With black and white, there's no middle ground. It's high-contrast. Crisp. Classic.

In home design, the teaming is a perennial favorite -- one as beloved as it is in apparel, especially by purists. It has its place in traditional decor, with styles from Art Deco to Country French (think toile prints) to Neoclassical. And, of course, it's about as modern as it gets. It runs the gamut from sleek black-tie Hollywood glam to romantic country casual, where the fabrics may be washed linens and soft plaids and the finishes matte and distressed.

But this year, black and white has emerged as one of the big furnishings stories. It started across the pond, where it was not a coincidental occurrence, at the big Paris show, Maison et Objet. It continued on this year's fashion runways. From Dolce & Gabbana oversized horizontal stripes to Jason Wu black on white luxe embroideries to Marc Jacobs animal prints -- zebra, snow leopard and giraffe -- as well as cheeky op art prints and Louis Vuitton's playful checkerboard.

Perhaps the biggest takeaway from all that black and white is its current moxie -- from color blocking (bold swaths side by side a la Mondrian) to distinctive patterns (houndstooth, chevron, stripes, op art and geometric designs are packing the most punch).

"The energizing power of black and white is not confined to apparel," says Ron Fiore, creative director for Bernhardt Furniture. "Black-and-white combinations are easy to live with, grounding, and mix with any palette. Stripes are familiar, and to mix a floral pattern with black-and-white stripe is kind of cool."

What's especially cool is the unexpected -- teaming up a traditional silhouette and frame with a very modern cover. Holly Blalock, vice president of merchandising and marketing for CR Laine, a furniture manufacturer based in Hickory, N.C., did that with a couple of recently introduced chairs. The frame for the Bradstreet chair was inspired by an 18th-century chair with a series of turnings on the front arms and feet.

"There's something almost odd about it," says Blalock. "It turns from thick to thin. It doesn't follow columnar scale. And the ball at the end of the arm is even more exaggerated. I liked that quirkiness."

And although even the finish of the chair is distressed, Blalock chose a totally modern zigzag pattern for upholstery.

For another traditional armchair, the Aledo, Blalock pieced together linen in black and white to create an asymmetrical sassy stripe.

"We have always interpreted this chair more traditionally -- with hand-blocked prints and matelasses," says Blalock. "Sometimes you just have to start from scratch and reinvent. When the linens are sewn together, they create this overscale graphic stripe, which completely comes alive."

A sort of color blocking in furniture in the last year or so has teamed light and dark finishes in single pieces. For example, an ebony dresser is set with contrasting ivory drawers, for example. Also popular are inlays, typically of bone or mother of pearl. Many of these have a range of global sources as well as styles, some with Moorish inspiration.

Inlays add textural dimension as well, because they're essentially like mosaic strips or tesserae that create a pattern. And mother of pearl lends sheen as well. One versatile cube (table as well as stool) recently introduced by Bernhardt is the zebra, which is composed of white bone inlay with black poured resin. Its op-art pattern snakes around the corners and adds a compelling graphic focal point, almost like visual upholstery. The piece certainly will add an exclamation to a quiet corner.

Indeed, one enormous advantage of a black-and-white palette is its ability to change attitude, with a simple addition of color. And just about any color is smashing. Lipstick red is a favorite go-to combination for pop. So are yellow and mustard. Cobalt blue or turquoise. Purple, magenta or hot pink. Orange or coral. Lime green or emerald.

"Once when I was in New York, I saw a woman in a Kelly green trench coat with a zebra bag," says Fiore. "It's an image I've never forgotten. When a black-and-white room gets hit with a piece of color, that brings it out even more. The color could be in throw pillows or a slipcover, a funny little ottoman, a couple of vases, a big dish or a book."

So just as in fashion, a single black-and-white piece goes with just about everything -- it just depends on how concentrated the graphic is to pull it off.

"Black and white is a classic combination which can both ground a room and add a pop of intrigue and excitement," says New York-based international designer Sara Story. "It is timeless and modern at the same time."

When Story introduced a wallcovering collection called Story late last year, she included a black-and-white palette for each of the five patterns, all contemporary interpretations of Asian motifs. "It's a way to make it fresh, hip and new. You don't see too many black-and-white wallpapers, and I wanted the line to stand out."

