
‘The Pitt' Is The Best Show On TV And Noah Wyle Is Simply Brilliant
The Pitt
Credit: HBO
The last time I wrote about The Pitt, I'd only seen four episodes of the new medical drama and already I knew it was something special. Things had not quite heated up, though already I found myself emotionally invested in all the characters, each of the various cases and the incredible way this story was being told.
Now, I'm all caught up and boy-oh-boy have things reached a boiling point. Or perhaps a breaking point. This post contains spoilers. Do not read any further if you aren't caught up. Read the link above for a spoiler-free review, or watch my video review below:
The Pitt takes on the real-time format made famous by 24, but it's a very different show. Instead of dealing with terrorist plots and national security, the show takes us into the dramatic events of one day in a Pittsburgh trauma center emergency room. We follow head ER doctor, Dr. Michael 'Robby' Robinavitch (Noah Wyle) and his staff of attending physicians, student doctors, nurses, medics and social workers as they handle the steady, often chaotic, flow of new (and returning) patients beginning at the start of the 7am day shift. The series has now gone one hour into the next shift, as calamity strikes in the form of a mass shooting at a music festival, with dozens of casualties.
As intense as the last two episodes have been, as the already strained to the limits ER deals with a flood of new trauma patients, it's the rest of the series prior to the shooting that really made me fall in love with the show.
The Pitt does several things really exceptionally well:
The big mass shooting that's serving as the capstone of the season has certainly turned up the heat, giving a struggling, overwhelmed ER an almost impossible crisis to deal with, but I think the show would have worked even without such a dramatic turn of events. I'm not saying the writers shouldn't have taken us in this direction, only that I think a more 'normal' day in the ER would have been just as powerful and profound. That speaks more to the excellence of the series up through Episode 11 more than as a criticism of the last two.
In any case, this is a brilliant medical drama. It's like nothing I've seen before. The cast is phenomenal, and Noah Wyle in particular is putting in one of the best performances I've seen in years. Dr. Robby has instantly become one of my favorite characters on TV, and Wyle's funny, earnest, heartbreaking performance should win him the Emmy for Best Actor. I hope this show wins a bunch of awards and gets tons of fanfare, because it deserves both the praise and recognition, as well as another season. We have two episodes left, though I think we may have reached the dramatic peak in this week's episode, as Robby finally reaches his breaking point, collapsing in tears after he fails to save the life of a teenage girl shot at PittFest.
What do you think of The Pitt? Let me know on Twitter, Instagram, Bluesky or Facebook. Also be sure to subscribe to my YouTube channel and follow me here on this blog. Sign up for my newsletter for more reviews and commentary on entertainment and culture.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
2 hours ago
- Yahoo
Ramy Youssef on Juggling ‘Mountainhead,' ‘#1 Happy Family USA,' ‘Mo,' ‘The Studio' and Perhaps — Eventually — a Baby
Ramy Youssef seems to have a banner year every year. The last time he appeared on Variety's Awards Circuit Podcast, he was promoting his HBO standup special 'More Feelings' and a hosting stint on 'Saturday Night Live,' having just come off of a press campaign for his first movie role in 'Poor Things' — plus Netflix had just set a comedy series co-created by Youssef and Will Ferrell. More from Variety 'Bridget Jones' Director Michael Morris on the Emmy Longform Conundrum: What's The Difference Between a Film and a TV Movie? Emmy Voters: Don't Forget About Zahn McClarnon and 'Dark Winds': He's Your Next Leading Man Short and Sweet: From 'Adolescence' to 'Sirens,' This Season's Best New Shows Are Barely Longer Than a Movie This time around, he's outdone himself with four projects to promote simultaneously: The animated Amazon Prime Video series '#1 Happy Family USA'; the second and final season of Netflix's 'Mo,' which he co-created with Mo Amer; his role in Jesse Armstrong's HBO movie 'Mountainhead'; and his guest appearance in 'The Studio' on Apple TV+. He's also doing stand-up again, on a tour called 'Love Beam 4000.' We talk all about that and more on the latest edition of the Awards Circuit Podcast — listen below! The next time Youssef joins the podcast, he jokes, he may only have one thing to promote: 'If I have a baby, could we just have a podcast where I talk to you about my baby? Could we do an FYC for my baby? And there'd be no project, because I'll just be home with my wife and the baby.' That one has yet to be greenlit — 'We're in development on 'Baby,'' Youssef jokes — but there's plenty on his mind until then. If there's a throughline between the disparate things he's working on, it's that each one feels urgent, deeply connected to an of-the-moment struggle. Take 'Mountainhead,' for example. The film examines the complicated and even violent friendships between a group of tech billionaires who are wading through real-life, apocalyptic consequences of AI. 