In the realm of streaming entertainment, dating back to shows like “East Los High,” “The Man in the High Castle,” and “Orange Is the New Black,” the unspoken mantra was, “We can do it bigger and better than networks.” For over a decade, pioneering platforms such as Hulu, Netflix, and Prime Video churned out an array of productions, from grandiose fantasy series to Emmy-worthy dramas, to revivals of ’90s multi-camera sitcoms. Yet, despite giving the go-ahead to numerous projects, streaming content creators during Peak TV’s time failed to master one fundamental formula: the weekly network-style procedural drama. However, the arrival of Max’s medical drama, “The Pitt,” starring Noah Wyle, seems to challenge this trend.
Shows such as Bosch, Goliath, The Lincoln Lawyer, Poker Face, and On Call share common traits with traditional broadcast-TV procedurals (self-contained storylines, mystery solving), but they exhibit characteristics more akin to streaming-era productions due to their release schedules and production patterns. In contrast, The Pitt strongly resembles network TV, as evidenced by its top producers who have previously worked on ER, specifically R. Scott Gemmill and John Wells. Notably, The Pitt was deliberately designed to mimic network TV, aiming to create a high-quality show that would have been produced by one of the major networks in the past, but for streaming platforms. This statement was made by John Wells during an interview with Vulture as he completed production on the first season’s back half of The Pitt.
In essence, this means that the series “The Pitt” follows a format where most storylines unfold and conclude within an hour-long episode. The first season contains almost double the usual number of episodes found in a typical streaming drama. Furthermore, its second season is expected to debut approximately eight months after the final episode of season one, which airs on April 10. To take networkization a step further, Max has opted to broadcast weekly episodes during primetime hours every Thursday at 9 p.m. ET, instead of releasing them in the middle of the night as many streaming shows still do.
Although Max doesn’t disclose exact viewership figures for its series, it’s evident that The Pitt‘s deliberate nostalgic approach is resonating with viewers – and crucially, meeting the expectations of executives at the streaming service when they approved the production.
In January, Max announced that the show’s two-episode premiere was one of the platform’s five most popular series launches since it began in 2020. With additional data and viewers catching up, the streaming service now predicts it will rank among the top three debuts.
After that point, The Pitt has seen a growth in its viewer count each week, as Max points out, which aligns with anecdotal indications (such as social media chatter, news articles, critical acclaim) suggesting the series is striking a chord. (Note to Netflix: This underscores the benefits of releasing episodes on a weekly basis!)
According to initial streaming data from Nielsen, it appears that “The Pitt” may end up as the 11th most popular original series for the week of March 10. However, this ranking could still shift, and a top-ten finish is possible. Since Nielsen counts all episodes and seasons when calculating weekly viewership, if more episodes of “The Pitt” become available, and viewers continue to watch, it’s likely that the series could climb into the top ten by the time the finale airs next month (although this isn’t guaranteed).
Executives at Max are thrilled with the success of their latest show, The Pitt, as it not only marks a new hit for them but also validates the daring move to produce a linear network-style procedural, a concept many thought would flop in streaming. In their eagerness to attract subscribers by offering “noisy” shows and concepts, they neglected to consider series that could keep viewers engaged over extended periods – or, as industry terms it, maintain viewer interest for months on end. Netflix’s approach has been to churn out numerous shows each week, ensuring fresh content, although they have recently started producing lower-cost procedurals like Lincoln Lawyer and the upcoming Pulse. However, there’s no sign that they are ready to abandon their strict adherence to binge releases and limited episode counts. Amazon Prime Video, too, received attention for commissioning a Dick Wolf cop show (On Call), but their initial commitment was only eight half-hour episodes, all of which were released over a weekend.
Instead of holding back, Max, under the guidance of Casey Bloys as chairman and CEO of HBO and Max Content, decided to heavily invest in “The Pitt”. This included 15 episodes, regular weekly releases, a comprehensive promotional and marketing campaign, and even renewing the show for a second season ahead of schedule. This was a calculated move, indeed. It appears that industry reports indicate the series is being produced for approximately $5 million per episode, which is relatively low compared to most high-end streaming dramas today. However, it was still a gamble – one that no other streamer of comparable size had attempted before. Recently, Bloys explained his rationale for taking this chance on “The Pitt”, starting with the crucial insight that led Max to start searching for a weekly procedural. As he put it, “A slate needs diversity. It can’t just be all ‘The Last of Us’ and ‘House of the Dragon…’. I need to keep viewers engaged throughout the year, so I must look for other things that can do it.
