ER Vets — and ‘ER’ Vets — Know What They’re Doing in Real-Time Medical Drama ‘The Pitt’: TV Review

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Viewing the first episode of medical drama “The Pitt” may make you feel like you’ve jumped through a time portal. The series stars Noah Wyle, known for his fame in the ensemble cast of “ER.” Created by R. Scott Gemmill, who was an executive producer during the later seasons of “ER,” and directed by executive producer John Wells, the original showrunner of, yes, you guessed it, “ER.” It’s nearly superfluous to say that the story unfolds in a hospital’s emergency department given the show’s connection to “ER.

Initially, it’s becoming apparent that “The Max Series” isn’t just a repetition of its forerunner. To set the stage, the opening scenes depict Pittsburgh instead of Chicago (“Pitt” is a term with double meaning, referring both to Pittsburgh Medical Trauma Hospital’s hometown and the ER staff’s nickname for it). The actor portraying Wyle’s character in “ER” started as a medical student but has since grown into the role of Dr. Michael “Robby” Rabinovich, a compassionate senior doctor. More significantly, unlike “ER,” which often encompassed an entire shift, “The Pitt” unfolds almost in real time. In essence: Although it’s understandable why the “ER” creator Michael Crichton’s estate considers “The Pitt” an “unauthorized reboot,” the series itself soon contradicts this claim.

The structure of “The Pitt” series seems reminiscent of “24,” much like how “ER” represented a significant part of broadcast TV’s cultural influence prior to being significantly impacted by cable and streaming. Notably, “The Pitt” has a 15-episode run, with each episode depicting an hour of Dr. Robby’s daily shift from 7 am to 10 pm. While this is a decrease compared to the number of episodes a network schedule could accommodate, it’s still above average for a streaming service like Max and hints at the series’ TV network origins. “The Pitt” maintains the realism that made “ER” popular, incorporating contemporary issues such as opioid abuse and the pandemic into a fast-paced narrative that successfully evokes the same feeling of chaos in viewers that its characters experience daily. The show skillfully leverages the creative team’s knowledge while subtly altering the format to give “The Pitt” its unique character.

As a dedicated movie-goer, I find myself drawn into the heart of “The Pitt,” where Robby, a composed and seasoned leader with an exceptional knack for empathy, serves as the steadfast core amidst the whirlwind of physicians, nurses, students, social workers, ambulance crews, administrators, and patients. The waiting room is often my domain, offering a stark glimpse into the lengthy wait endured by countless individuals who are not critically ill or injured. This aspect underscores the systemic challenges in American healthcare that our protagonists seldom have the luxury to ponder as they navigate the onslaught of cases.

The compressed timeline also serves to transform patients into recurring characters, giving them a longer stay on screen compared to typical medical shows. A single episode character here lingers for several, allowing “The Pitt” to flesh them out and make them more nuanced, rather than reducing them to mere numbers as they pass through the hospital doors.

In “The Pitt,” the vastness of its star-studded cast is overwhelmingly large, with characters like the ambulance team being introduced late into the series. Mentioning each ensemble member would exhaust this critique, but Robby works alongside Dana Evans (Katherine LaNasa), a tough-as-nails charge nurse with a gentle Pittsburgh accent, Dr. McKay (Fiona Dourif), a seasoned resident and single mom from an unusual background, and Dr. Santos (Isa Briones), a confident newcomer who learns the ropes under the stress of her first day. As a whole, the cast is a whirlwind that seldom coalesces, yet becomes recognizable in brief moments.

Wells’ initial approach effectively sets the physical context for the audience, defining the ER as both vast and confined, serving as the primary location throughout the series. There aren’t many scenes set outside of the fluorescent lighting. The design, from the consistent medical terminology to the casual exchanges of professional insights, is one of many elements that strive for authenticity. In the first episode, we see a stream of elderly patients arriving around 7:30 in the morning, as a result of the local nursing home conducting bed checks at 7. The only factor disrupting our immersion could be the airing schedule; “The Pitt” is best consumed as a binge but will instead be released weekly following a two-part premiere.

The portrayal of “The Pitt” sometimes stretches credibility. In total, the frequent occurrence of uncommon medical conditions, extreme injuries, and cases reminiscent of real-life headlines like the Tennessee teen seeking an abortion give off an impression of a writing team concocting storylines rather than capturing everyday life. Despite this, “The Pitt” aligns with “St. Denis Medical,” the NBC sitcom that used to house “ER,” in a positive trend of medical shows portraying hospitals as overburdened social services instead of idyllic symbols of heroism.

While Robby, grappling with his mentor’s death during the early pandemic, shares some similarities with the arrogant surgeon Dr. Bruce from “St. Denis,” who is a caricature of the typical male, self-important protagonists common in medical shows, Eric Wyle manages to infuse Robby with enough genuine warmth and authentic flaws that make it plausible he can lead his team and audience through a grueling 15 hours.

Starting this week at 9pm ET, I’m excited to dive into the first two episodes of “The Pitt” streaming exclusively on Max. The rest of the series will be released weekly every Thursday, which I can hardly wait for!

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2025-01-09 17:18