Season 7 of Netflix’s “Black Mirror” continues to explore the unsettling intersections of technology and human nature, delivering a collection of episodes that challenge perceptions and provoke thought. Among these, two standout installments—“Bête Noire” and “USS Callister: Into Infinity”, not only push narrative boundaries but also showcase exceptional production design that immerses viewers in their distinct worlds.
The intricate and immersive sets of both episodes are the work of veteran production designer Miranda Jones. Her attention to detail and commitment to creating tangible environments enhance the storytelling, allowing actors to fully inhabit their characters’ worlds. Jones’s designs not only serve the narrative but also elevate the visual experience, drawing viewers deeper into the “Black Mirror” universe.
In “Bête Noire,” we follow Maria (Siena Kelly), a high-ranking executive at a luxury chocolate company, whose reality begins to unravel with the reappearance of Verity (Rosy McEwen), a former schoolmate. As Verity integrates into Maria’s professional and personal life, subtle alterations in reality lead Maria to question her sanity. The episode’s aesthetic transitions from sleek corporate environments to surreal, disorienting spaces, mirroring Maria’s descent into uncertainty.
“USS Callister: Into Infinity” serves as a sequel to the acclaimed Season 4 episode “USS Callister.” Now, the digital clones, led by Captain Nanette Cole (Cristin Milioti), navigate the vast and perilous universe of the Infinity game, free from their former captor, Robert Daly (Jesse Plemons). The episode juxtaposes the vibrant, retro-inspired design of the starship with the sterile, modern aesthetics of the real-world corporate setting, highlighting the contrast between escapism and reality.
Reflecting on her work, Jones notes, “It’s not just about how the set looks on screen. It’s also about what the actors need in order to do their best work. If you build a space that supports them, even in subtle ways the audience might not consciously register, it shows up in the performance.” This philosophy is evident in the functional consoles and interactive elements aboard the USS Callister, as well as the meticulously crafted environments of “Bête Noire.”
Jones’s contributions to these episodes underscore the vital role of production design in storytelling. By constructing worlds that are both visually striking and narratively cohesive, she enhances the emotional resonance and thematic depth of each story. Her work exemplifies how thoughtful design can transform speculative fiction into compelling, immersive experiences.
Miranda Jones spoke with Awards Focus about crafting two of the season’s most visually ambitious episodes, the balance between genre homage and grounded storytelling, and how thoughtful design can support both performance and narrative. From chocolate labs to starships, her work this season reflects a deep understanding of the emotional potential of space and the power of production design.
Awards Focus: It’s a pleasure to speak with you, Miranda. “Black Mirror” has been such a fixture in our cultural lives, and your work on the series is stunning. You have such a rich and varied background in production design — can you take us back to the beginning? What initially drew you to this field?
Miranda Jones: I actually studied interior design at university, and I didn’t even know my job existed. Then I found out it did — and that was it. I applied to the BBC, did their on-the-job training many years ago, and went on from there. I really started out in music and light entertainment, did a lot of music shows, and then moved into scripted work, which I really wanted to do. But I’ve always done lots of different types of design, not just scripted drama.
AF: With such an impressive body of work behind you, I imagine you’re selective about the projects you take on. What was it about “Black Mirror” that made you want to be part of it?
Jones: I’ve been a fan of Charlie Brooker’s for years, even before “Black Mirror,” when he was writing for “The Guardian.” I always loved his tone and sensibility. And I’ve been a fan of “Black Mirror” as well, although I’ll admit I couldn’t always watch it when I was working on a particularly stressful job. It can be an intense experience.
So when I got the call to come in for an interview, I could hardly believe it. I prepped like mad because I knew this was the job I wanted more than any other I’d been approached about. Luckily, I landed the first episode I interviewed for, and I was absolutely thrilled. They may have reached out to me, but I really wanted this one.
AF: Building on that, what made this job stand out so strongly for you? Beyond being a fan, were you already familiar with any of the episodes or themes that were in development?
Jones: Absolutely. The variety in the scripts was a big part of the appeal. I remember being particularly drawn to Season Six as it had such a range. You had something like “Beyond the Sea,” which was deeply emotional and cinematic, and then something like “Demon 79,” which is completely different in tone and style.
Unlike past seasons where one designer might oversee multiple episodes, this one was more segmented. Each story required its own distinct world, which was really exciting. The scale, the shifts in tone, the reputation of the series — it all made it incredibly flattering to be part of it.
