TELEVISION

THE ROOKIE (S7)

Set Decorator - Jen Mueller



LISA: This job required sourcing and shopping at a fast pace, handling a vast volume of set dressing to support the show’s block-shooting style and crossover episodes. The series spans a wide range of character-driven environments — from layered homes and busy offices to gritty Los Angeles streets — all crafted to create authentic, everyday settings that ground the storytelling.

BLACK CAKE

Set Decorator - Carolyn Loucks



LISA: The production required set decoration across multiple decades—from the 1950s through the early 2000s. I sourced a wide range of period American artifacts for use in Jamaica, ensuring authenticity across eras, while coordinating shipments and customs clearances to both Jamaica and the UK.

THE MYSTERIOUS BENEDICT SOCIETY

Set Decorator - Amber Haley

LISA: The design balanced modern and vintage influences. High-styled furniture was carefully curated to merge present-day aesthetics with a period feel—evoking a Wes Anderson–like sensibility. Sets were layered with beautiful colors and whimsical artifacts, spanning train stations, ship cabins, and grand mansions.

INSECURE (S5)

Set Decorator - Amber Haley

LISA: Shopping  was all about capturing the show’s signature blend of style, humor, and cultural authenticity. I sourced a mix of beautiful, and ethnically rich pieces—from contemporary Black art and bold textiles to quirky vintage finds— The result was a vibrant, lived-in aesthetic.

SOLOS

Set Decorator - Amber Haley

LISA: The set decoration in Solos was highly stylized and tailored to each character’s story—minimal yet emotionally rich in one set, then heavily layered on another. We focused on blending sci-fi with intimate, personal design.

911 LONE STAR

Set Decorator - Regina O'Brien

LISA: Shopping for these sets was fast-paced and dynamic—a blend of high-stakes realism and stylized drama, with heavily layered, detailed environments.

HOMECOMING (S2)

Set Decorator - Christine McLewin

LISA: Working on Homecoming was all about precision and mood. As a Set Decorating Buyer, I sourced pieces that helped create the show’s polished-but-unsettling world. Every object mattered, and the restraint in the design made even the simplest items feel loaded with meaning.

THE POLITICIAN

Set Decorator - Amber Haley

LISA: The sets were bold, colorful, and highly stylized—blending East Coast prep with Wes Anderson flair. Inspired by designers like Sister Parish, Billy Baldwin, and Dorothy Draper, my shopping focused on fabrics, smalls, and details that gave lavish homes and manicured gardens their distinctive, aspirational edge.

AGENTS OF S.H.I.E.L.D

Set Decorator - Melissa Levander

LISA:  Working on Agents of S.H.I.E.L.D. meant stepping into a world that reinvented itself every episode. One day I was sourcing sleek S.H.I.E.L.D. tech labs, the next I was tracking down artifacts that looked like they’d fallen through a wormhole. The pace was fast, the creativity nonstop, and the challenge was creating spaces that felt real—even when the story leapt into the impossible.

ALEX, INC.

Set Decorator - Amber Haley



LISA: I sourced the character pieces and everyday details that shaped the show’s work and home environments.

BARRY

Set Decorator - Amber Haley



LISA: Working on Barry meant diving into gritty, realistic character pieces and building spaces that felt genuinely lived in. As a Set Decorating Buyer, I sourced the details that shaped the show’s raw, darkly funny world—where every object had to feel honest and a little rough around the edges.

AMERICAN HOUSEWIFE

Set Decorator - Judi Giovanni

LISA: American Housewife was all about dialing into the humor and heart of suburban life. My work centered on creating lived-in spaces that felt warm, relatable, and just quirky enough to match the show’s sharp wit. From family kitchens to neighborhood hangouts, every set needed personality and subtle storytelling—spaces that supported the comedy without ever distracting from it.

I'M DYING UP HERE

Set Decorator - Missy Parker

LISA:  I sourced extensive vintage furniture, neon, and atmospheric lighting to capture a gritty yet stylized 1970s vibe that mirrored both the era and the characters’ journeys. The look pulled from mid-century modern staples, late-60s bohemian touches, and early-70s lounge pieces—Los Angeles is a good hunting ground for this style.

NEW GIRL

Set Decorator - Jane Shirkes

LISA: Working on New Girl was all about finding pieces with personality and warmth. As a Set Decorating Buyer, I sourced the quirky, charming, and sometimes wonderfully mismatched elements that helped bring those apartments and shared spaces to life. It was about creating environments that felt lived in, a little chaotic, and full of character—just like the show.

