THE STORY – The daily lives of healthcare professionals in a Pittsburgh hospital as they juggle personal crises, workplace politics, and the emotional toll of treating critically ill patients, revealing the resilience required in their noble calling.
THE CAST – Noah Wyle, Katherine LaNasa, Patrick Ball, Fiona Dourif, Tracy Ifeachor, Supriya Ganesh, Isa Briones, Taylor Dearden, Gerran Howell & Shabana Azeez
THE TEAM – R. Scott Gemmill (Showrunner & Co-Writer)
The medical drama is a beloved staple of every major television network. It’s a tried and true formula of digestible entertainment that has consistently had millions tuning in weekly over twenty-plus episodes to get their fill of workplace drama and bloody surgeries. Yet, long gone are the days since “E.R.,” when many of these series have strayed away from their considered “prestige television” roots. Nowadays, networks churn out medical dramas left and right, hoping they’ll stick, leaving many with a one-season shelf life. Even established series such as “Grey’s Anatomy” and “Chicago Med” have succumbed to the plight of modern entertainment constantly trying to be interwoven with spinoffs set in the same universe. That’s why you immediately take notice when a drama series like “The Pitt” comes around. Writer R. Scott Gemmill and actor Noah Wyle swore off medical dramas after their time working on “E.R.,” but the past few years have shifted something inside them as they have witnessed medical skepticism and mistreatment towards medical professionals in the wake of COVID-19 has only grown rampant. That frustration brings an earnest approach to what is not just the best medical drama currently on television but also one of the best new series to debut in 2025.
On the fourth anniversary of his mentor’s passing, Dr “Robby” Robinivich (played by Wyle) is going on with his day like any other, clocking into the day shift at the emergency department of a Pittsburgh hospital. “The Pitt,” as Dr. Robby’s crew calls it, is a relentless workplace as they’re understaffed, overworked, and packed to the brim with patients. “The Pitt” is also a teaching hospital, as many new doctors are ready to start their first day of learning the next step in their careers. It’s trial by fire, as what follows is a shift from hell that pushes every resident and attendee to their absolute limit.
While this may sound like any other medical procedural that would play on a network such as CBS, how the season is structured instantly sets “The Pitt” apart from other network medical dramas. Each episode only takes place over an hour from the characters’ fifteen-hour shift. This model, in the vein of a dramatic thriller series like “24,” allows the writing by Gemmill and others to explore these characters on a more microscopic level. How these doctors interact with their patients, other attendees, and residents comes off as refreshingly organic. This isn’t a series where characters display radical transformations throughout the season because why would they? To them, this has only been such a minuscule amount of time in their lives. Relationships develop in a manner that isn’t bogged down by the compulsion to set up unnecessary baggage. The way Gemmill can evoke a wide array of emotions from such momentary character interactions speaks volumes to the confidence in the writing that breathes life into these characters. Whether it’s second-year attendee Dr. Mel King’s (played by Bryan Cranston’s daughter Taylor Dearden) reaction to delivering a child or Dr. Samira Mohan’s (played by Supriya Ganesh) pulling off a bold, complex medical procedure, viewers revel in every bit of it.
Of course, as a medical drama, it delivers on what die-hard fans come to expect from the subgenre, but the beauty of “The Pitt” is that it’s network television without all the frills. In every episode, we’re subjected to copious amounts of medical oddities that spotlight our doctors, spewing medical jargon that we pretend to know and we simply go along with. None of that matters because it’s so well-directed that you don’t need to be constantly reminded of the severity of each case. What you are reminded of is the series’ very PSA nature about specific topics, such as vaccinations, masking, and general medical practices that have seemed to be suddenly reneged on by a large majority of people in this country. A far weaker series would’ve come off as preachy, yet with “The Pitt,” it’s almost like a secret weapon. There’s a sincerity to the storytelling that is clear from the creative team’s exasperation with how the medical community has been cast with such doubt by the general public, far from the times when “E.R.” was on the air. These people are heroes in real life, flaws and all, and that’s how these characters are perceived in the series. Even if they fail, they try their best to save as many lives as possible. It also helps that this sentiment is brought to life by a cast that is as spectacular as this one.
There’s an argument to be made that the ensemble of “The Pitt’ is undoubtedly the most harmonious group of actors on television currently. The cast, which is comprised of an assortment of veteran television actors and a slew of new faces, is all anchored by the brilliance that Wyle delivers as Dr. Robby. His work on “E.R.” was synonymous with a whole generation of television watchers, so there’s this semi-metatextual quality about his performance here that ties to his work within this subgenre, let alone his career as a whole. This isn’t a rehash of time, as John Carter on “E.R.” as Dr. Robby’s stern yet decisive nature is a front for a character truly doing his best to keep himself from falling apart. It may only be one season, but with ample moments of warmth, humor, courage, and heartbreaking emotional devastation, Wyle’s work in “The Pitt” may be the best he’s ever delivered. Honestly, there isn’t a single person in the cast who isn’t delivering exceptional work that feels right in line with the tone Gemmill has established. Katherine LaNasa, Patrick Ball, Fiona Dourif, and Tracy Ifeachor turn in such exemplary performances that mesh so well with the younger cast members, whose characters are coming into the fold for the first time that the clash between old and new, experienced and inexperienced drives a lot of the compelling drama we watch unfold throughout this single shift. Isa Briones is a clear example where her character, Dr. Santos, exudes such a peacock level of confidence that it’s easy to launch angry feelings toward her, especially concerning her work relationship with her resident, Dr. Frank Langdon (played by Ball), who is dealing with his own internal struggles on this day. It’s no wonder that after sitting through all fifteen hours of “The Pitt,” audiences who have quickly attached themselves to these characters are eager to spend more time with them.
Just when we thought the medical drama had retreated to becoming a shell of what it once was, R. Gemmil Scott has brought us all “The Pitt.” What’s also wild is that with such a strong first season, “The Pitt” is already on track to deliver another season within the next year. It feels like an almost forgotten practice that few shows in the age of streaming adhere to. In an age of copy-and-paste programming by networks, “The Pitt” has solidified itself as one of the more essential watches of 2025. It’s hard to imagine that the next season will top this. Still, with such a thoughtful and talented group behind it, we can’t wait to see what challenges come toward Dr. Robby and the rest of the team at “The Pitt” (especially with all of the possible Fourth of July-related injuries Gemmill has teased).
THE GOOD – Season one of “The Pitt is nothing short of excellent, filled with lean and confident writing anchored by a brilliant ensemble led by an Emmy-worthy lead performance by Noah Wyle. Its sincerity echoes throughout the series, which is a testament to the real-life medical professionals to whom his show aims to give respect.
THE BAD – None
THE EMMY PROSPECTS – Outstanding Drama Series, Outstanding Lead Actor in a Drama Series, Outstanding Supporting Actress in a Drama Series, Outstanding Supporting Actor in a Drama Series, Outstanding Writing for a Drama Series & Outstanding Directing for a Drama Series
THE FINAL SCORE – 9/10
