Issue link: https://digital.copcomm.com/i/1539634
3 8 P E R S P E C T I V E S E P T E M B E R / O C T O B E R 2 0 2 5 In 2020, I designed a set for a medical drama in Toronto. Four years later, it followed me to Los Angeles—after it was transformed into a makeup headquarters for a stunning diva, rethemed to a law office for a septuagenarian sleuth, and then rescued from the dumpster. The set for the CBS medical drama Good Sam wasn't just designed for aesthetics; it was built with long-term use and production efficiency in mind. This direction from the showrunner and producers led me to create a set that had quickness and diversity as key ingredients alongside storytelling. Integrated studio lighting, modular windows, and flippable walls, quick crew access points, and strategic proximity to production support all contributed to an efficient, shoot-friendly environment. While it wasn't quite a "walk in and roll camera" scenario, these thoughtful design choices significantly reduced setup times—an invaluable advantage during several double-up shooting days. At the same time, production-conscious design never compromised the creative vision. Showrunner Katie Wech and executive producer Jennie Urman were in agreement that speed was key, but also wanted Good Sam to be filled with sunlight, warmth and aspiration—an inviting hospital full of hope, not a cold, sterile one. Set H o w O n e S e t B e c a m e T h r e e G O O D G L A M L O C K B Y A D A M R O W E , P R O D U C T I O N D E S I G N E R A. MATLOCK LAW OFFICE STAGE PLAN, PARAMOUNT STAGE 8. ORANGE REPRESENTS ELEMENTS FROM TORONTO, GREEN WAS NEW OR REUSED FROM OTHER SHOWS - DIFFFERENT- SIZED SOUNDSTAGE FROM TORONTO FORCED A DRASTICALLY SMALLER DESIGN FOR LOS ANGELES. STEEL STAIRS. B. GOOD SAM STAIRS LOOKING DOWN. C. GLAMOROUS STAIRS LOOKING UP. D. STAIR STRUCTURE THAT WAS MOVED TO LA. E. MATLOCK STAIRS LOOKING DOWN. A