Issue link: https://digital.copcomm.com/i/1438629
Y: T H E L A S T M A N | P E R S P E C T I V E 1 0 1 what this might mean. We look at the power of personality, of cults and identity and the power of the patriarchy. Resources also equal power. This dynamic plays out in nearly every scene and is something that we wanted to reinforce in the design. While there was some VFX support, the majority of the sets and effects were created practically. And as a road show—the season has over two hundred environments with only the Pentagon as a recurring set—I knew when I accepted the job that we had a monumental task ahead of us. Thematically, the irony of a global pandemic striking ust before filming was not lost on the production, and though the logistics of working safely during COVID loomed large over every decision, we ultimately opted to exclude COVID from the set design and costumes—one global pandemic was enough to manage. Illusion Yorick is an escape artist, and the idea of illusion is a thread that I wanted to weave throughout the series. Magicians use mirrors to practice their tricks and liked the idea of using reection as a isual motif. eection creates an illusion that uestions reality. t eposes and amplifies ulnerabilities. t magnifies resources and disparities. Every opportunity to see yourself is also an opportunity to make a decision about who you are and how you wish to be seen, which felt relevant in a world where everything needs to be reinvented. In a show whose characters are mostly women, reection also helps uestion beauty standards and how much one's identity is imposed, innate or assumed. A. PANDEMIC GRIDLOCK. PRODUCTION STILL. THIS WAS STAGED GRIDLOCK CREATED PRACTICALLY. VFX WAS USED TO EXTEND THE BOTTOM OF THE Y. SHOT ON LOCATION IN DOWNTOWN TORONTO. B. YORICK AS ESCAPE ARTIST. SET BUILT ON A SOUND STAGE IN MISSISSAUGA, ONTARIO. PRODUCTION STILL. C-F. IMAGES DEMONSTRATING THE USE OF REFLECTIONS. PRODUCTION STILLS. B C D E F