If you want to furnish a full room in black and white, you can create an envelope with walls painted simply in either hue, perhaps with contrasting moldings. Choose white or off-white slipcovers for a soft look, and furniture in ebony frames. In this kind of setting, amped-up patterns can be especially effective.

Or stick to all-white furnishings with patterned walls -- muted or high octane. A black-and-white floral or a wide stripe, perhaps horizontally placed, can be dramatic. Ground it with a graphic black-and-white rug in a different pattern. Then pop in a few black accents: a vase or a lamp.

Designer showhouses often spark clever ideas, and with black-and-white themes there often are surprising applications. Earlier in the year, one showhouse in Greensboro, N.C., for example, featured a bedroom with white walls and bedding on a natural linen upholstered bed. The bed was framed in black, with a canopy and curtains in a stripe of varying widths. That same fabric was repeated in the window treatment. But what really punctuated the scheme was a treatment on the ceiling, where the designer had a pair of double borders painted around the room.

Another room in the same showhouse did black borders as well, but these were actually applied moldings painted black.

For a real modern edge, that's the kind of edginess that transforms a space.

"Graphic shapes breathe new life, making black and white modern," says Sara Story. "There are a million ways to reinvent it -- you just have to keep it fresh."

Sources

-- Bernhardt, 828-758-9811, www.bernhardt.com

-- Bungalow Belt, 708-442-9009, www.bungalowbelt.com

-- CR Laine Furniture, 336-841-3224, www.crlaine.com

-- Sara Story Design, 212-228-6007, www.sarastorydesign.com

-- Surya, 877-275-7847, www.surya.com

SIDEBAR

PATTERN POWER

Designer showhouses often are a treasure trove for creative decorating ideas. Not surprisingly, a black-and-white palette often is part of the mix, as it is a perennial favorite.

And just as in fashion, strong pattern is pivotal in some of the most memorable interiors. Checkerboard on the walls and floor for example, may not be for the faint of heart. But it made for a smashing bathroom at the Kips Bay Showhouse in New York this past spring.

In an adjacent room, designer Sara Story also covered the walls and floor in pattern, but in a different level of intensities. She chose one of her own wallpaper designs, bamboo -- a riff of a traditional Asian motif. "Bamboo is a symbol of strength and that aura infuses the space. It is graphic without being rigidly geometric, striking without being too serious, fun without being self-conscious, and it serves as a great backdrop for artwork. "

On the floor are carpet tiles "intentionally rigid geometric, which grounds the room." Pale lilac sofas further play with the geometry while adding a color burst. And the ceiling, painted to match with a reflective sheen, "works to mirror the patterns back into the room and is a minimalist way to add texture."

CAPTIONS AND CREDIT

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Sidebar Captions

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Atmospheric and ethereal, some images defy references. There are unlikely patchwork montages, graphically arresting, which actually reference a colorful range of intricately patterned silk scarves. Watercolor abstractions in intense hues are spellbinding. Blooms of dahlias evoking more psychedelic than natural colors are explosive. Mega-scale, mural-sized photos are crisp and realistic. Brushstrokes and drips of paint may, in fact, be real.

This is the world of the today's most creative wallpaper design. It's a modern movement with deep roots in nostalgia, both in history and in imagery.

Technological advances, including ink-jet printing, have opened a new world of scale, color and technique, one that has been happily embraced by artisans, many of whom have been trained in fine arts, graphic design and photography.

In an ongoing effort to push the envelope with unique surface coverings, in recent years we've seen an uptick in the use of leather, skin and more unconventional materials such as metal, resin, beads, shells and even Swarovski crystals, which add dimension as well as texture and sheen. One London-based company, Meystyle, even embeds LED lights into its sophisticated patterns.

Pattern certainly has played a pivotal role in dimensional or textural examples. But perhaps the most excitement these days is in the imagery itself -- in traditional silk screens, hand-painting, and digital and print technology.

And these days, there is so much more than meets the eye. There's a mix of sophistication, serendipity and wit at play with the creative process.

The latest collection from Trove, for example, features ethereal looks with names such as Nimbus, which evokes puffy clouds, and Heze, which features abstracted circles. For partners Jee Levin and Randall Buck, the design was a new, experimental adventure. The two created the images by making a series of paintings with flashlights and fiber-optic toys, exposing light to different photographic papers.

