Issue link: http://digital.copcomm.com/i/1438629
1 0 0 P E R S P E C T I V E | J A N U A R Y / F E B R U A R Y 2 0 2 2 Y: The Last Man is an FX series based on the beloved graphic novels of the same name, where an event of unknown origin exterminates every living mammal with a Y chromosome, with the exception of one cisgender man, Yorick, and his pet, a male capuchin monkey named Ampersand. Y centers on Yorick, geneticist Dr. Allison Mann, and 355, a secret agent, traveling across the country to get to the bottom of why Yorick and Ampersand survived. In their travels, they encounter different groups of suriors with different responses to the eent and different ideas on how to move forward in its wake. The mandate from show runner Eliza Clark was for the show to feel naturalistic and rooted in reality. The production would be grounded in a familiar world to make it more easily relatable. From there, the environments would slowly develop small peculiarities that would make the Y world unique. With a predominantly female cast and a production team, seven directors, three cinematographers and a costume designer who were all women, we knew that it was going to be a different kind of filmmaking eperience.n the early design stages, we talked a lot about how we could incorporate an exploration of the female gaze into the show. We decided that for us, the female gaze was about subjectivity, point of view and detail. You see the roots of hair, imperfections in the skin, sweat, dirt under fingernails, eery scene is quite detailed and shot from someone's point of iew. After the event, the cisgender men are gone. Power completely changes hands, and the show explores T h e U n m a n n e d W o r l d o f Y: T H E L A S T M A N B Y A L E X A N D R A S C H A L L E R , P R O D U C T I O N D E S I G N E R A