Issue link: https://digital.copcomm.com/i/1538080
5 8 P E R S P E C T I V E J U L Y / A U G U S T 2 0 2 5 Setting the Foundation and Respecting the Past You know a project is special when your job includes researching the chocolate sewage mixture The Shawshank Redemption team used for Andy Dufresne's escape tunnel. That was just one of the strange, thrilling challenges the Art Department and I faced while designing Mo season 2. This was my second time designing a second season, the first being Swedish Dicks (Lionsgate, Pop TV), so I understood the delicate balance of honoring an existing world while evolving its visual language. I began by studying the foundational work of the previous designer, absorbing what made the original season resonate. From there, I introduced my own perspective: grounded, tactile and emotionally driven. I stayed mindful of what rooted us to season 1, even as the story moved forward. Designing for Dualities That sensitivity was essential, especially as the series navigated a demanding schedule. We rarely had more than a few days in any one location, D e s i g n i n g t h e S t a t e l e s s W o r l d o f M O S E A S O N 2 B Y C A R M E N N AV I S , P R O D U C T I O N D E S I G N E R A. CBP DETENTION CENTER. BUILD ON LOCATION IN A KATY, TX, WAREHOUSE. PRODUCTION STILL BY JAVEON BUTLER. A