The question seems to be about the origin of “The Pitt” TV show, which is under Warner Bros. TV (WBTV), part of Warner Bros. Discovery family, known for producing hit procedural dramas. It was asked if the show was created due to Channing Dungey, who runs WBTV Group, finding a suitable home for such shows on Max, or if there was a specific intention from the team to create this kind of show.
The answer suggests that the intention was to have a network-style show with 15 episodes per season (for longer viewer engagement) and at a budget that could be sustained. John Wells had been discussing a medical show idea with Channing, and when they proposed “The Pitt,” WBTV saw it as an opportunity that matched their interests. The answer also notes that Warner Bros. has deals with various streaming platforms like Max, Amazon, and Apple, which makes it easier to produce shows suitable for different genres or audiences.
It seems you’ve pointed out that there are fifteen episodes. Interestingly, I found out from some interviews with The Pitt’s producers that they initially envisioned each season having only twelve episodes, reflecting the number of hours in a hospital shift. However, as my interest grew… I craved for more!
Instead of choosing 15 as our episode count, why not opt for 12 or even 18/20, which are common in streaming/broadcast today? However, we found that doing just 12 episodes gave us a more streamlined feel, similar to what HBO used when I first joined. As the number decreased to ten and then eight, we decided to aim higher. Initially, 22 seemed too ambitious, but 15 felt like a good balance – it’s more than the usual count, allowing John and his team to create something unique and satisfying.
Another significant aspect of this model, which is somewhat rare nowadays and you’ve touched upon in your writings, is that the second season will debut in January 2026, a year later than the first. This approach, featuring more episodes, reduces the time gap between seasons. On our platform, series such as ‘House of the Dragon’, ‘The Last of Us’, and ‘White Lotus’ are popular, but due to their production methods, they can require two years to complete. What I appreciate about a show like ‘The Pitt’, however, is that it allows for 15 episodes in a single year. This is an excellent enhancement to our existing content on the platform, and I aim to produce more shows following this model.
It’s fascinating that we’ve had Hulu and Netflix producing original series for over ten years, yet there haven’t been many successful procedurals churning out numerous episodes annually. What made you decide to venture into creating one?
It was a combination of factors. First, trying to determine what makes an HBO show unique versus a Max show was intriguing. You know, I can easily identify HBO shows and say, “This is what it should feel like.” A Max show, however, was something we were still working to define. One thought was that a network-style show wouldn’t typically fit with the HBO brand. I am particularly proud of The Pitt because it offers a clear example of what a Max original could be. It does something that an HBO show doesn’t, and now it isn’t just theoretical—it’s a show that has excelled in every aspect: reviews, performance, and audience engagement. Moreover, it has even sparked discussions within the medical community about being the most authentic medical procedural they’ve seen. Articles have been written by doctors and nurses recommending The Pitt to their spouses as an accurate portrayal of their daily work. That’s significant.
Apart from considering a programming offering as a traditional slate, think of it as a diverse canvas. Expanding the reach of “The Pitt” on HBO has attracted audience groups who might not typically view HBO content. These viewers may prefer action movies, reality shows like “90 Day Fiancé,” or off-platform hits such as “Love Is Blind.” This strategy is effective because it appeals to various segments within our subscriber base, reducing the likelihood of churn. A show like “The Pitt” significantly benefits the entire platform. Additionally, we have a reality series, “Paul American,” featuring Jake and Logan Paul, which will likely draw in other cohorts within our subscriber base who may not be fans of HBO original programming. The goal is to extend beyond HBO’s usual offerings.
It’s quite remarkable that Max, which is five years old, has become the first streaming service to successfully tackle the procedural genre, considering Netflix and Hulu have been producing original series for over a dozen years. The question arises: why did it take so long for this shift in the industry?