"It's playfully lighthearted," says Jee Levin, who says the concept was inspired by New York City street fairs. "We started seeing weird, odd toys, like bracelets and wands. We thought, 'Let's play with those and use them as an unconventional art tools.' So we gathered the pieces, brought them into a darkroom, used a variety of photographic papers and exposed light at different speeds. The experiment involved time, light and color. We learned that red does not actually expose light to the paper, and you can see interruptions in the patterning, sort of gestural brushstrokes. Color was the process, not just informing the process."

Look closely at the patterns in Alyse Solomon's wall coverings and you may begin to recognize elements. What they resemble may be anything from embroidery to pointillistic art to pixilations. One study of red lilies, composed on a ground of leaves that look as if they have been cut out of paper and set in, takes on a whole different vibe with a shift of color to fuchsia on olive, where you get lost in stylized pattern.

Solomon combines a background in graphic and textile design with photography. "I always create pattern and texture and color through the camera," she says.

So the artistry has really given a boost to rethinking the wall in interiors.

"People are using wallpaper as a kind of artistic statement," says Shanan Campanaro, creative director and founder of Eskayel, a company based in Brooklyn, N.Y. "It's less expensive than a giant piece of art. You can use it as an accent rather than everywhere."

Or what is now often referred to as "the feature wall."

"You can create an atmosphere that dominates a room," says Carl Robinson, creative director for Wallquest. Robinson's father was a wallpaper maker in England. "A mural is unlike regular wallpaper, a faux-finished or plain wall." Its impact, even at elevated price tags of several hundred dollars per roll, is less expensive than a piece of fine art.

Some companies, like the Los Angeles-based Black Crow Studios, actually operate in bespoke products -- totally custom. So they pride themselves on hand-painted coverings without repeats that cover entire walls in grand scale.

"Interior design is evolving, becoming a little more minimalist and graphic at the same time," says Alyse Solomon. "With (the graphic papers) you can take a space and create an amusing, unique environment that you walk in and find fascinating. A lot of hotels now choose one wall in the lobby and paper it," which she says substitutes for a framed piece of art.

Complexity, richness of pattern, even a bit of whimsy are part of Solomon's repertoire. One paper titled Edgeless looks like a miniprint. Look closely and a beach scene is revealed in black and white with vivid orange splashes of cushions. A paper at Flat Vernacular, an explosion of disparate objects to create pattern, is amusingly called Lots of Stuff. Another company, Flavor Paper, actually created a custom toile depicting vignettes of Brooklyn for Mike Diamond of the Beastie Boys.

"Wallpaper adds depth and personality to a room," says designer Frances Merrill, owner of Reath Design in Los Angeles. "I love to mix patterns and wallpaper is another opportunity to do that." Her own tastes run the gamut from "old fashioned looking" to very modern.

Some actually attribute the hip factor of today's wallpaper to nostalgia. "People feel they want to be connected to something in their memory," says Chris Sotz, head of home buying for the Philadelphia-based retailer Anthropologie. "Everybody grew up with wallpaper in their mother's or grandmother's home, so they're really drawn to the sense of familiar, a reminder of another time."

At the same time, technology has made the medium more modern, especially with graphic kaleidoscopic patterns or intriguing designs whose subjects are ambiguous.

"People are drawn to the idea of customization and individuality more than ever," says Sotz. Anthropologie has been featuring wall coverings and murals for several years, from European and U.S.-based companies as well as in-house designs. "Five years ago, we always had the powder room discussion -- about papering a small room that you didn't necessarily spend a lot of time in. But we're embracing larger spaces now and that's really impacted the way we think about scale. We can create incredible accent walls.

"People are so exposed to everything out there -- on Pinterest and Instagram -- amazing designs from artists big and small. Wall covering is a great way to create a big impact."

One in-house design called Grand Bazaar was inspired by buyer trips to Turkey and Morocco. "In Turkey, at the Blue Mosque, there were all these amazing tiles and Islamic art patterns, kind of fading away. It was almost like a watercolor. In Morocco, there were about 35 rugs laid out on the ground. We mixed the two images to create the pattern."

Subtext for many boutique as well as conventional wall-covering makers today is an emphasis on eco-friendly, from papers (from recycled sources or well-managed renewable forests, some certified by the Forest Stewardship Council) to inks (water-based) to management of residual inks and water.