'I write a lot about man versus system, and [Armstrong's] version of it, and his entry points to it, are different than the ones that I gravitate towards as a writer,' Youssef says. 'But as an actor, it all made so much sense to me the second I read it.' Later in the conversation, Youssef relates that idea to 'Mo,' which follows an undocumented Palestinian refugee who tries, fails and tries again to get his green card in the U.S. 'With 'Mo,' we looked at man versus system in an on-the-nose way,' he says. 'You're watching him go through these courts, and through these double standards […] I felt compelled that this thing has to exist, because there is no humanization — of not just Palestinians, but even refugees. People think 'refugee' and they just see a random CNN image of people displaced on a boat near a shore. And those images need to be tethered to real families and real stories and things that you can understand.' Youssef expanded on his thoughts from a previous Variety interview, where he and Amer shared why they chose not to reference the current war in Gaza in 'Mo' Season 2, emphasizing that they wanted to be timely while still making sure the show would hold up years after the war's eventual end. This is a skill Youssef first honed by observing his comedy idols. 'I love watching old specials. Pop on an old Eddie Murphy, pop on an old George Carlin,' he says. 'Carlin's great at this, because he'll talk really topically about the time, but it always has this core emotional thing that's actually the bedrock of the joke. I don't know the senator he's talking about from the '90s, but I know exactly what he's feeling.' In '#1 Happy Family USA,' Youssef applies the Carlin treatment to 9/11. More than 20 years on, he's still meditating on how Americans at large responded to the terrorist attacks, and how that response impacted Muslim families like his own. To him, the emotional truth that still resonates today is the way he was taught to 'code switch,' or present a version of himself in public that was different from the person he truly was at home. So in the series, the Hussein family goes to absurd lengths to make the white people they meet in public more comfortable. 'Everyone has this part of themselves that they go, 'I gotta hide this now that I'm going outside.' In a way, it's the premise of 'Severance' — that thing of, 'I gotta be somebody else when I'm not home,'' Youssef says. 'With that being at the bedrock of it, we can get super wild and crazy and really go at this with a satire that that period of time has never really gotten from the perspective that we show.' He continues: 'There were so many people who were really sidelined from having their own experience for a really long time in this country. And that time is back and even worse. Anyone who lived through the early 2000s as an adult, who is Muslim, will tell you that it's worse now. This idea of needing to prove your patriotism. It's why the show is called '#1 Happy Family USA.' It's this idea that you gotta get out there on that front lawn and shout it to everybody in order to be deemed safe and worthy of living in the neighborhood.' And while the stakes of the headlines referenced in 'The Studio' are less life-and-death, the Seth Rogen-led comedy is still cut from the same 'man versus system' cloth. Even though Youssef only appears once, as the host of the Golden Globes in Episode 8, it was a logical addition to his rolodex of timely and prescient projects — though he didn't need much convincing, considering he got to bring his dog to the shoot. Also on this episode of the Awards Circuit Podcast: Variety's Clayton Davis talked this spring to star/EP Forest Whitaker about MGM+'s 'Godfather of Harlem,' now in its Season 4. The show picked up in Season 4 with Bumpy Johnson, played by Whitaker, as he continued his bloody war for control of Harlem against New York's mafia families, while contending with the emergence of a potential rival in newly arrived Black gangster Frank Lucas. Variety's 'Awards Circuit' podcast, hosted by Clayton Davis, Jazz Tangcay, Emily Longeretta, Jenelle Riley and Michael Schneider, who also produces, is your one-stop source for lively conversations about the best in film and television. Each episode, 'Awards Circuit' features interviews with top film and TV talent and creatives, discussions and debates about awards races and industry headlines, and much more. Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts. Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? Emmy Predictions: Documentary Programs — Nonfiction Races Spotlight Pee-wee Herman, Simone Biles and YouTube Creators 25 Hollywood Legends Who Deserve an Honorary Oscar
Yahoo
2 hours ago
- Yahoo
‘Bridget Jones' Director Michael Morris on the Emmy Longform Conundrum: What's The Difference Between a Film and a TV Movie?
