If the Scrubs Fit

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In the TV show “The Pitt,” Noah Wyle’s character, Dr. Michael “Robby” Robinavitch, is having an incredibly difficult day. He’s been haunted by distressing COVID memories, had to dismiss a valued colleague, witnessed numerous child deaths, and clashes persistently with a hospital administrator overly focused on patient satisfaction ratings. In the episode “6:00 P.M.,” things escalate in a quintessentially American fashion: There’s an active shooting at a local music festival, and the ER Robby manages is overwhelmed. Blood spills onto the floor, soaking through doctors’ scrubs; ambulance sirens dominate the soundtrack. Robby, who used to move confidently from patient to trainee with empathy and resolve, seems lost. He was supposed to go to the festival with his ex’s son, but hasn’t heard from the 17-year-old. His usually composed and prepared face collapses into despair. Things are not looking good. It’s a tough way to conclude an episode of a series that had previously gained audience favor with the comforting, reliable grin of an ex-“ER” actor and the notion that healthcare is a fundamental human right, not a money-making venture.

Wyle notes that what you’re observing is the point where the water nearly submerges him. He’s close to drowning, so to speak. We’ve shared the first ten episodes with the press. Everyone seems to be finding this journey enjoyable. However, I alone am aware that we’re steering this train towards a precipice.

On television, you’ll often find medical dramas; right now, each of the major networks air at least one. One such series is titled The Pitt, which emerged from a creative team that previously collaborated on the successful show ER. Max is the brainchild of this group, with Wyle (also serving as an executive producer and writer) and creator R. Scott Gemmill among its key figures, alongside executive producer John Wells.

The Pitt resembles a classic TV success story: It adopts a weekly release format rather than the common streaming model of binge-watching. Similar to the popular show 24, each episode is set within a single hour at the Pittsburgh Trauma Medical Center’s emergency room, creating an atmosphere of tension and urgency. The series boasts a star from one of the longest-running prime-time medical dramas ever. Audience interest is high, reviews are positive, and in modern terms, social media buzz about Wyle is palpable.

The show’s frank narratives — tackling subjects such as abortion, healthcare for transgender individuals, and racial bias among medical professionals — contrast with the current trend of diversity, equity, and inclusion (DEI) being neglected in real life.

As a dedicated cinema enthusiast, I find myself nestled within the hallowed walls of the Players Club, New York City’s exclusive actors’ society. This esteemed institution was established by Edwin Booth, a prominent figure from the acting family famously associated with John Wilkes Booth. Growing up, I harbored an unwavering fascination for the Booths, whether it was performing in plays with my family or on school stages. Decades later, I feel an uncanny sense of belonging amidst their treasured artifacts.

My eyes are drawn to the legendary skull of the notorious horse thief Fontaine, which Edwin once used during his rendition of Hamlet. Now, it’s encased behind a velvet rope. “This skull was once within reach,” I reminisce, “You could pick it up.” My friend and fellow ’90s prime-time leading man, Steven Weber (currently gracing our screens on Chicago Med), and I would often engage in playful antics with the skull, I recall, laughing heartily as I share this anecdote. My laughter, a raspy, self-deprecating chuckle, can sometimes echo self-loathing tones, much like when I described myself as looking like a ‘hostage’ during my recent appearance on The Kelly Clarkson Show.

Six days have passed since “The Pitt” concluded in early February, and next week, Wyle will join the writers’ room for season two of the series. He’s accustomed to lengthy projects; he spent four years on TNT’s “The Librarians” and “Falling Skies,” respectively, and 15 years on “ER.” In “ER,” he portrayed a privileged student who transformed from a bumbling med student into a politically engaged resident, eventually becoming a stoic attending physician. The character arc from the pilot episode to the finale was one of the most dramatic, according to Wyle. “ER” had nearly 35 million weekly viewers, but most original actors like George Clooney departed after a few seasons. Unlike them, Wyle remained for an impressive 254 episodes, taking a two-season break only following his son Owen’s birth in 2002. “ER” was a cultural phenomenon, generating intense interest in the characters’ relationships and gracing numerous magazine covers, starting with a October 1994 “Newsweek” that labeled it “A Health-Care Program That Really Works.” During its run, Wyle had to decline movie offers for “Saving Private Ryan” and Clooney’s “Good Night, and Good Luck.” “I had a strong start in my career,” he says, “and was linked with a show that ran for a long time. I stayed with it. What followed was what followed.”