AF: Let’s start with “Bête Noire.” I don’t think I’ve ever seen a story about candy development. Describe the approach to building sets for this theme.
Jones: Yes, it was a luxury chocolate company with a focus on product development. Luckily, I had some relevant experience. I’d worked with Unilever years ago and had seen a few real development kitchens, which gave me a bit of a head start.
We actually tried to tour some chocolate research facilities, but they wouldn’t let us in. So we relied heavily on online research. Richard, our producer, found a few amazing articles and reference images of development labs that helped us shape the look.
But of course, we had to elevate it. Some of those real labs are very utilitarian — they’re all about function. We wanted something cooler and more stylized, more in line with the visual identity of “Black Mirror.” So the idea was to blend that sleek corporate aesthetic with a strong sense of place — the development kitchen, the offices, the residential areas. We started with just a shell of a building, an empty office floor, and built everything from scratch.
AF: As the episode unfolds, the main character’s grip on reality begins to unravel. Was there anything in the production design that was meant to subtly hint at that shift? Any Easter eggs or visual cues layered into the sets?
Jones: We actually took the opposite approach. For example, we went through a lot of versions of her necklace. At one point it was even an infinity symbol, but Charlie, rightly, didn’t want to give anything away. So we stripped back the clues.
The one moment where we allowed the design to become a bit more suggestive is when she’s in the focus group room. The way she looks back through the glass creates an intentional sense of weirdness. We built the set to allow for that two-way interaction and to create a subtle sense of unease.
But otherwise, we kept it pretty grounded until things really spiral. When she returns to her house, suddenly the scale of it doesn’t match her job at a chocolate factory. Then you’re walking through a server room. That’s when the surreal elements come in. Before that, we intentionally played everything quite straight.
AF: Shifting to “USS Callister: Into Infinity” — I think the obvious question is whether any of the original sets from the first “Callister” episode were still around, or if you had to start from scratch.
Jones: Nothing remained. We did have the original ship drawings from the first episode, which helped. But a big part of the process was discussing how the ship might have evolved in the universe. After a lot of conversations, Charlie wrote it into the script that we were picking up the story months later. That gave us permission to design everything as an upgraded version of the original.
The idea was that Infinity, the game itself, had self-upgraded, and the ship’s improvements reflected that. The same goes for the office environments. Those upgrades were very much driven by Walton’s ego, which gave us creative freedom to make things bigger, sleeker, and more ambitious.
AF: You’re balancing a glossy, space-fantasy video game aesthetic with the more grounded, tech-parable tone that’s classic “Black Mirror.” How did you approach creating those two contrasting environments — the game world and the office reality?
Jones: In the original “USS Callister,” the contrast between the bleakness of the real world and the vibrance of the ship was pushed more dramatically. In this episode, we still maintained that contrast, but it was more nuanced. We spent a lot of time thinking about Infinity as both a sci-fi homage, based on Daly’s vision, and a computer game. It couldn’t feel too much like a game, though, because this world wasn’t really designed by gamers. It was designed by Daly, within a story world that already had a very specific tone.
So we aimed for something sleek, stylish, and cinematic. Even the real-world offices had a level of polish to them. We also echoed certain design elements between the two spaces — the lifts, the doors — to create subtle connections. The bleakness in the original episode was more extreme. Here, we wanted to suggest echoes between the worlds without making them feel the same. Hopefully, we struck that balance.
AF: That’s fantastic. It sounds like those upgrades, along with the chance to build everything fresh, helped create an environment that was immersive not just visually, but experientially.
Jones: Absolutely. For me, it’s not just about how the set looks on screen. It’s also about what the actors need in order to do their best work. If you build a space that supports them, even in subtle ways the audience might not consciously register, it shows up in the performance. And ultimately, it all feeds back into what the audience does see.
AF: When it comes to science fiction design, both “Callister” episodes clearly nod to classic “Star Trek”-style aesthetics. But at the same time, you’re designing for “Black Mirror,” which has its own tone and identity. How do you strike that balance? Do you look beyond the original episode for inspiration to maintain that “Black Mirror” feel while still honoring the genre?
Jones: That’s a really good question. I think the “Black Mirror” aesthetic is less about a specific visual language and more about a standard. Whatever we do, it has to be done really bloody well. There’s a certain precision, a polish, a near-future sensibility — but we also have a lot of freedom. We’re not trying to jump 100 years ahead. It’s more like five minutes into the future.
