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Bury Me in The Pitt
I powered through Max’s not-an-ER reboot with so much delight that I was annoyed when I had to pause to watch something ostensibly better.
Even as my brain kept pointing out all the ways its format works against it and all the little bits that could be improved — a few underwhelming performances, some overly obvious dialogue — I found myself powering through The Pitt with so much delight that I became actively annoyed when I had to pause to watch something ostensibly better and more innovative. The best upside of the hour-by-hour premise is how well it supports this element of the show: Some patients come and go quickly; others stick around for hours; and the life-and-death reality of the setting gets played for the sacred and yet utterly quotidian thing that it is, rather than for operatic highs and lows. Yes, this is the ER special sauce, a story density reflected in a crowded set design and so many scattered shifts in focus that even the most emotionally blunt lines barely have time to register.
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