Issue link: https://digital.copcomm.com/i/1538080
1 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 Fifteen years ago, I bounced happily and serendipitously into the John Wells Productions world. First there was Shameless, then Animal Kingdom—seventeen seasons of television and numerous pilots in-between. I have such gratitude for the fortune of working on so many John Wells productions and I sign on to them in a heartbeat whenever the stars align. John Wells called me to do The Pitt, an hour-long emergency department drama with a new design challenge—all the action for the entire series would take place in one setting. I was unavailable. John said, "I realize you can't do the show. I understand. But can you give us a ground plan?" It was a flattering ask and I never want to disappoint or miss out. The only available time I had to offer—to be helpful—was the upcoming holiday hiatus of the intense show I was working on. I met with John Wells, R. Scott Gemmill, Noah Wyle and Michael Hissrich, four masterful creative producers. John had this unconventional idea to create the ground plan for the entire emergency department before the writers started. Everyone could have the same space in their minds from the get-go. A