Timothy M. Snell

Timothy M. Snell has this sort of chameleon vibe going on in the TV world—he’s popped up in some really heavy-hitter series. You’ve probably seen his work without even realizing it. Think about Foundation, that wild ride through space and time based on Isaac Asimov’s books. Yeah, that one. The visuals, the costumes, the whole scope of it—Snell’s fingerprints are all over that. He’s the kind of guy who helps shape the way you see the future, literally. Then there’s For All Mankind, Apple TV’s big alt-history drama. Instead of the usual “Americans land on the moon first and hooray!” thing, this show flips the script and asks, “What if the Soviets beat us there?” and runs with it. Timothy’s work on this show? It’s all about capturing that retro-future look, blending old-school NASA vibes with what-could-have-beens. The details matter, and he nails them. And don’t even get me started on Outlander. That show is basically a time-traveling fever dream—one minute you’re in post-war England, next you’re dodging swords in 18th-century Scotland. The costumes in Outlander are next-level, and Snell’s expertise ties it all together. He’s got this knack for making things feel real, no matter how out-there the story gets. So, yeah, Timothy M. Snell might not be a household name, but if you’re into epic shows with killer design, you’ve definitely seen his magic at work.