Following that, there was a series of characters similar to Jimmy Stewart on basic cable, which is where Wyle excels. He often plays ordinary men who exude wisdom and a hint of mischief – the kind who could either lead you into battle or make a university lecture captivating. (His long-time collaborator, costume designer Lyn Paolo, once let him sew her up after she injured herself on the set of ER; writer and co-executive producer Dr. Joe Sachs agreed to oversee the stitching. “We worked hard, we played hard back then,” Wyle says. “We were all sewing each other up.”) He is extremely intelligent, and this intelligence shines through, not just in his empathy but also in his ability to listen and the stillness he brings as an actor, a skill that can sometimes go unnoticed. Falling Skies and The Librarians, although they had far fewer viewers than ER, effectively utilized Wyle’s steady gaze and measured tone, and attracted their own dedicated sci-fi/fantasy audiences – the kind who attend comic-cons and buy tie-in novels. “I became somewhat comfortable with not feeling like I was doing work that was in fashion,” Wyle says.

In March 2020, as COVID-19 was devastating the nation’s healthcare system and silencing Hollywood, Wyle began receiving numerous Instagram messages from first responders who recognized him from ER. Some messages were confessional about the hardships of their work, some were complaints about how inadequate the era’s pot-banging appreciation seemed. Many were a call for help, saying “Hey, Carter, we need you here.” Wyle says, “The volume was almost parallel to my feelings of despair at the time. I felt useless, yet I was being acknowledged, and that was a strange mix for me to process.” Eventually, Wyle shared these messages with Wells and Gemmill, and they met sporadically over the next few years to discuss collaborating again. Their initial idea was a project related to ER and Dr. Carter, which disintegrated in April 2023.

Wyle can’t reveal much about the project due to a lawsuit from Michael Crichton’s estate, who claim that “The Pitt” is an unauthorized reboot of “ER.” However, Wyle maintains that it’s a completely distinct production. Wyle stated, “I wanted to highlight these first responders and this community that required attention.” To which Wells responded, “We can still do that.” They aimed to create something drastically different from “ER,” featuring a unique protagonist and standalone elements. The series takes place in Pittsburgh instead of Chicago, and the narrative unfolds in real time with various crises escalating tension as the cast navigates the sterile white set. Doctors Carter and Robby are both medical professionals and educators, but Robby exhibits a rugged, world-weary demeanor that contrasts with the ambitious, yet low-key womanizer persona of Carter. In season two, Wyle promises more screen time for Robby’s glasses, as his vision deteriorates further.

In May 2023, the trio convened their initial planning meeting for “The Pitt,” but the Writers Guild of America declared a strike the following day, forcing Wyle out onto the Hollywood picket lines outside Netflix and Warner Bros. “For 192 days, I walked in circles contemplating about the type of work I wanted to do, who I wanted to collaborate with, and what I desired the experience to be like, as well as its intended impact,” Wyle recounts. “That period was my incubation, so when we started working again, we hit the ground running.” Fourteen months later, “The Pitt” premiered on Max, with Dr. Robby receiving a stylish introduction, his sunglasses hiding his eyes from the early-morning light reflecting off his beard as he walked to work. Wyle remains shocked at being cast as the lead despite “The Pitt” distancing itself from its ties to “ER.” He explains, “I view Max and HBO as a major league I haven’t played in for quite some time. This was an opportunity that seemed too good to be true.

For the past five years, most streaming shows have featured a well-known actor, as stated by Wells. However, Noah might not fully grasp the extent of his fame; he’s quite modest and seems unaware of just how big a star he truly is.

In the emergency room, affectionately known as “The Pitt,” Dr. Robby played by Wyle, serves as the hub of the operation. Everyone else seems to orbit around him and follow his lead. This role was not limited to the medical setting; he also took on executive producer and writer responsibilities behind the scenes. According to Gemmill, this character reflects some personal aspects of Noah’s business experiences, making it fitting for someone who has endured so much and continues to strive while passing on knowledge to the newer generation.

When casting calls were made for The Pitt, Wyle included a letter with each character description, drawing inspiration from director and screenwriter Robert Altman’s approach to ensemble pieces like M*A*S*H and Nashville. Unlike ER, whose cast was known for competing for scenes and intimidating guest stars, The Pitt aimed to provide an equal opportunity platform where any character, whether a lead or an extra, could have their moment in the spotlight. As Wyle puts it, “There’s no distinction on a good set between main characters and supporting actors, or cast and crew. It’s all one team.

