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维基百科，自由的百科全书
Fferic/sandbox
类型
开创R·史考特·蓋米爾（英语：R. Scott Gemmill）
主演
国家／地区美國
语言英語
季数2
集数30
每集长度41–61分鐘
制作
制作人Michelle Lankwarden
执行制作
剪辑
  • Mark Strand
  • Joey Reinisch
  • Lauren Pendergrass
  • Annie Eifrig
  • Tamera Luciano
摄影Johanna Coelho
制作公司
播出信息
首播频道Max
播出日期2025年1月9日 (2025-01-09)—2025年4月10日 (2025-04-10)

《匹茲堡醫魂》（The Pitt）是美國程序醫療劇，由R·史考特·蓋米爾（英语：R. Scott Gemmill）擔任主創，約翰·威爾斯（英语：John Wells (filmmaker)）與諾亞·懷勒擔任執行製作。這也是三人繼《急診室的春天》後的第二次合作。主演包含諾亞·懷勒、特蕾西·伊芙艾策爾（英语：Tracy Ifeachor）、派翠克·鮑爾（英语：Patrick Ball (actor)）、凱瑟琳·拉納薩（英语：Katherine LaNasa）、蘇普里亞·甘尼許（英语：Supriya Ganesh）、費歐娜.杜瑞夫（英语：Fiona Dourif）、泰勒·迪爾登（英语：Taylor Dearden）、伊莎·布里歐內斯（英语：Isa Briones）、格倫·霍威爾（英语：Gerran Howell）、莎芭娜·阿齊茲（英语：Shabana Azeez）與賽佩戴·莫亞菲（英语：Sepideh Moafi）。每季劇情都圍繞在虛構的匹茲堡創傷醫療中心急診科醫護人員展開，講述他們如何在長達15小時的輪班中克服重重困難，同時還要應對人手短缺、資金不足以及各自的個人危機。每集劇情均以即時方式呈現，大約涵蓋一小時的輪班時間。

《匹茲堡醫魂》在2025年1月9日於Max（之後更名為HBO Max）首播。[1][2] 本劇因其演出、劇本、導演、形式和寫實性而廣受好評。該劇也因其準確性、對醫護人員的真實刻畫以及對後疫情時代人們面臨的心理挑戰的探討而受到醫學界的讚揚。《匹茲堡醫魂》在2025年2月續訂第二季，並於2026年1月8日首播。[3][4] 2026年1月，本劇在第二季首播前續訂了第三季。[5]

本劇斬獲多項殊榮，第一季在第77屆黃金時段艾美獎囊括五項大獎，包括最佳劇情類影集、劇情類最佳選角，以及懷勒、拉娜薩和常駐客串演員蕭恩·哈特西的最佳表演獎。此外，該劇也被美國電影學會評為2025年十大最佳電視節目之一，並在第83屆金球獎上榮獲最佳劇情類影集獎。

劇情

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在第一季中，主治醫師麥可·「羅比」·羅比尼維奇開始在匹茲堡創傷醫療中心急診室（簡稱「匹堡」）值班。四名實習醫生加入了團隊。在接下來的十五個小時裡，這些學生和住院醫師在學習更多專業職責的同時，還要努力應對照顧病人帶來的情感壓力，以及在人滿為患、資金不足的急診室工作的種種困難。羅比和匹堡的其他職員為他們提供指導。同時，羅比也在努力應對導師去世四週年紀念日的創傷記憶，他的導師正是在新冠疫情期間於匹堡去世。

第二季的故事發生在十個月後的7月4日。羅比見到了將在他休假三個月期間接替他的主治醫師。兩名職員結束休假返回工作崗位，兩名醫學生也加入了團隊。

角色

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依資歷由高到低排列，醫療層級從主治醫師開始，依序為資深住院醫師、新進住院醫師（依年資劃分）、實習醫師（第一年住院醫師）以及醫學生（依年級劃分）。護理師和其他醫務人員有自己的層級，此處未列出。

