What if it were possible to truly separate your personal life from your work life, asks “Streaming” columnist NICK OVERALL.

THIS isn’t about finding that ultimate, harmonious balance between work and play, this show is quite literally, about fragmenting oneself into two different identities: one for work, and one for everywhere else.

Apple TV Plus’ new corporate-horror comedy thriller series “Severance” asks the question.

In it, Adam Scott of “Parks and Recreation” fame plays Mark Scout, a corporate boffin who undertakes a surgical procedure that splits his brain in two. 

While at the office his work identity – referred to in this fictional universe as an “innie” – activates until the clock strikes five at which time his brain switches to his “outie” identity.

Mark’s “outie” self has no memory of what he does while at work, and his “innie” self has no memory of what he does at home, allowing him to quite literally separate his work and home life into a “perfect” balance.

As happens to be the case with sci-fi dystopias, it turns out the idea isn’t as rosy as it seems.

Lumon Industries, the company that Scout and an ensemble of other weary characters work for is wrapped in a mystery – nobody knows what the company does, nor indeed what they themselves are employed to do for it.

It all smacks of something one would see in Netflix’s sci-fi hit “Black Mirror”, but “Severance” represents one of the most unique debuts to a TV show in recent years.

The series is divided up into nine episodes that are being released weekly on Apple’s streaming platform and it may come as a surprise to some that much of the series is directed by Ben Stiller.

The famed comedy actor injects some well-timed laughs into the show, but for the most part, this is a dark and surreal drama that’ll have its audience biting their nails.

AT a more breezy pace, “The Marvelous Mrs Maisel” has made a welcome return to Amazon Prime Video after an extended break due to covid.

It’s about Midge Maisel, a ’50s housewife who discovers she has a talent for stand-up comedy.

Her aspirations take her through nightclubs, bars, cafes and everywhere in between as she aims to earn a seat on the “Tonight Show”.

While it may seem like the premise would have a limited shelf life, now in its fourth season it continues to move along with a wit as quick as its protagonist, making it an easy watch.

MEANWHILE, on Binge, the glossy and graphic second season of “Euphoria” is stirring up controversy.

It’s widely known that production company HBO has a penchant for putting nudity, drugs, violence and crime to the screen in unflinching detail, but in “Euphoria” they push it one step further.

It tells the story of Rue, a teenage drug addict trying to find her place in the world, played with emotional vigour by Zendaya. 

It’s about as high-brow as a teen drama can be pushed. Stunning cinematography captures the twisted lives of these high-schoolers as they revel in alcohol, sex, drugs and smartphones.

Does it justify its shock value?

Decadence, and the tragedy of trying to find some sort of happiness in the depths of it, is after all what the show is about. In that sense, there’s room to argue that its overly graphic detail should leave some kind of ugly taste in the mouth.

While season one was able to balance that shock value out with an emotionally compelling story, season two has unfortunately gone off the deep end with it all.

The relentless graphic content is quickly exhausting and it’s a shame to see it strangle the show’s more heartfelt and, at times, genuinely touching moments made possible by some stunning acting.

“Euphoria” is drunk on its own gratuitousness. Hopefully it can sober up a bit.