Issue link: https://digital.copcomm.com/i/1438629
recently vaccinated Torontonians would swing by the Pricemax to ask when it was opening. Pricemax is where the strange idiosyncrasies start to seep into the Y world. The Amazons are living tucked in a store reinforced by a perimeter of barricaded semitrucks. They keep liestock indoors; shopping cart corrals are converted into stables and everything begins to be refashioned as they move into the new world. The Pricemax is a place of tragedy but is also a rather playful space for characters and actors alike.fter working tirelessly to create the Pricemax, the time came to burn it down. Clearly, destruction was a theme. Boston and Beyond Much of the Boston episode is about upheaval that stems from the characters' mistrust of the government. The aftermath of violence and destruction is felt all around. People are rebelling and Boston isn't safe. Yorick, Agent 355 and Dr. Mann are on high alert, and I wanted to use bold and clear graphic design to create a sense of hyper focus and foreboding Threats are all around. The colours of the graphics really stand out against the bombedout surroundings and the grimness of the weather. A torrential downpour was forecast, but the show must go on, and the inclement weather turned out to be serendipitous. It gave the episode exactly the right look, while also giving us huge logistical and technical challenges, particularly for Erin Leslie's amazing scenic team, who painted and repainted and wheatpasted and rewheatpasted posters and handbills in the pouring rain. Something discussed early on was how people would communicate in a world without power, cell service or the internet, and symbols and messages would be used in this new analog world. I used a lot of protest grati as reference, the Taschen Book of Symbols became a bible and the scratched look of the cover of Pavement's album Slanted and Enchanted was a key visual reference for how to disguise secret communications. The graphics team did wonderful work coming up with a combination of coded symbols and phrases that were peppered in throughout the show. Crumbling Infrastructure Eli felt that it was important to show the crumbling infrastructure that the Cabinet back in the Pentagon so often discusses, which led to the ooded subway station set for a scene where Ampersand escapes, leaing orick abandoned and alone. D. BOSTON STREET POSTERS. DESIGN BY JESS SHERIDAN. E. BOSTON STREET. PRODUCTION STILL. F. BOSTON STREET. AGENT 355 IN AN ALLEY IN FRONT OF PROPAGANDA POSTERS FEATURING PRESIDENT JENNIFER BROWN. SHOT ON LOCATION IN DOWNTOWN TORONTO. PRODUCTION STILL. G. YORICK AND AGENT 355 HIDING BEHIND A BURNED-OUT CAR ON A BOSTON STREET. PRODUCTION STILL. D E F G