In his first recurring television role on “The Pitt”, Patrick Ball experienced an environment free from ego, as created by Wyle, which allowed him to comfortably engage in physical interactions during the intense confrontation between their characters at the end of episode “4:00 P.M.” Each installment is titled based on an hour of the characters’ shift, and they often conclude with impactful scenes, where actors have the opportunity to transition the story from medical emergencies towards exploring their characters’ personal lives. In this particular scene, Dr. Robby is taken aback when he discovers that his trusted senior resident, Dr. Frank Langdon (Ball), has been pilfering benzos from the unit; their altercation includes the typically composed Robby losing control and the self-assured Langdon pleading to keep his job. “We simply started walking around in the hallway, shoving each other,” Ball recalls. “There were no power plays or attempts to steer the scene. It was more like a game of catch. You’re just playing.

The opening scene initiates Dr. Robby’s emotional decline throughout the series, becoming more intense with the “6:00 P.M.” plotline which portrays a mass casualty situation. The usual friendly banter among the ER regulars and staff members is replaced by a surge of gunshot victims, mirroring the grim reality many Americans have witnessed on television or even lived through. Acting out the season’s finale was emotionally draining as described, with Wyle stating, “You’re drenched in blood and surrounded by a lot of distressing sounds – screaming and crying. There’s no break from it because you’re so deeply involved.” This aspect of the role was particularly challenging for him due to the struggle of balancing personal life commitments amidst such intense immersion in the character.

In 2012, I was apprehended during a demonstration on Capitol Hill against proposed cuts in Medicaid, and in 2016, I made a public service announcement asking the Electoral College to reconsider Donald Trump’s candidacy. I’m not shy about expressing my views: I dislike wealthy individuals interfering with government policies, and I advocate for a comprehensive national health care system, which I believe is not a matter of debate but a question of determination. However, I refrain from suggesting that the storylines on The Pitt are politically biased. To clarify, the episode involving a man with brain parasites wasn’t intended as a criticism of Robert F. Kennedy Jr., the Health and Human Services secretary and anti-vaccine conspiracy theorist; it was merely a coincidence. We didn’t gather to brainstorm ideas that would stir up America; instead, my goal is to challenge some of the misinformation circulating, claiming that medical facts are simply opinions. This season, I penned two episodes myself, including “3:00 P.M.”, where two mothers engage in a physical altercation over mask usage. The plot resolves with the anti-mask mother needing hand surgery and acknowledging the importance of doctors wearing masks during the procedure. Honestly, that scene was meant to be a statement – masks are crucial for reducing disease transmission, and it shouldn’t be a political stance.

In conversation with Wyle, you’ll find traces of Old Hollywood values, subtly laced with liberal ideologies, particularly in his views that storytelling fosters empathy and those involved should be fairly compensated. Currently, he’s part of a streaming series, but he expresses skepticism towards any business model that relentlessly pursues endless expansion. He remarks, “Our fathers created something truly remarkable, and then we all thought, Let’s dismantle it and create something new.” However, what followed was something larger and unsustainable. Eventually, he admits, “We wondered, ‘What did Dad do?’ And then we rebuilt what Dad did.”

He aspires to continue bringing projects like The Pitt to Los Angeles, a city where multiple generations of his family have resided (including his mother, a former orthopedic head nurse). Recently, he witnessed the devastation caused by catastrophic wildfires in the city. “I’ve experienced a lot of hardship in that city,” he says. “I’ve never seen anything like that.

As a passionate cinephile, I’m eagerly awaiting the day when Wyle might return to the big screen for acting roles or even venture into creating his own show or producing other projects that truly ignite his passion, much like “The Pitt” did. However, he admits that it’s challenging for him to envision his future, given his current contentment with his career. Moreover, he accepts the possibility that he may never experience mainstream success on par with “ER” again. When I inquire about what he means by “this,” he explains it as the simple realities of life – like the night after our encounter at the Players Club, where he returned to his cherished space, won at pool, drank at the bar, and had a harrowing walk through the snow, fearing he might crack his head open. He also shared a chilling incident where he slipped in the shower after vomiting, prompting him to call his wife early the next morning, concerned about a potential concussion. In jest, he remarked that even if one stars on a hit show, they can still slip in the shower or upset their spouse – it’s just life.

All ERs are nicknamed “the pit,” short for “physician in triage,” but Pittsburgh Trauma Medical Center makes use of the “Pitt” wordplay.

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2025-03-20 16:55