"I love that people are embracing (wallpaper)," says Soltz of the newer bolder papers. "It takes a bold person to wallpaper a wall."

Walls may not talk, but these days they're likely to be the source of a lot of conversations.

Sources

-- Anthropologie, 800-309-2500, www.anthropologie.com

-- Black Crow Studios, 310-266-7819, www.blackcrowstudios.com

-- Carl Robinson Collection, Wallquest, 610-293-1330, www.wallquest.com

-- Eskayel, 347-703-8084, www.eskayel.com

-- Flat Vernacular, 347-457-6227, www.flatvernacular.com

-- Flavor Paper, 718-422-0230, www.flavorpaper.com

-- Juju Handmade Wallpapers by Avery Thatcher, 503-764-7610, www.jujupapers.com

-- Meystyle, in London (+44) 7953664960, www.meystyle.com

-- Ode Creative, 734-827-7777, www.odecreative.com

-- Alyse Solomon, paper + art, 212-473-2735, www.alysesolomon.com

-- Porter Teleo, 816-820-6266, www.porterteleo.com

-- Trove, 212-268-2046, www.troveline.com

SIDEBAR

HOMEBOUND NO MORE

The thirst for innovative coverings is being quenched well beyond walls at home. Last month at NeoCon, the international furnishings trade show for contract design at Chicago's Merchandise Mart, 3-D and other creative surfaces were introduced, offering dynamic textures, undulating surfaces and technology that combines surprising materials.

Salt Lake City-based 3form (www.3-form.com), for example, worked with artisans from Senegal to create stitched strips of handcrafted fabric in a flowing patchwork. The strands of fabric were carefully encapsulated in Varia Ecoresin sheets to create a colorful striped effect. The resulting resin panels can be used as translucent walls, room dividers, sliding doors and more.

The appearance of porcelain or plaster relief creates a 3-D effect on a surprising medium: medium density fiberboard. Several patterns are available, on 4-by-8-foot panels or small modular formats from 3form.

At Ode Creative, an Ann Arbor, Mich.-based company, innovative design processes include several trademarked decorative options for decorating wood panels. They include perforations allowing light to shine through; recessing; filling with laminate or wood veneer; inscribing as in a marquetry style etched line flush with the veneer; bas-relief overlay; and imprinting digital images.

Decorative metal also has benefited from ink-jet technology, with unexpected patterns and hues. So aluminum laminates from a company called Moz offer a variety of modern motifs, hand-etching with vibrant washes of color, perforations, corrugations and weaves in a bendable "fabric" that can even be wrapped around columns.

Digital printing also has enabled the creation of modern, decorative images on glass at Skyline Design and on photo film at Trove. In addition to wall coverings, it offers, Trove has a line of film prints, sheer panels that allow application of its images. These can be used for windows, doors or room dividers.

While many of the designs may appeal for residential use (and savvy interior designers know where to find them), they're more likely to turn up in fashionable hotels, malls, offices, hospitals and retail stores, adding style, glamor and cutting-edge sophistication.

CAPTIONS AND CREDIT

(NOTE: These photos are for ONE-TIME use ONLY. At Home photos, with the proper credits, are to be run ONLY with At Home stories. Conversion to black and white is OK.)

(For editorial questions, please contact Clint Hooker at chooker@amuniversal.com.)

Size matters. More and more. Especially in space-challenged homes and apartments.

That apparently speaks to a good chunk of the population, even though manufacturers and retailers have strayed a bit with message in recent years, going for great impact to super-sized sectionals or towering cabinetry, without regard to the dearth of 9-plus-foot ceilings or wide-load elevators in condo buildings. Not to mention narrow doorways.

If not a decided shift at recent High Point, N.C., furniture markets, let us just say that rooms with smaller footprints will not be ignored. The good news is that the commitment poses even more ramped-up challenges to design furniture smartly, with an eye to size and proportions, multitasking, built-ins and visual tricks.

A sign of the times is that RH (the re-branded Restoration Hardware) -- which several years ago went into heavy Belgian industrial and French chateau mode with mega-scale and opulent proportions within the "humble" context of weathered light woods and simple off-white linens -- last spring introduced one of its legendary weighs-a-ton sourcebooks devoted to ... drumroll ... small spaces! Not a compromising aesthetic, this Big Style, Small Spaces is the curated look with pared-down proportions, one suitable for, say, one of 15 lifestyle locations, such as a London townhouse, Paris pied a terre, Boston brownstone, San Francisco Victorian, Milan apartment or River North (Chicago) row house, among others.