The answer lies in the fact that every business requires experimentation and understanding of what works and why. Streaming is still relatively new, so everyone involved is learning as they go along. Therefore, it wasn’t immediately obvious to create procedural series when I started out. It took a bit of time for my team and me to figure out the right approach.
It was realized that a slate needs to offer diversity. Indeed, the HBO series, which perform exceptionally well and attract numerous subscribers, are impressive. However, it’s not feasible to have only shows like “The Last of Us” and “House of the Dragon.” They are fantastic productions, but they have a two-year production cycle and last for about seven or eight weeks. I have a full year’s worth of content to provide, so there must be other options that can maintain audience engagement throughout the year. Balance is essential.
After the resurgence of Suits reruns on Netflix, I penned an article discussing the impending crisis for streaming platforms regarding their library content. With fewer shows reaching the 100 or 200 episode milestone, finding another Suits or ER that can captivate subscribers for extended periods is becoming increasingly difficult. It seems plausible that this was one of your reasons for creating The Pitt.
Streaming services have been fortunate to utilize existing libraries (we’ve all sold them library shows), so they haven’t had to address this issue as much. However, when considering the future—libraries don’t magically appear. The objective behind The Pitt is if you desire another Grey’s Anatomy or West Wing, or any long-running procedural, you need to replenish your library. To achieve this, you must deliberately develop such shows. You can’t solely rely on what’s already been produced, especially as network television produces fewer and fewer of these series. Networks were once a rich source of long-running procedurals with numerous episodes, but the industry is struggling, and streaming services have not prioritized this content. If you aim to create your next flagship library series that will still be popular 20 years from now, you must actively pursue it.
You’ve made some similar moves with “The Pitt” as linear TV shows, one of the most notable being the release of a single episode each week at 9 p.m. ET. Previously, Max originals were released in the middle of the night. Why did you decide to switch this up? Initially, when I started working on the Max platform, I questioned why we were releasing shows at midnight. The response was something along the lines of needing as much data from the previous day for reporting purposes. However, it didn’t seem logical. People enjoy scheduled television. Although most viewers won’t watch “The Pitt” or “The White Lotus” on premiere night, I believe there is still significance in having a set release day and time. As we’ve become more adept at understanding streaming habits and measuring viewership, I think it’s beneficial to release shows on Thursday or Sunday nights.
It seems likely that new shows from Max, such as Hacks and And Just Like That, will begin airing their episodes on Thursdays at 9 PM Eastern Time.
In my opinion, when shows are released on a weekly basis, it’s enjoyable to provide viewers with a sneak peek of what’s coming next as a means to build anticipation. This practice is common among network shows, but less so for streaming originals, even though they also follow a weekly release schedule.
As a devoted movie enthusiast, I can’t help but notice that “The Pitt” deviates from typical network-TV conventions by not having a traditional theme song or opening sequence. I find myself yearning for the impactful moments like Eriq La Salle pumping his fist in the ER credits. However, I understand that this absence might be due to the show’s emphasis on realistic portrayal, as music plays a minimal role in the series, a decision significant to John. Nevertheless, if they ever considered adding something extra, I would be more than willing to discuss and contribute ideas.
The budget for “The Pitt” is reportedly over $4 million per episode, which roughly translates to between $4 million and $5 million. Compared to some streaming series that run upwards of $20 million per hour, this isn’t a significant amount. Is it crucial to produce “The Pitt” within a budget similar to network shows? Absolutely, as the feasibility of producing 15 episodes in a season hinges on having an appropriate budget.
The Pitt appears to be designed with cost-effectiveness in mind, nearly at every level. This is one of the reasons why medical shows are so popular on television: they offer high drama (since life and death situations are involved) and efficient production (as scenes often take place in one location). In the case of The Pitt, this efficiency reaches an extreme, as all events unfold within a single day. From a wardrobe perspective, there’s not much changing needed beyond cleaning up blood spatter. However, cost-efficiency is crucial because it enables us to produce a larger number of episodes.
