Issue link: https://digital.copcomm.com/i/1474575
eing early on in the pandemic, the idea of shooting practical locations became logistically impossible. The mandate from the studio was, build everything on stage! There were many such perambulations and suce it to say not everything was built on stage but a great deal of it was for reasons too lengthy to discuss in this article. s the main characters begin to unravel the clues by stumbling into an elevator, hidden in a closet of a brokendown trap house. This curious elevator leads them into an underground science lab where Fontaine sees his own dead body on a gurney. fter an altercation with an orderly, they ascend the elevator but only to return to the trap house the next day with the elevator now gone and the house completely transformed and inhabited. Did they dream this In time, we discover a series of elevators hidden in plain sight all over the hood. Like the proverbial door behind fake book spines in a spooky library or the safe behind an oil painting, the elevators are found behind a wall of fake locker fronts, in the stripper's dressing room at The hite orse Strip Club, or behind the fake cans of beer inside the cooler at the "Come Get o Dranks!" Liquor store, among other places dotted around the hood. These elevators lead to strategic points in a giant underground complex. ere, the mysterious corporation is conducting scientific testing, experimenting and developing narcotic products that are marketed toward frican mericans in a seemingly successful effort of further subugating H. OVERSIGHT ROOM CORRIDOR. ILLUSTRATION BY RAJ RIHAL. I. OVERSIGHT ROOM. ILLUSTRATION BY RAJ RIHAL. J. OVERSIGHT ROOM. SET PHOTO. K. PROCESSING LAB. ILLUSTRATION BY JAMES CHUNG. H I J K