So the spring 2013 edition is described as "a scaled-down collection of furnishings in sizes that work beautifully in more intimate spaces."

Relatable scale and clean, modern lines comprise one reason, perhaps, for the appeal of mid-century furniture. This is precisely what grabbed the eye at the Stockholm collection booth at the recent International Contemporary Furniture Fair (ICFF), which took place in New York in late May. Inspired by home furnishings from the 1950s and '60s, the sizes of pieces seemed right; add to that comfort, sophistication and style -- in a provocative palette punched up with kellyish or emerald greens and acid yellows -- at affordable prices. The collection will launch at IKEA in August.

Another standout at that show, because of its thoughtful addressing of storage in the bath, was a tub designed by the Canadian firm, Blu Bathworks. In addition to graceful lines, the piece spoke to storage needs in an architecturally savvy way, its front and sides wrapped with wood shelving designed to house essentials like towels, soaps and sponges, and even a decorative piece thrown in for good measure.

One company that always has understood the need for small as well as for large scale is Mitchell Gold + Bob Williams. For every 90-plus-inch sofa, there are several cozily silhouetted chairs. For every nearly 4-foot-square cocktail table, there may be dozens of petite martini side tables.

"From our first days," says Mitchell Gold, "we observed how people live and want to live. The reality is every home has small spaces even if the homes are large. We realized people need a variety of proportions."

Scale really is the motivator -- not just the measure, but how the inches measure up; in other words, the proportions of the piece. When Libby Langdon designed her Howell chaise for Braxton Culler, she was reaching out to those who love a lounge option but one that reads more simply, such as a chair attached to ottoman, not a space-hog.

"Often furniture is unnecessarily oversized and overstuffed," says Langdon. "Many standard sofas have large, rolled arms, each measuring 12 inches wide, which means they are taking up two feet of usable space."

Says Gold: "It's about proportion and how you effectuate every detail. By making the arms (on a chair or sofa) trim, for example, you still allow good size, comfortable seating. Bob (Williams) has this incredible sense of proportion -- part self-taught, part instinct. It's what makes our pieces look right in a wide variety of places in a home."

It's telling that some of the most popular categories of furniture in recent years have been small tables, bar carts, etageres and desks. One reason is that houses with less square footage demand flexible furniture, so versatile double duty is welcome. A desk can serve as a vanity. A slim etagere or baker's rack can be ganged in sets of three on one wall or employed in a kitchen or bath for handy items. A piece with doors and shelving inside might be tapped as a bar, TV cabinet, for plates and glassware in the dining room, or folded shirts and accessories in the bedroom. A cart with casters can be used in an entry, holding books, framed photos and flowers, or as a rolling bar.

Another tack for maximizing space and function is a piece that can be pulled apart and reconfigured. A table introduced this spring by French Heritage, for example, has 18-inch components that serve as accent tables that are easily moved about (and stacked); six can be put together to create a handsome 36-inch hexagonal coffee table.

Built-ins long have been a go-to option for designers, as they take advantage of tight corners. When certified kitchen designer Susan Serra was planning a 190-square foot kitchen re-do for her daughter, Kelly Serra Donovan -- without changing the footprint -- she knew that the space at times had to accommodate formal dining. So at the end of the galley-style kitchen in a 100-year-old house on Long Island, she designed an L-shaped banquette, which, along with three chairs, can seat at least eight if need be.

While savvy about maximizing workspaces, Serra points out: "This kitchen is about aesthetics and function having an equal place at the table."

Built-ins offer storage as well. The top of a new platform bed at Mitchell Gold + Bob Williams lifts to reveal stash-away space equivalent to a six-drawer dresser, according to Williams.

Visual space-saving is another clever device for inhibited square footage. The etagere is a good example, or a cabinet with slender proportions and transparent backside, which allows the wall paint or covering to peek through and become part of the piece.

Going up the wall, of course, is becoming a useful way to conserve space. We see it in floating shelves, wall-mounted cabinets (particularly vanity and storage pieces in the bath), and in wall-hung toilets, such as the newest model from Kohler, Veil, introduced at ICFF -- fabulously compact with a concealed tank and minimal footprint that saves up to 12 inches of floor, a boon for cleaning.