Michael Morris agrees with you: Yes, it's kind of unusual that 'Bridget Jones: Mad About the Boy,' which he directed, is an Emmy contender in the outstanding television movie category. But, then again, this is a race that has become very unusual in recent years. 'I think once upon a time, there may have been such a thing as a 'made-for-TV movie' that had a certain characteristic, a certain look and feel, or a certain subject matter or tone,' Morris says. 'And I think now, TV streamers go shopping for movies at Cannes. So there are some really interesting feature films that are now on TV.' More from Variety Emmy Voters: Don't Forget About Zahn McClarnon and 'Dark Winds': He's Your Next Leading Man Short and Sweet: From 'Adolescence' to 'Sirens,' This Season's Best New Shows Are Barely Longer Than a Movie Limited Series Writers on the Impact of Casting, Writing Emotional Journeys, and Finding a Tonal Balance But are they, then, 'TV movies'? It's become a bone of contention for awards execs and consultants, who have been pushing the TV Academy to rename the category. One idea being floated, which my colleague Clayton Davis recently mentioned in a column, is 'outstanding film made for TV or streaming.' The idea is auteurs whose films wind up on the Emmy track instead of the Oscars track will be less offended by being called a TV movie. In the case of Renée Zellweger-starrer 'Bridget Jones,' what's extra unusual is that film appeared in actual theaters in the rest of the world. It was only here in the U.S. that it was a Peacock original movie. Morris says he knew that this would be the case, so he's not thrown off by the odd situation he finds himself in — mounting an Emmy campaign for a movie. 'Before we started shooting the film, it was communicated to me through Working Title that Universal's approach was to release it on Peacock in America but stick to the wide-release cinema strategy everywhere else,' he says. 'There's a million ways to watch things, and if being on a streaming platform is a good way for people in America to find the movie and experience the movie, then that's great. But what was weird about this one is that it wasn't made to be a streaming movie; it was very much made to be seen on the biggest possible screen and, ideally, made to be seen with people.' Morris is sanguine about it: 'Streaming and, in this case, Peacock, allowed this film to be made,' adding, 'First and foremost, that's a massive plus.' 'Black Mirror' may have broken the category. Episodic installments won in 2017, 2018 and 2019 (that one was at least a stand-alone longform), forcing the TV Academy to rewrite the rules and slide anthology shows into the limited series field. But around the same time, cablers pulled back on TV movies (broadcast had already abandoned the field), allowing all sorts of things to grab noms — including films that could have gone to theaters, but wound up on streaming. Now, it's really hard to distinguish between a film and a longform TV show. 'I just watched 'Disclaimer,' which was seven hours, all written and directed by Alfonso Cuarón, all shot in what seems to be in one big, sort of massive production,' says Morris. 'So what's the difference between that and a three-part movie? It's just split differently.' Morris says he's fascinated to be in the TV movie category this year because it's become a bit of an Emmy wild card. Last year, the film 'Quiz Lady' won the prize, finally securing an Emmy for Sandra Oh. In 2023, it was the satiric comedy 'Weird: The Al Yankovic Story,' and in 2022, an animated film won for the first time, 'Chip 'n Dale: Rescue Rangers.' This year, the category's frontrunners includes quite a mix: Netflix's 'Rebel Ridge,' Apple TV+'s 'The Gorge,' Disney+'s 'Out of My Mind' and Hulu's 'The Supremes at Earl's All-You-Can-Eat' in addition to 'Bridget Jones.' 'This is a story of a woman learning how to live again,' Morris says. 'And in that sense, it departs from the tone of the first three films, quite deliberately, but hopefully gives enough of the comedy and the joy that is just inherent in Renée and 'Bridget' to be fun.' Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? Emmy Predictions: Documentary Programs — Nonfiction Races Spotlight Pee-wee Herman, Simone Biles and YouTube Creators 25 Hollywood Legends Who Deserve an Honorary Oscar


