Let's face it, at one time or another you will have a favourite TV show... it can be the adrenaline driven "24", the black humored "House" or the racy "Nip/Tuck". You will get behind all the drama and acting but another part that's playing a role too, are the beautiful sets where these shows unfold.
Cloudia Rebar, set decorator for 24, says in regards of president Logan's retreat: "It is a compilation of many of the elements of mid-century architecture.” Don’t look for any deep meaning between the surroundings and Logan’s rather timid character. “Mid-century is very chic right now and a timeless design concept. This was meant to be a long-time family home.” The “retreat” is actually a football field-sized soundstage that features nine venues. Meticulous attention to period detail was given to everything from the wall coverings to the horizontal pane windows. There are no hardwood floors though, for sound considerations. “We try to use the real mid-century pieces – since even the reproductions don’t have the same feel.” Rebar, whose film set credits include “Vanilla Sky,” noted that reproduction wood is slightly thicker – and doesn’t have the 40-year-old hue of aged-coloration. Still, when originals can’t be found, Rebar turns to Modernica, manufacturers of mid-century reproductions, which allows her the luxury of picking her own palette. The First Lady’s suite is entered through wood doors with frosted glass cutouts, notable from either direction, and designed by Set Designer Joseph Hodges. Warm and soothing earth tones are energized with the lipstick red couch while an Eames chair and ottoman provide understated, tony elegance. In the living room, Barcelona chairs in dark caramel, and George Nelson lighting are scattered throughout. The pool and patio, featuring Smith & Hawkens teak furniture and Hodges-designed verdigris metal Arabian horses, are visible from the President’s office and living room.
From concept to shoot, Rebar may only have hours to find and assemble the necessary items. And, with only little more than a quarter of the series shot, chances are "24"-watchers will continue on our tour of mid-century modern classics.


Another TV show is House, where the amount of Herman Miller material will drive you envious of a medical office this well decorated... Emeco navy chairs, Tolomeo lamps everywhere, Eames DCM, Cherner, Eames Lounge, Nelson lamps, etc...


And then, there's Nip/Tuck where you can see the two personalities reflected on the way the decorate the set.
The characters of the popular FX series “Nip/Tuck” live to achieve model perfection: chiseled features and figures, stylish spouses or significant others, and, über-chic furnishings. Against this backdrop of composed yet constrained perfection, the blemishes of human weakness -- secrecy, lies and betrayal – are framed. This is the setting creator Ryan Murphy had in mind when he asked set decorator and interior designer Ellen Brill to create environments that are subdued but highly iconic. “I try not to overpower the script,” explains Brill. “The goal of the set is to enhance what the actors are doing.” Furnishings, artwork and the “stuff” we collect, encourage viewers to form impressions (correct or otherwise) about who we are and what we value. They provide insights to character that viewers might glean by paying attention to “Nip/Tuck’s” set design -- if there were "stuff" to be seen. As the secrets the characters harbor are crucial to the plotline, Murphy doesn’t want them “outted” prematurely by clues in the background. That’s why on “Nip/Tuck”, you will see minimal artwork on walls, and few knick-knacks save for a wedding picture. The restrictions left designer Brill with a challenge: How to fill the negative space that is the hallmark of modern design? “We don’t,” she says. “You see a lot of emptiness – and really that is okay, since these people have so much emptiness in their lives.”

via purecontemporary.com