Even though we’re mindful of the budget for the production, we’ve chosen to film in Los Angeles, a location that tends to be more expensive. Although The Pitt isn’t exactly a low-budget series compared to what you might find on basic cable or broadcast networks, I’m curious if you considered shooting the series in a location with lower costs or higher tax incentives? In this case, Warner Bros., which has numerous sound stages in LA, didn’t lead to much discussion about moving elsewhere. However, we were able to secure a tax credit for the show, which provided some financial relief.
Regarding the drive to boost film production in L.A., what are your thoughts on the “Stay in L.A.” movement? This initiative aims to lift the caps from film production tax credits for some time, aiming to stimulate more shooting within Los Angeles County. Do you believe these caps should be lifted? Absolutely! I find it hard to comprehend how California allowed Atlanta to grow so much… I would certainly advocate for expanding the incentive program as it does have a significant impact on production.
You’ve indicated that The Pitt’s audience is substantial and expanding, and you’re extremely pleased with its progress. While I have no doubts about the show’s success, I must admit I’ve been a bit taken aback by its absence from Nielsen’s weekly list of top ten streaming originals. Given that you don’t disclose audience data for Max originals, could you provide some insights on what makes you so content with The Pitt’s viewership figures?
In essence, the TV industry has always been about balancing costs and returns. Shows like “The Last of Us” or “House of the Dragon,” which attract 25-30 million viewers per episode, come at a high price tag. As such, it’s crucial for them to draw in large audiences. With our budget, I’m elated not just by the numbers The Pitt is pulling in, but also by the consistent growth we’re witnessing week after week – this is quite significant. Nielsen considers all seasons of a show, so I anticipate that as The Pitt adds more episodes and potentially more seasons, it will appear on their tracker. Nevertheless, I’m delighted with the performance it has exhibited to date.
It’s possible that we will air weekly episodes of The Pitt on our sister cable network TNT, given its history of original dramas and the fact that other Max shows have been re-aired there in the past. This could be beneficial as we approach season two to increase exposure. However, before a new season of any show begins, many people come to Max to catch up. So, airing current shows on another network can suggest that “Max shows can also be watched on TNT.” It’s acceptable for marketing purposes as long as it doesn’t become excessive. The key is to ensure viewers know the primary source for a current hit show is on Max. Audiences on streaming and linear networks are somewhat different, so this should be discussed.
You asked last autumn about additional procedurals in the works, so I thought it would be appropriate to provide an update. As for the current status of these projects, we’re focusing on whether the scripts are strong or not first and foremost. I don’t aim to have a specific number of procedurals each year, such as two; rather, we’re developing several at the moment, and I believe there are other genres worth exploring too. The number isn’t set because I prioritize quality over quantity when it comes to script selection.
Are you curious about the progress of the scripts under development? It’s possible that we might reveal something new during our upfront presentation in May, but I can’t provide any specific timelines at this point. We won’t be following a traditional network approach with numerous pilots and limited selections. Instead, our focus will be on quality content, which includes HBO originals, movies, documentaries, and comedy series. We’re not aiming to create an entire ABC or CBS lineup, but rather adding to what we already have in place.
Are you open to considering a spinoff series or another show set in Pittsburgh, should an appealing concept arise? In other words, imagine a variety of storylines such as police procedurals and family dramas, reminiscent of NBC Thursday nights during their heyday when they could produce up to 26 episodes per season. The secret lies in finding a formula or setup that enables you to tell multiple stories effectively.
It seems that The Pitt has received an overwhelmingly positive response, even hinting at potential Emmy nominations. Shall we then make a concerted effort during awards season to highlight The Pitt’s merits? Absolutely! Although first-season shows can be unpredictable, the show certainly deserves acknowledgment, and our talented cast, particularly Noah, should not be overlooked.
I haven’t disclosed it publicly yet, but as for the new season of The Gilded Age, we are planning to air it this coming summer, likely in June.
Will Season 3 of And Just Like That… be released before June? Not likely, as it will certainly extend into the summer.
The Gilded Age, And Just Like That…, Peacemaker , a new series from the creator of Mare of Easttown titled Task, an It prequel series called Welcome to Derry set for fall release, and two fresh comedies for HBO featuring projects by Rachel Sennott and Tim Robinson. It looks like it’s going to be a busy and captivating year!
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2025-03-28 18:58