I love it, tho’ it stabs me in the heart. Also kudos to them creating a show that looks more or less like an ER (although they still don’t give ER nurses proper credit for the amount of treatment and care they provide). The Pitt is also easily Wylie’s best work and the supporting cast is excellent.
Me too. Most are day air after like White Lotus, though there is a tendency in UK to not just be behind on US shows but wait until all eps have aired then we get them. This is currently happening with Elsbeth. We’re only on about ep 6 of High Potential (though I’ve only seen up to 3).
As a former Chicagoan/current Southwest Suburban resident, I'm very thankful that The Pitt (and the week wait for new episodes) has lead me to rewatch/watch ER again, merely to see shots of mid-1990s Chicago and to critique/question (now that I'm older) the geography of that show.
I work in an OR and NOBODY I work with watches it. It drives me crazy, because so many things are relatable. Everytime that guy has to change scrubs I crack up
It will be interesting if this show gets serious awards/Emmy attention. It is on that borderline between being prestige and the kind of well-made procedural the Emmys perpetually ignore.
I was actually just thinking about this and I'm all for it! John Carter turning into the senior attending/Papa Bear was not something I thought I needed.
Also would love to see some Emmy love for that supporting cast, especially Taylor Dearden and Katherine LaNasa.
It's interesting what happens when you let people who know how to make EPISODES of TELEVISION make episodes of television. And then when those people actually like and appreciate the medium of television? And don't assume their viewers want merely semi-tolerable #content? Whewww good things happen.
Wild to see the technocrat stranglehold on our culture get so bad that even people whose billion dollar companies depend on humans becoming invested in human stories think their job is to somehow farm data into making that happen.
Even the greenest 22 year old arts intern would be able to tell them that that approach is doomed to failure. Watch audiences for one season at a regional theater and you learn the limits of our ability to predict future success by replicating what worked in the past. You learn to trust artists.
But these yahoos were somehow given infinite resources to throw into the abyss of their terrible ideas and inadequate understanding of human nature and the function of art and storytelling. It’s too complex a system to reliably predict using data metrics.
Sorry for the rant. I work in new play development and personally know brilliant working artists who could deliver compelling stories if just trusted. (I commissioned STEREOPHONIC, which won this year’s Tony for best play.) it’s impossible to know how to capture the zeitgeist from an office.
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Also would love to see some Emmy love for that supporting cast, especially Taylor Dearden and Katherine LaNasa.