Perhaps it’s the lingering effects of the New Year festivities, but I find myself struggling to muster any excitement about HBO’s latest medical drama, The Pitt. This show, which follows the chaotic and often overwhelming world of a bustling trauma center in Pittsburgh and stars Noah Wyle, feels like just another entry in a long line of medical dramas that have flooded television. Premiering at the start of the year, when audiences are still recovering from their holiday movie marathons, it lacks the captivating elements needed to cut through the fog of post-celebration fatigue.

The lawsuit filed by Michael Crichton‘s estate for breach of contract underscores the show’s lack of originality, as they argue that The Pitt is merely a rebranded version of ER, donning a Penguins jersey to conceal its derivative nature. Like many police procedurals, creating a distinct medical drama amidst a sea of similar shows is a challenge, and unfortunately, there’s nothing to indicate that The Pitt isn’t just another iteration of ER. The series mirrors the beloved long-running show in its portrayal of the relentless flow of emergency cases intertwined with personal conflicts, and Wyle’s role as the attending physician does little to differentiate it from its predecessors.

‘The Pitt’ Fails to Capture Pittsburgh’s Unique Culture

One prominent issue that stands out is the show’s inability to authentically represent Pittsburgh. Despite numerous references to the city, I was never convinced that the events of the series unfolded in Pittsburgh. This may seem like a narrow critique, but as someone who has lived in the area for over twenty-six years, with a mother who has worked as a nurse in two of its most significant hospitals for even longer, the disconnect between The Pitt and the essence of Pittsburgh is glaring. The show feels like a fabrication rather than a genuine depiction of the locale.

Pittsburgh is a city rich with a distinct culture that anyone familiar with it can easily recognize. From our unique dialect and quirky culinary delights to the fervent loyalty we exhibit toward our three major sports teams, the character of Pittsburgh cannot be easily diluted or homogenized into something generic, as Hollywood often attempts to do. This cultural authenticity is crucial in storytelling, yet The Pitt seems to overlook these vital aspects.

As a resident, I’m well aware of the city’s eccentricities. (George A. Romero certainly recognized this unique vibe as well.) Capturing this energy presents a challenge, but it’s a worthwhile effort that enhances storytelling. When a narrative incorporates specifics, it resonates more deeply with viewers, leading to a stronger connection than if they are presented with a generic archetype. It’s hard to believe that HBO couldn’t invest in some local flavor, like dressing extras in Steelers jerseys, to add some authenticity and excitement to the show beyond being just “the next medical drama.”

The Characters in ‘The Pitt’ Lack Depth and Appeal

This lack of authenticity in setting mirrors the shortcomings in character development within The Pitt. Although Wyle’s Dr. Robby serves as the attending physician, the narrative largely revolves around his residents, who manage the emergency room. The mix includes seasoned residents nearing the completion of their medical training and recent graduates, such as a prodigious twenty-year-old and the daughter of a renowned surgeon. While this setup could offer a refreshing perspective, it unfortunately results in a cast of characters that feels like one-dimensional caricatures, each defined by a single, exaggerated trait that quickly becomes tiresome.

Isa Briones’ portrayal of Santos stands out as particularly disappointing; she embodies a character whose defining traits seem to revolve around sarcasm and negativity, reminiscent of the stereotype of individuals entering nursing without genuine passion. Alongside her, we have Shabana Azeez as a perpetually anxious young genius and Gerran Howell‘s Whittaker, whose frequent changes of scrubs are more comedic than dramatic. Collectively, these portrayals render The Pitt more akin to a farcical comedy than a serious medical drama.

Taylor Dearden Shines as the Highlight of ‘The Pitt’

Among the cast, Taylor Dearden’s portrayal of Dr. King shines as a remarkable exception to the otherwise uninspired character portrayals in The Pitt. As a senior resident with a background at the local VA hospital, she presents a nuanced representation of an autistic woman that challenges the stereotypes often perpetuated in media, especially in comparison to the portrayal in The Good Doctor. Dearden skillfully navigates her character’s attempts to self-soothe amidst the chaos of the emergency room, demonstrating a depth of understanding about neurodivergence that is rarely captured on screen.

Regrettably, Dearden’s Dr. King is a standout in an otherwise lackluster series that often feels like a slog to get through. The Pitt lacks the engaging content that viewers typically seek, presenting a brutal and uninviting depiction of life in the emergency department. Do the numerous crises that come through the ER ever lead to anything meaningful? With HBO withholding the final five episodes, which conclude the season on an unsatisfactory cliffhanger, the answer remains ambiguous.

Interestingly, The Pitt may be more suited for a binge-watching format rather than the traditional weekly releases that HBO favors. Consuming the fifteen episodes over a short period, as I did (except for the last five), can make the experience more bearable than the anticipation of weekly episodes that often deliver minor resolutions and shallow drama—especially with all fifteen seasons of ER readily available on the same platform.

The Pitt premieres January 9 on Max in the U.S.

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