THE FOSTERS

Set Decorator - Paul Roome

LISA: Working on The Fosters meant helping create warm, lived-in spaces that felt authentic to the family at the center of the story. As a Set Decorating Buyer, I sourced the everyday pieces that grounded the show in real life and supported its emotional heart.

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1600 PENN

Set Decorator - Herman Camacho

LISA:  I shopped a mix of authentic presidential furniture—both purchased and rented—to create an official and polished look. 

TOUCH

Set Decorator - Beau Peterson

LISA: Working on Touch meant sourcing pieces that supported the show’s grounded yet mysterious tone. As a Set Decorating Buyer, I helped create environments that felt real, textured, and connected to the characters’ journeys—spaces that held both everyday life and the show’s sense of quiet intrigue.

THE CLOSER

Set Decorator - Kristin Peterson

LISA: On The Closer, I helped shape sharp, lived-in investigative spaces. As a Set Decorating Buyer, I sourced the practical details that kept the world authentic and grounded in real police work.

CONSTRUCTION INTERVENTION

Set Decorator - Lisa Goldsmith

LISA: On Construction Intervention, I stepped in to decorate fast, transform creatively, and make every space camera-ready under real pressure. Each episode meant collaborating with a different architect, sourcing and styling quickly, and turning chaotic job sites into finished environments that felt polished, lived in, and true to the people using them.

CHUCK

Set Decorator - Judi Giovanni



LISA:  On Chuck, I helped create a world that balanced action, humor, and everyday life. As a Set Decorating Buyer, I sourced everything from quirky character pieces to tech-driven details, building environments that were fun, energetic, and grounded in the show’s spy-meets-real-life vibe.

MY OWN WORST ENEMY

Set Decorator - Barbara Cassel

LISA:  Shopping on this was balancing sleek, high-tech spy environments with warm, lived-in suburban spaces reflecting the show's dual worlds with heavy layers throughout.

DIRTY SEXY MONEY

Set Decorator - Barbara Cassel

LISA: The sets were a lavish blend of traditional opulence and modern flair, the interiors filled with bold colors, eclectic furnishings, rich textures, intricate patterns, and luxurious materials.  We did a lot of reupholstering and retail shopping. Very creative. Lots of fun to shop!

WITHOUT A TRACE

Set Decorator - Barbara Cassel

LISA: On this job I helped shape environments that felt grounded, lived in, and emotionally true to the investigations at the heart of the show. As a Set Decorating Buyer, I sourced the practical details and character-driven pieces that supported the series’ realism and its constantly shifting casework.

DEXTER

Set Decorator - Barbara Cassel

LISA: Shopping on Dexter ranged from clean, modern police offices and forensics labs to moody, layered crime scenes and the character’s meticulously tidy apartment. As a Set Decorating Buyer, I sourced pieces that supported the show’s sharp contrast between order and chaos—helping build environments that felt precise, unsettling, and deeply tied to the characters’ inner lives.

THIER EYES WERE WATCHING GOD

Set Decorator - Casey Hallenbeck

LISA:  The furniture was mainly from the 1920s–1930s—heavy, worn, rustic, and with a lived-in feel. I spent a lot of time researching and sourcing period-correct oil lamp lighting and adapting it to work today. We created an entire town of shops to bring the setting authentically to life.

AMERICAN DREAMS

Set Decorator - Beau Peterson



LISA: American Dreams required extensive shopping across 1940s–1960s period styles, from furniture and décor to the small character details that grounded each era. The job involved heavy fabric sourcing and custom manufacturing to keep the period environments authentic, textured, and visually consistent throughout the series.

THE X FILES

Set Decorator - Tim Stepeck



LISA:  Shopping on this show blended sci-fi, mystery, and realism. I sourced everything from eerie, otherworldly props and high-tech gadgets to everyday items—balancing the supernatural with authentic FBI elements. It was probably my favorite series to work on; I learned a tremendous amount on this show and worked with a great Set Decorating team.

ARLISS

Set Decorator - Judi Giovanni



LISA:  I helped shop for the character-driven pieces that shaped the fast-paced world of sports agents and their clients. As a Set Decorating Buyer, I helped create offices, homes, and behind-the-scenes environments that felt polished, playful, and true to the show’s sharp, comedic edge.

WEAPONS OF MASS DESTRUCTION

Set Decorator - Stephanie Ziemer

LISA: On Weapons of Mass Distraction, I sourced the bold, character-specific pieces that grounded the story’s media-driven world. I was just stepping into set decorating buying at the time, so everything was new—I learned quickly while helping build environments that felt sharp, satirical, and true to the film’s fast-moving landscape.