The Pitt review: Noah Wyle returns to the ER in the new Max original gripping, high-stakes ensemble series that redefines the medical drama for 2025!
You might think you’ve seen every kind of medical drama TV has to offer. But The Pitt, Max’s standout new series, proves there’s still life in the genre—and then some. Fronted by Noah Wyle, who returns to hospital halls after more than a decade on ER, this electrifying series has quickly earned its spot as not just the best new medical drama of 2025, but one of the year’s best shows, period.
What sets The Pitt apart? For starters, the structure: Each of the 15 hour-long episodes covers a single hour in a chaotic 15-hour ER shift at the fictional Pittsburgh Trauma Medical Hospital (a.k.a. The Pitt—though the higher-ups would really prefer you didn’t call it that). This real-time storytelling approach gives the series a propulsive, addictive energy akin to 24, but grounded in surgical precision rather than spy games. Once you’re in, it’s nearly impossible to stop at just one episode.
And let’s talk about that pedigree. The Pitt reunites Wyle with John Wells and R. Scott Gemmill, both veterans of NBC’s legendary ER. While comparisons are inevitable—especially with Wyle’s Dr. Michael “Robby” Robinavitch again donning scrubs—this is no nostalgia project. The series builds on its roots to deliver something modern and bold, blending classic TV rhythms with the creative freedom of streaming.
From its very first episode—featuring a stomach-turning injury that introduces the word “degloved” in horrifying fashion—it’s clear The Pitt isn’t here to pull punches. With its unrestricted streaming platform, the show leans into graphic realism and naturalistic dialogue, complete with expletives that, surprisingly, enhance the authenticity. Whether it’s blood-soaked trauma rooms or moral ambiguity in patient care, this show doesn’t flinch.
While Robby is the face of the show, The Pitt shines brightest as a true ensemble drama. New ER interns and residents are introduced alongside hospital vets, allowing audiences to learn the ropes in real time with the characters. And in a rare TV miracle—there’s not a single weak link in the cast.
Among the standouts: Taylor Dearden as beloved Dr. Mel King, Shabana Azeez as wide-eyed intern Victoria Javadi, and Gerran Howell as the tragically overburdened Dr. Dennis Whitaker. Isa Briones makes a splash as the sharp-tongued Dr. Trinity Santos, and Patrick Ball channels classic cranky genius energy as Dr. Frank Langdon (think Gregory House, but even more chaotic). Add in Supriya Ganesh as the endlessly competent Dr. Samira “Slo-Mo” Mohan and Katherine LaNasa as iron-willed charge nurse Dana Evans, and you’ve got one of the most compelling casts on TV.
There’s beauty in the way the show is shot, too. Directors use the cramped ER set with precision—characters move through background and foreground in fluid choreography, allowing for seamless transitions between personal arcs and urgent medical emergencies. It’s visually engaging without ever being flashy, opting for emotional weight over cinematic gimmickry.
And speaking of emotion: The Pitt delivers it in spades. The hour-by-hour setup lets storylines breathe across episodes. A patient’s long wait in triage doesn’t disappear after one scene—it lingers, building tension. An ambulance is stolen midway through the day, and the consequences ripple through several episodes, turning into both an emergency and a running joke. The writing is that assured: it can make you laugh, then turn around and wreck you emotionally minutes later.
The series also isn’t afraid to tackle real-world issues. COVID looms in the background, but The Pitt drills deeper into the systemic failings of the U.S. healthcare system. Underpaid staff, impossible patient loads, and unconscious biases surface not in after-school-special monologues but in messy, human conversations. One memorable scene sees Dr. Heather Collins (played by Tracy Ifeachor) gently confront Dr. Cassie McKay (Fiona Dourif) for potentially misdiagnosing a patient due to weight bias. These moments are rare but powerful, adding to the series’ credibility rather than detracting from its momentum.
With TV trends favoring flashy visuals or limited six-episode runs, The Pitt feels almost revolutionary in its throwback approach. Big episode counts, slow-burn character development, and no need to leave its one-location ER set—it’s old-school TV done brilliantly in a new-school package.
It’s no surprise then that The Pitt is already being hailed as one of the year’s best shows. In IGN’s Best TV Show of 2024 awards, it easily stood out in a field packed with heavy hitters. House of the Dragon Season 2, Arcane, and Fallout were runners-up, with honorable mentions like Baby Reindeer, The Boys, The Penguin, and Agatha All Along rounding out the competition. But The Pitt surged ahead, thanks to its rare combination of elite execution and sheer heart.
