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encircled by a curved couch built by the Warner Bros. upholstery department. Day-and-night backings were photographed from the Brill House location and produced by JC Backings, measuring 143-feet wide. For the stair-stepping window wall overlooking the indoor pool, we cheated the perspective to feel forced—an effect that worked beautifully. All backings on the show were backlit Duratrans drops produced by JC Backings. In addition to Alamo's great room, day-and-night backings were shot for both Cassie's and Lexi's apartments—each one tailored to the specific view and emotional register of the space. It was a detail that may go unnoticed by audiences but made an enormous difference on screen, grounding even the most theatrical stage sets in a convincing sense of place and time of day In the end, Euphoria Season 3 was the kind of project that reminds you why you got into this work in the first place. It demanded everything—stamina, invention, collaboration and a willingness to let go of work you loved in service of a larger vision. Over the course of a year, the department built and dressed hundreds of environments across stages, locations and the far reaches of the Mojave, all while navigating a production process that was as unpredictable as it was exhilarating. None of it would have been possible without the extraordinary artists and craftspeople who showed up every day and made the impossible feel routine. Supervising Art Director A. Todd Holland managed the logistics of the many sets and a constantly evolving schedule with remarkable composure. Art Director Katrina Sainz was responsible for sourcing materials across the show and also art-directed Nate and Cassie's house, bringing that time-capsule property to vivid life. Assistant Art Director Alex Fowler created detailed "color ways" for every set—a design tool I rely on to work out the colors and finishes of all our environments, ensuring a refined and cohesive palette across the season. It was a reminder that what we do is not decoration or backdrop. It is storytelling. It is the physical world through which characters breathe, and through which audiences feel. And when a director hands you a canvas this large and this wild—a fractured American West full of beauty and grit, glamour and rot— the only appropriate response is to build every last inch of it. ADG François Audouy, Production Designer A. Todd Holland, Super vising Art Director Katrina Sainz, Andrew Cahn, Art Directors Alex Fowler, Assistant Art Director Claudia Ethridge, James Addink, Noah McCormick, Julien Pougnier, Set Designers Kristian Llana, Illustrator Miguel Rosero, Graphic Artist Anthony Carlino, Set Decorator D C