Rails on kitchen backsplashes also are an excellent way to get pieces off of the counter. In Serra's New York kitchen design, those rails don't remain static; rather, they're armed with spices, tools and the like. Contents are changed out for formal entertaining, substituting with flowers and paintings -- decorative elements to "dress" the space.

Designers do have an arsenal of tricks that are practically trompe l'oeil ("fool the eye"). Designer Libby Langdon, author of a book on small space solutions, and host of HGTV's "Small Space, Big Style," actually likes to use bold color as a backdrop. In designing a guest bedroom in her own home, she painted the walls in a shade of vivid chartreuse, complementing the hue in black and white. A black four-poster bed made of rattan surprisingly anchors the space, but its simple design and open weave feel light. Another device, which she often favors, is doing draperies from ceiling to floor, which visually stretches out the height of the room.

"In my (Washington) D.C. condo," says Gold, "relatively small -- 1,850 square feet -- we used a large 100-inch (long) Chesterfield sofa" because it actually makes the small scale feel more sumptuous. "We also used a 96-by-38-inch dining table instead of a console to serve as a place for media equipment. Putting it up against the wall makes it look generous, not at all overwhelming.

"On the other hand, in the bedroom we used our specially designed small-scale bedside tables, which are (only) 20 inches wide. For many condos, bedroom walls are just too small for a queen-sized bed and a pair of tables. For us the key is that nothing should 'hang over.' Furniture shouldn't go past a wall's border."

In age of smartphones and devices, that's just smart living.

Sources

-- Blu Bathworks, 1-866-907-0122, www.blubathworks.com

-- CB2, 800-606-6252, www.cb2.com

-- IKEA USA, 888-434-4532, www.ikea.com/us

-- Libby Langdon Collection, Braxton Culler, 336-889-7333, www.braxtonculler.com (see website for dealer locations); also visit www.libbylangdon.com

-- Mitchell Gold + Bob Williams Home, 800-789-5401, www.mgbwhome.com

-- Norwalk, 419-744-3200, www.norwalkfurniture.com

-- Restoration Hardware, 800-910-9836, www.restorationhardware.com

-- Susan Serra, CKD, Bornholm Kitchen, 631-754-0454, www.bornholmkitchen.com

-- Universal Furniture International Inc., 336-822-8888, www.universalfurniture.com

-- West Elm, 888-922-4119, www.westelm.com

SIDEBAR

GIVE YOUR SMALL SPACE A BIGGER LOOK

Libby Langdon long has been a master of small spaces. From an HGTV show to a book on the subject, the designer has plenty to dish:

-- Unclutter and clear out! Holding on to too much stuff can make even a large space feel small, so when in doubt, throw it out! Being surrounded by stuff all over the place makes us feel confused, cramped and overwhelmed. Pretend you are moving and think about what you wouldn't move into your new home. Changing your frame of mind helps to see the uncluttering process as an opportunity instead of a chore. It's actually liberating. Living with less "stuff" is the ultimate luxury. People want style, elegance and comfort -- and that begins in a clean, organized space

-- Think vertically. Get your walls to work for you. Mount shelving or storage systems to display collections and store items so you won't waste precious floor and surface space. Use full-scale shelves and cabinets that go all the way to the ceiling to visually draw the eye upward, make the ceiling seem higher and the space live larger. Hang drapes all the way to the ceiling, and if possible, extend the width of the rod on either side, so the drapes hang outside of the frame rather than inside. That makes the window and the room seem more spacious without blocking natural light.

-- Lighting has the power to make a room feel brighter, therefore bigger. By using various light sources, you create layers in a room, and a richer ambience. The more natural light you can bring in, the better; take care to not obstruct light or the views that lead the eye beyond the room. Use lower pieces such as benches, ottomans and stools to keep the space open. Use translucent shades or sheers on windows. Make sure light reaches every corner of your room. For artificial light, try four or five larger lamps, which add height and scale. Avoid harsh overhead lighting, but if you must use it, add a dimmer switch. Light should be inviting and create a feeling of warmth. Hanging large mirrors reflects light, adding depth and dimension.

("Daykeover with Libby Langdon," a new television series that features an interior design makeover in 12 hours, is set to air on NBC this summer.)