Issue link: http://digital.copcomm.com/i/1316563
framed structure that would have a woven strip of a photographed image applied to it, revealing it to be Elena's face. After reading it, Connie felt that the process was more complex than she would ever attempt. The fi nal iteration was strips hanging from a large branch, Elena's face distorted from the separation between them, fully diff erent from the script but eually as eff ective. Since the show has aired, the set that gets the most attention is Izzy's room. Either you were that kid or you knew someone just like her. There is something in her room that everyone relates to. My favorite set, however, is the Chinese restaurant, Lucky Palace, where Mia works. When I still lived at home, my suburban New Jersey family would go out to eat every Friday night, alternating the choice of restaurant between the four siblings. My choice was always Magic Wok. That set is an homage to those meals with my family, down to the mismatched chairs, the water stains on the ceiling and the glass covers over the tablecloths. It's part of what makes LFE so powerful—there is something everyone can connect to in the show. Little Fires Everywhere challenges us to look past the nostalgia and to dig deeper to uncover the truth. It asks uncomfortable questions, questions we are struggling with today, and encourages us as viewers to confront our own implicit biases and perspectives formed by our own experiences. It leads us to realize that confl ict and understanding are two sides of the same coin. Each are possible outcomes; what we end up living with depends on whether we are able to see each other fully in the end. ADG D. MIA'S HOUSE, STUDIO. SET PHOTO. E. MIA'S BEDROOM. ORIGINAL ARTWORK BY KERRY WASHINGTON ABOVE THE BED. SET PHOTO. F. LUCKY PALACE RESTAURANT. BASED ON JESS' FAVORITE CHILDHOOD CHINESE RESTAURANT. SET PHOTO. D E F