Your Honor
Your Honor was ordered as a limited series. It became a sleeper hit. Showtime called it the highest-rated series in the network’s history and greenlit a second season. A rare outcome for a show conceived as a one-and-done. Season 2 had to earn that back. Two years had passed. The ending of Season 1 was conclusive. The brief was to bridge that gap and make the return feel like an event worth coming back for.
The campaign leaned on what the show had already established: a black-and-white visual language and a character carrying unbearable weight. Rather than reintroduce Your Honor, the creative pressed deeper into Michael Desiato’s grief. The kind of loss that doesn’t resolve, that reshapes a person. Keeping the design clean lets that idea breathe. No agency partner. Campaign strategy, photo direction, and visual language were developed in-house, with finishing by Lisa Carney.
The season earned a Clio Silver.
Title Treatment
The typography carries the show’s setting in its surface. The cracked stone filling the letterforms references the aboveground cemeteries of New Orleans. The Cities of the Dead. Weathered marble and fractured plaster have been part of the landscape for centuries. Grief made material. A title that looks like it was pulled from a tomb wall in St. Louis Cemetery No. 1.
Photography
Shayan Asgharnia photographed Bryan Cranston in character as Michael Desiato. A man who has lost his son and knows it was his fault. The direction was simple: don’t illustrate grief. Let it surface. Cranston is leaning into a wall. Hands pressed together. Eyes closed. The camera is close enough to count the lines. Nothing in these images asks for sympathy. They document what’s left of a person after the worst thing has already happened.
Alternate Key Art
A series of comps that push the photography further by layering minimal fragments of New Orleans into the composition. A bridge truss. Open sky. Just enough of the city to ground the character in place without competing with the portrait. The intimacy of the photography stays intact. The environment enters at the edges, not the center.