劇集

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季數集数首播日期
首映季终电视网
1152025年1月9日 (2025-01-09)2025年4月10日 (2025-04-10)Max
2152026年1月8日 (2026-01-08)2026年4月16日 (2026-04-16)HBO Max
3[12]152027年1月 (2027-01)待定

製作

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開發

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自1990年代起，，演員諾亞·懷勒、電視製作人R·史考特·蓋米爾（英语：R. Scott Gemmill）與約翰·威爾斯（英语：John Wells (filmmaker)）在1994年至2009年間播出的醫療長壽劇《急診室的春天》中合作。[13][14] 《急診室的春天》在其播出期間取得了巨大成功，並深遠地影響了後來的醫療影集。[14] 劇集結束後，蓋米爾和懷勒刻意投入與此類型無關的計畫，蓋米爾曾表示他「認為自己再也不會拍醫療劇了，因為我們已經把它做到極致了」。[13][15] 2020年，懷勒開始收到大量來自第一線醫護人員的Instagram私訊和粉絲來信，感謝他在《急診室的春天》中飾演的約翰·卡特醫師啟發他們投身急診醫學，並分享了他們在新冠疫情期間的種種挑戰。[13][15] 懷勒與威爾斯分享了其中許多訊息，他認為兩人可以合作製作一部電視劇，探討醫護人員面臨的當代挑戰以及健康錯誤資訊的傳播。[13][15] 同時，蓋米爾在與另一位電視編劇交談後，開始思考如何為醫療劇帶來創新。[15] 蓋米爾、威爾斯和懷勒持續與當初《急診室的春天》的夥伴們保持聯繫，像是本身也是急診醫師的編劇喬·薩克斯（英语：Joe Sachs），就常跟他們分享醫療現場的第一手觀察。[15]

Over the next few years, Gemmill, Wells, and Wyle began sharing their ideas and developing an ER spin-off focused on Carter,[13][15] also recruiting Sachs and other ER collaborators such as Mel Herbert.[16][17] However, Warner Bros. Television could not come to an agreement with the estate of ER creator Michael Crichton, overseen by his widow, Sherri Alexander Crichton, leading to the project being abandoned.[13] Nevertheless, Max, a streaming service affiliated with Warner Bros. Discovery, expressed their interest in making a medical drama series starring Wyle with the team.[13][18] At the time, Max CEO Casey Bloys was searching for a network-style procedural drama that could keep audiences engaged for several weeks.[18] Additionally, he sought to expand the service's library with original releases and define the characteristics of a "Max Original", as opposed to the HBO series that Max also offers.[18] The team began developing The Pitt after the end of the Writers Guild of America's strike in the fall of 2023.[13] After switching to Max, Gemmill initially thought of adopting the narrative device of real time, following a twelve-hour shift at the hospital, due to the time constraints of direct-to-stream series, which are usually afforded a maximum of twelve episodes.[17] Instead, Bloys suggested doing fifteen episodes, wanting to reduce the wait time in between seasons and avoid it feeling "like an extension of a streaming show".[18]

In March 2024, Max gave the production a fifteen-episode straight-to-series order for The Pitt, overseen by John Wells Productions in association with Warner Bros. Television.[1][3] Each episode had a reported budget of 4美元 million to 6美元 million dollars.[19][18][20] Bloys explained that the lower per-episode budget made it possible to order more episodes than is typical for streaming services.[18] Gemmill, Wells, and Wyle are the executive producers along with Simran Baidwan, Michael Hissrich, and Erin Jontow.[1] Credited as The Pitt's creator,[17] Gemmill wrote the pilot episode and serves as the series' showrunner.[1] In February 2025, Max ordered a second season of The Pitt.[3] The season will chronicle a shift in the ER on Independence Day—Langdon's first day at work after going to an inpatient rehabilitation facility.[21][22][23] Wyle explained their choice, saying: "The biggest driver of [the Season 2 time jump is] Langdon ... Nine, basically 10 months later, gives a lot of room for us to have developed a few stories in the interim and catch up with everyone. And with it being Langdon's first day back, we get to catch up as he catches up with all those people."[23] In January 2026, a day before the second-season premiere, Max renewed the series for a third season.[5]