Tom's Guide
3 hours ago
- Tom's Guide
How to cancel your Max subscription in 5 easy steps
Streaming newcomer, Max, surfaced in Australia just under three months ago. Becoming the official home to HBO content, including Warner Bros. Discovery, TLC, HGTV and The Food Network, Max has a great back catalogue. And it arrived with a pretty appealing introductory offer, cutting subscription prices nearly in half for the first year of the service. However, that offer has come and gone, ending just a month after the streamer launched. That said, you may have subscribed to the new streamer just to find that you're not keen on the US TV giant's catalogue, or you're only interested in when new seasons of hit shows drop, like The Last of Us or The White Lotus. Given the price hikes that have hit many streaming services in the past 12 months, it's hard to justify holding onto some of your subscriptions — and we get it! So if you need help cancelling your Max AU subscription, we've got you covered in five simple steps. Do note, though, these steps don't fully delete your account, and you can always reactivate your plan at any time. If you want to cancel your Max account, you'll need to log into the streaming service using a web browser on a computer. Please note that you cannot cancel your Max account using the app on a mobile device or Smart TV. Hover your mouse over your profile icon in the top right corner of the homepage. A drop-down menu will appear under your profile icon. You'll need to select Subscription. On your Subscription page, you'll need to scroll down to the 'Current Plan' section. This is where you'll see your plan details, including your next billing date and payment information. You will see an option under this section that reads 'Cancel your subscription'. Click on this to proceed. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. A pop-up window should appear and ask you if you want to confirm your cancellation. Max will prompt you to look at other plan pricing as well and will also feature your next billing date and advise that your account will remain active until this date. After this date, your account will indeed be cancelled. You will need to select the 'Continue to Cancel' button at the bottom of the window to complete the cancellation process. You will also receive a cancellation confirmation email to the address registered on your account. Cancelling Max really does come down to whether or not you're getting enough value out of the platform. If you find yourself opting for a different streamer or find that Max's catalogue isn't worth your while, then cancelling your account may be your best option. It's worth noting that Max does offer cheaper subscription options, so if you find yourself paying too much, we'd recommend dropping down a tier. Otherwise, if you're looking for recommendations on what streaming services to try this month instead, here's what we suggest. Thinking of cancelling Max this month? Here's what we recommend instead. June is a stellar month to sign up for Disney Plus, thanks to a juicy EOFY offer that sees new and eligible returning subscribers score a four-month subscription for just AU$4.99p/m (the AU$15.99p/m ongoing). Disney Plus' blockbuster lineup includes a new season of FX's The Bear and a brand-new Marvel series, Ironheart, on June 25. You'll need to act fast if you want to nab this deal, though, as it will end on June 11, 2025. It's up to you on how you choose to spend your hard-earned cash, so if you're looking for ways to save on your streaming subscriptions, you can check out our streaming services price comparison hub.