Caplan in a scene inside her character's pantry. "We have the best crew in the business," she says. "Breaks between filming are usually filled with shooting the shit and laughing about complete nonsense."
"One of the most surprising things about making this show is how much people think we've moved on from the [era] the show depicts," says Sheen. "Today, we are saturated in images and discussion of sexuality, but I think we still have a lot of the same ignorance, fear and misunderstanding surrounding the subject."
No detail is too small: Nearly every period-specific prop — from a 1957 edition of TheSt. Louis Sun newspaper to a potato chip bag to a child’s pacifier — must be created.
Prop periodicals used in Masters are a mix of vintage finds and re-creations.
Set designer MichaelWylie oversaw the lavish (and ongoing) construction of the hospital and numerous midcentury modern home sets. “People ask all the time, ‘Is that hospital in L.A.? I’d like to shoot my show there too,’ ” says Wylie. “That’s the ultimate compliment for me.”
LizzyCaplan takes a break from filming her role as real-life 1950s sex researcher Virginia Johnson.
Caplan's single-mother character, Virginia Johnson, has two children, played by Cole Sand and Kayla Madison.
Says executive producer AmyLippman: “Everyone wants to sit next to us at parties because of everything we’ve learned about sex making this show.”
Background actors equipped with herbal cigarettes and 1950s accessories prep for a scene inside the hospital.
Costume designer AneCrabtree’s inspiration wall features real-life photos of Masters and Johnson and images of vintage fashion.
"I love dressing Johnson," says costume designer Crabtree of Caplan's character. "She was singular in her style and quite independent. I probably throw a lot of my own style into her." Crabtree also relishes dressing Sheen's onscreen wife, Libby, played by Caitlin FitzGerald. "She embodies such a classic 1950s beauty," she says. "The biggest thing I've realized about dressing for this era is that the construction of women's clothing had equal visual appeal for women as it did for the men looking at them."