Filming

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To design The Pitt's sets, Wells approached production designer Nina Ruscio, with whom he had previously worked on Shameless (2011–2021) and Animal Kingdom (2016–2022).[24] Ruscio had already committed to other productions, but agreed to Wells' request to provide an initial blueprint of The Pitt's main set, the ER; the writers used it to track the development of the characters' storylines across space hour by hour, before even beginning to work on the script.[24][25] Ultimately, Ruscio managed to join the production and met with Gemmill, Hissrich, Wells, and Wyle to discuss the details.[24][25] The team informed her of their plan to shoot in continuity with handheld cameras, therefore requiring a set with capacity for freedom of movement.[24][26] They decided that the ER would have last been remodeled in 2010, so it did not include any advancements that were developed during the COVID-19 pandemic.[25][26] Ruscio planned to create a transparent space with full visibility from all angles to allow for filming of simultaneous foreground and background action.[24][25][19] She researched hospital designs with the help of Sachs and visited several ERs to create a functional set without the guidance of a script—a first for Ruscio and an uncommon approach in the television industry.[25][27][28] She found particularly inspiring the designs of the firm Huddy Healthcare Solutions.[25]

A team of about 125 people built the 25-bed ER, occupying over 20,000平方英尺（1,900平方米）, on a sound stage owned by Warner Bros. in Burbank, California, in ten weeks.[25][29] The waiting room and the trauma center were built on another sound stage next to the ER.[27] The overall set cost over $4 million.[19] Ruscio focused on five main aspects of the set: the palette, the floor, the lighting, the ceiling, and the layout.[25] For the color palette and the lighting, she worked with The Pitt's cinematographer Johanna Coelho.[24] Ruscio said she selected a realistic, bleached palette to convey the sterile feeling of entering an ER.[24][26] Ruscio and Coelho then did a camera test to select the final fifty shades of white that worked best with the widest range of skin tones and with the LED light system that would be used.[24][30] Moreover, Ruscio incorporated other tones: cream, gray, and blue for the floors; wood for the walls; and occasionally gray, yellow, and black, which are Pittsburgh's colors.[24][26] For the light system, Ruscio and Coelho created custom, adjustable bi-color LED strips that made up an integrated ceiling rig of 300 lighting cues along with warmer overhead practical lights that provide contrast.[30] The combined use of the top lighting, the white palette of the setting, and the darker palette of the wardrobe served to make the actors stand out and highlight both foreground and background action.[24] Lyn Paolo served as costume designer.[31]

Additional scenes from the series were shot at Allegheny General Hospital.[32]

For the layout, Ruscio collaborated with art director Josh Lusby, set designer Dean Wolcott, set decorator Matt Callahan, and prop master Rick Ladomade.[25] She envisioned what she defines a "cup and curve" layout of the set, with curvilinear floors and ceilings that guide the eye of the viewer and allow freedom of movement while filming.[25][27] Ruscio designed each set element with Lusby and Wolcott, paying attention to the ergonomics of an ER.[25] Ruscio incorporated in the set architectural references to Pittsburgh, in particular to Allegheny General Hospital, which was selected as the exterior of the fictional hospital.[25] She used marble columns to figuratively convey how the Pitt—located in the hospital's basement—both supports the structure and bears its burdens.[25] Callahan and Ladomade reached out to medical equipment manufacturers to furnish the facility, striving to replicate the precise layout of a real medical facility.[27] The team personally designed and built the nurses' station.[27] To portray accurately the medical procedures, The Pitt uses almost exclusively practical effects with few modifications in post-production.[33] The team collaborated with special effects company Autonomous FX to create several of the prosthetics featured in the series.[34]

