Half Man: Designing a Realistic Working-Class World

Emer O'Sullivan, the production designer for Richard Gadd's Half Man, focused on creating a realistic and lived-in world for the series. She deliberately avoided the typical 'poverty porn' aesthetic often associated with British working-class stories, opting instead for soft pastels and comfortable textures to reflect the characters' lives. O'Sullivan aimed for a 'homespun' look, integrating subtle details like flowers and varied textures to unify different spaces, particularly for the complex wedding scenes.

The production design evolved alongside the characters' aging and life events. For Niall's wedding, which occurs three decades after his estrangement from Ruben, O'Sullivan utilized four separate locations to construct a singular venue. This approach required careful attention to detail to maintain a cohesive yet authentic feel. The team drew inspiration from a low-fi, community-hall wedding, emphasizing handmade elements over polished perfection. Despite challenges with location sourcing and safety, the design ultimately sought to immerse viewers in the story's nuanced reality, even in seemingly wholesome settings that still conveyed a sense of foreboding.