5 Shocking Reasons Why Every Car In Severance Is Decades Old, According To The Creator

The Apple TV+ hit series Severance, which captivated audiences with its chilling corporate dystopia and mind-bending concept of Innies and Outies, is a masterclass in unsettling design. One of the most persistent and curious questions that has dominated fan discussions since the show’s debut is the anachronistic aesthetic, specifically: why are all the cars so old? The answer, as revealed by show creator Dan Erickson in recent interviews, is far more deliberate and thematically rich than a simple set design choice, directly serving the narrative goal of disorientation and control within the world of Lumon Industries.

The show, which is set in the present day—as evidenced by details like Mark Scout's expiring driver’s license in 2020—intentionally presents a world that is visually out of time. This "retro-futurism" is not just a stylistic flourish; it is a crucial element designed to manipulate both the characters and the viewer. As of late 2025, with anticipation building for the second season, understanding this specific design choice is key to unlocking the deeper philosophical and psychological themes of the series.

The Official Explanation: Disorientation and Lumon’s Total Control

The choice to feature a fleet of decades-old vehicles—from Mark's distinct 1997 Volvo S70 to other seemingly random, late-20th-century models—was a calculated move by the creative team, including creator Dan Erickson and director Ben Stiller. The primary reason is not a plot twist about a time warp or a catastrophic event, but a psychological one: to create a "slight sense of disorientation."

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Erickson confirmed that the production "used cars from a lot of different time periods" to achieve this effect. This deliberate mixing of eras is central to the show's atmosphere. If the characters were driving modern, high-tech cars, the world outside Lumon would feel too familiar. Instead, the outdated vehicles immediately signal to the audience that something is fundamentally "off" about the town of Kier and its inhabitants. This aesthetic choice is a constant, subtle reminder that the world governed by Lumon Industries is not quite the one we know.

The aesthetic extends beyond the vehicles. The Lumon office itself is a jarring mix of sleek, minimalist architecture and bulky, outdated technology. The Macrodata Refinement team, led by Mark Scout (Adam Scott), works on chunky, retro monitors and uses antiquated keyboards, juxtaposed with the very modern, high-concept technology of the severance procedure itself. This anachronistic technology serves the same purpose as the old cars: to make the Innies feel intentionally isolated and disconnected from any discernible modern timeline.

1. The Retro-Futurist Aesthetic: An Out-of-Time Quality

The concept of "retro-futurism" is the backbone of Severance's design. It’s a visual language that suggests a future imagined through the lens of the past. The setting, the fictional town of Kier, and the architecture of Lumon Industries are all designed to embody this. The cars, which span several decades—from the 1980s to the late 1990s—prevent the viewer from definitively placing the show in a specific year.

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This "out-of-time quality" is essential for the psychological thriller aspect. By blurring the timeline, the creators enhance the feeling of existential dread and confusion experienced by the Innies, such as Irving (John Turturro), Dylan (Zach Cherry), and Helly R. (Britt Lower). If the Innies cannot even place the decade of the world they briefly inhabit, their sense of displacement is amplified. It’s a form of corporate psychological warfare, ensuring the Innies remain perpetually off-balance and focused only on the mysterious work of refining data.

2. Reinforcing the "Company Town" Theory

While not explicitly confirmed as the sole reason, the old cars strongly support the fan theory that the town of Kier is essentially a "company town," where Lumon Industries exerts total, pervasive influence over its employees' lives.

In this theory, the old cars could be seen as company-issued vehicles, perhaps provided as part of an employment package or even required for all employees who have undergone the severance procedure. This would allow Lumon to maintain a standardized, low-tech fleet that is easier to manage, monitor, and perhaps even track, subtly extending the control of Harmony Cobel (Patricia Arquette) and Milchick (Tramell Tillman) beyond the walls of the severed floor. The vehicles are non-descript, avoiding the branding and individuality of modern cars, which perfectly aligns with Lumon's goal of stripping its employees of their personal identities.

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3. A Visual Metaphor for Stagnation and Memory Loss

The use of older cars acts as a powerful visual metaphor for the themes of stagnation and fractured memory that define the severance procedure. The Innies, who only exist during their work hours, are trapped in a perpetual loop, devoid of personal history or the ability to grow and change outside the office. The Outies, like Mark Scout, are often emotionally stagnant, using the procedure to avoid processing the grief of losing his wife, Gemma.

The vintage vehicles reflect this lack of forward momentum. They are relics of the past, suggesting that the lives of both the Innies and the Outies are stuck in a time that has long passed. Mark’s Outie, who drives the '97 Volvo, is literally driving a piece of history, symbolizing his inability to move on from the past trauma of his life before Lumon. This is a crucial element of the show's genius—the set design is not just a backdrop; it’s an active participant in the storytelling.

4. Amplifying the Cult-Like Atmosphere of Kier Eagan's Legacy

Lumon Industries is built on the cult-like philosophy of its founder, Kier Eagan. The entire corporate culture is a shrine to Eagan's bizarre, quasi-religious doctrine, complete with the terrifying Perpetuity Wing and the Eagan family history. The retro aesthetic, including the cars, helps to cement the idea that Lumon is a timeless, almost religious institution that operates outside the normal rules of the modern world.

By surrounding themselves with technology and vehicles from a bygone era, the town and the company reinforce the idea of a self-contained, isolated ecosystem. It suggests that Lumon’s influence is so profound that it can dictate the very look and feel of the outside world, preserving a specific, unsettlingly sterile vision of the past. This is a subtle yet effective way to show the terrifying reach of the Eagan legacy and the power of Lumon over the lives of its employees, from the severed floor to the parking lot.

5. Avoiding Product Placement and Distraction

On a more practical, production-level note, the choice of older, non-descript vehicles allows the show to maintain its unique, stylized atmosphere without the distraction of modern product placement. Modern cars, with their distinctive logos, sleek designs, and integrated technology, would immediately ground the show in the present day and potentially clash with the unsettling, timeless quality the creators sought to achieve.

Director Ben Stiller and the production team focused on the "specific look over branding" of the cars. By using models that are recognizable yet generic and dated, the focus remains squarely on the characters, the mystery of the severance procedure, and the chilling architecture of the Lumon offices, rather than on the contemporary world outside. This commitment to a cohesive, ambiguous aesthetic is what makes Severance such a visually and psychologically compelling piece of television.