Much has been made of the meticulously chosen props that decorate the set of AMC’s “Mad Men.” To bring the 1960s world of Don Draper to life—and to make it believable—set designers have gone above and beyond. The phones and typewriters in the office are vintage, genuine magazines from the era sit on tables, and real expense reports for characters cover the desks. Many of these details are never caught on camera, but the show’s creator, Matthew Weiner, insists on them being there to lend “Mad Men” authenticity.
I don’t think the same amount of ink has been put to paper describing the set design of CBS’s “The Big Bang Theory.” (Although the show has made a certain chemistry shower curtain quite popular.) But I would contend that bringing to life the apartments, offices, and laboratories of a group of geeky scientists who work at Caltech isn’t an easy job either. Sure, it’s not on the same scale as decorating a 1960s advertising agency, but it still requires some skill to illustrate for the public what academic life looks like.
I recently stumbled upon a scientist in California who has, on occasion, lent a helping hand to make the labs of “Big Bang” realistic. Tommaso Baldacchini works for Newport Corp., a well-known international lasers and optics company that has a facility near Burbank. His “Big Break” with “Big Bang” came when the show introduced the character Amy Farrah Fowler, a neurobiologist played by Mayim Bialik.
The show wanted to shoot Amy in her lab dissecting brains, and the props manager needed some plausible-looking microscopes to sit in the background. Baldacchini, whose specialty at Newport is two-photon nonlinear optical microscopy, got the call.
“When the show started, the producers needed a way to fill the labs with scientific instruments,” Baldacchini says. “So they asked their science adviser [David Saltzberg of UCLA] to suggest a local company that could provide parts—and he mentioned Newport.”
Naturally, Baldacchini’s favorite “Big Bang” episode so far has been one called “The Alien Parasite Hypothesis,” in which Amy and her loveable but narcissistic boyfriend, Sheldon Cooper, sit in front of a microscope set up by Baldacchini (see photo here). “She even refers to it as a two-photon microscope,” Baldacchini says, although he admits it doesn’t look exactly the way one would look in a real lab.
I stumbled into contact with Baldacchini while tracking down the origin of a journal cover I spotted in the background of a “Big Bang” episode (that story’s here). The poster hangs on the wall in Sheldon’s office, and it’s a reasonable facsimile of the Journal of Physical Chemistry A, one of the journals produced by the American Chemical Society.
John T. Fourkas, Baldacchini’s former Ph.D. adviser who is now at the University of Maryland and is also an editor for the Journal of Physical Chemistry, knew Baldacchini sometimes consulted with the show and in 2011 pitched him a version of the journal with Sheldon’s face on the cover. Eventually, the faux JPC A made its way onto the set, where it still hangs.
But the cover isn’t the only prop with staying power that Baldacchini has gotten onto the show. More recently, he orchestrated the placement of a unique chess set—made of laser optics such as gratings, mirrors, and optical mounts—in Sheldon’s living room. “The king is a diffraction grating [an optic that disperses light], and the queen—the most powerful chess piece—is an omnidirectional mirror,” Baldacchini explains.
These days, the Newport scientist makes the one-hour drive to Burbank on occasion. “When they call, they usually need the props, like yesterday,” he jokes, “so sometimes I can’t go.” In those cases, the show sends a truck and he loads the equipment needed.
“I think they’re doing a great job making a comedy that works for everybody—whether you’re a scientist or not,” Baldacchini says. Sure, “Big Bang” exaggerates the nerdy aspects of these characters, he adds, but at the same time it’s also depicting how much fun it is to do science. “So I think they’re doing a great job.”
FUN SIDE NOTE: The faux cover of the Journal of Physical Chemistry A was designed to be a Festschrift, or tribute issue, to Sheldon Cooper. During a meeting among the editors of JPC prior to the poster finding its way on set, Fourkas and his colleagues talked over the journal’s policy of never depicting a living person on its cover. George Schatz, editor-in-chief of JPC, “paused for a moment,” Fourkas told me, “and then said with a completely straight face, ‘Well, we make an exception for people who speak Klingon.’ ”
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