Of course, with this episode, we did draw from outside references. The original “Callister” had a strong “Star Trek” homage, but this time we were also playing with nods to gaming culture, and even “Star Wars,” because that’s where Daly’s imagination might go. So there are plenty of references outside “Black Mirror,” but within “Black Mirror,” the goal is really about keeping everything elevated — smart, sleek, and intentional.
Also, this season we went a bit meta with the Easter eggs — we even have an Easter egg on an Easter egg. But those nods are always in service of the story, not just fan service. That balance is key.
AF: You mentioned some of the upgrades and physical details in the “Callister” sets. Did the actors have any specific reactions when they stepped onto them?
Jones: They did. There’s actually a video on YouTube (see below) of the cast walking onto the “Callister” set for the first time this season. You can see how blown away they were. Of course, Phil [Sims] and Joel [Collins] did a brilliant job on the original, but the tools we have now — LEDs, lighting technology — have come a long way. And we had more time this round to really push it.
We made a real effort to give the actors things they could interact with. Every console worked. Buttons lit up. The thrusters turned. Even the guns had working lights. There’s a moment in that behind-the-scenes video where you can see just how much fun they’re having engaging with it all.
AF: It sounds like you were able to take full advantage of today’s technology while still keeping the design actor-friendly and immersive.
Jones: Exactly. It’s not just about what looks good on camera. It’s also about what helps the actors do their jobs. If the environment feels real to them, it translates on screen. That energy carries through in the performance.
AF: There’s also a significant amount of visual effects work in “Callister.” How closely did you collaborate with the directors and VFX teams to ensure the physical sets blended well with the digital elements?
Jones: Very closely. Of course, there are areas of VFX that fall outside my remit, but we had very direct collaboration in key places. For example, I worked with a concept artist on the design of the fighter ships. We physically built the cockpits, which I designed and coordinated with the carpenters. The rest of the ships — the exterior, the flight animations — were all VFX. We shared 3D models and renders with the team, and then they worked their magic.
They also surprised me with incredible touches I didn’t even think of. There’s a shot on Pixie’s planet where you see the reflection of Pixie’s ship in the black helmets worn by Nanette and Daly. That wasn’t something I designed, but it’s absolutely brilliant. That’s the beauty of collaboration. You build a strong foundation, and then they add another layer of wonder.
AF: Now that you’ve completed work on these two episodes, did you have a chance to watch the full season? And if you could have picked one more set to design, which would it have been?
Jones: Yes, I’ve seen them all. “Hotel Reverie.” Absolutely gorgeous. The hotel that Helen [Scott] designed — just stunning work.
AF: You already have such an accomplished career, but was there anything about working on “Black Mirror” that surprised you or taught you something new about visual storytelling or designing for genre television?
Jones: Definitely. This was the first big sci-fi project I’d done, so I learned quite a bit. One big takeaway was how much practical lighting integration can elevate a design. The other thing was watching how Charlie works — how his mind builds these stories. I realized I can sometimes be a bit linear in my thinking as a designer. With “Black Mirror,” you have to think differently. Even when I go back to non-sci-fi work, I’ll carry that mindset forward.
AF: So now that you’ve had that experience, is sci-fi something you’d like to explore more?
Jones: Oh, absolutely. I’ve got the bug now. They’ve spoiled me. There’s not a huge amount of sci-fi being made, but I’d love to dive into another world like this.
AF: I imagine there’s also a bit of emotional attachment to the work, especially with something as intricate as the spaceship sets. Is it difficult knowing they’re only used for a single episode before they’re taken down? And do you ever keep anything for yourself?
Jones: We definitely take souvenirs. I’ve got bits of paneling from the ship. We also had these beautiful prop credit sticks. We made around 35 or 40 of them, and I think maybe two made it back into storage. The rest went home with people.
It is sad when it all gets dismantled, but you can’t think about that too much or you’d never build anything. What I love about sci-fi is that it reminds me of my early work in music and light entertainment. There’s this creative freedom, a sense that the design can come from anywhere. With grounded, real-world projects, you always start from something familiar. Sci-fi lets you start from nothing. That’s what makes it so fun.
AF: It’s been such a pleasure speaking with you, Miranda. Thank you again for your time, and best of luck this awards season.
Jones: Thank you very much, Ben!