally revealing some game-changing twists and information about Lumon and these characters. What was your favorite reveal this season?

LOWER: Just the human part of who they are on the outside. Like getting to see Dylan’s family, getting to see more of how Irving is on the outside, and then getting a little glimpse of Helena’s sheltered, isolated life with her father, and extrapolating from that what her upbringing must have been like and getting to have some more perspective on why she is the way she is.

This interview has been edited for length and clarity.

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