Filming for the second season began in Burbank on June 16, 2025.[35]

Writing

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Baidwan, Gemmill, Sachs, and Wyle constituted a writers' room by December 2023, along with Cynthia Adarkwa, Valerie Chu, and Elyssa Gershman.[36][37] The team collaborated extensively on developing narratively and spatially the continuous structure of The Pitt, by storyboarding and tracking each patient's journey along with the background action happening in the ER.[15][37] Sachs described the process of writing an episode: each writer would prepare an outline for specific episodes usually consisting of a maximum of two lines for each scene; review them with the staff; consult with medical experts for information on technical dialogue; write a first draft; review the draft with the team after two weeks; and keep rewriting drafts until it could go to production.[17] Sachs and Gemmill stated that the writers started by defining the main characters' arcs and later established which medical case best fit their journey and illustrated their qualities in a brief period of time.[17] By using real-time narration, Gemmill sought to highlight the importance of time, which he believed set emergency medicine apart from other medical specialties.[17] Sachs said that the writers used the narrative device to build suspense by extending some patients' storylines across multiple episodes while suddenly ending others.[17] After writing the episodes, the staff consulted with Wells on both writing and production.[37]

The team reunited in the writers' room in March 2025 for the second season; Herbert joined the writing staff for the first time.[37][13][17] Wyle wrote two episodes in the second season, having also written two for the first. He additionally directed the sixth episode.[38][39] In August 2025, it was announced that Shawn Hatosy, who plays a recurring role as Dr. Jack Abbot, directed the ninth episode of the second season.[40]

Casting

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Wyle took an active part in the casting process along with casting director Cathy Sandrich Gelfond,[15] aiming to recreate with the new ensemble the camaraderie that he had shared with the ER cast.[13] He wrote a mission statement for prospective actors, which declared: "This is a very specific type of show. It's intense. It's fast-paced. It's like theater. We are a group of players. If you can be a team player who is ready to lock in with a family, then this is the place for you."[13] Additionally, Wyle emphasized the physicality of the roles and the preference for actors with experience working in theater and handling props.[15][41] Due to the continuous structure of the series, the casting call for extras asked for actors with open availability for seven months, instead of the few days usually requested in other television productions.[42] For the series regulars, The Pitt advertised in the casting call a two-tier fixed salary system, with per-episode fees of $50,000 and $35,000 depending on the role.[20]

In July 2024, Tracy Ifeachor, Patrick Ball, Supriya Ganesh, Fiona Dourif, Taylor Dearden, Isa Briones, Gerran Howell, Shabana Azeez, and Katherine LaNasa were announced to have joined the cast as series regulars.[43] In August 2024, Shawn Hatosy, Michael Hyatt, Jalen Thomas Brooks, Brandon Mendez Homer, Kristin Villanueva, Amielynn Abellera, Alexandra Metz, Krystel V. McNeil, and Deepti Gupta were announced to have been cast in recurring roles.[44] Before the start of production, the cast spent two weeks with three ER doctors learning various medical techniques, such as suturing, intubation, medical ultrasonography, and CPR;[28][45] extras also received medical training.[42]

In May 2025, the casting process for the second season began.[46] The boot camp for the second season began on June 1, 2025.[47] In June 2025, Charles Baker, Irene Choi, Laëtitia Hollard, and Lucas Iverson were cast in recurring capacities while Sepideh Moafi was cast as a new series regular for the second season.[48][10] In July 2025, it was reported that Ifeachor exited the series.[6] In the same month, Lawrence Robinson joined the cast in a recurring role for the second season.[49] In August 2025, Zack Morris was cast in a recurring capacity.[50] In September 2025, Victor Rivas Rivers joined the cast as a guest star for the second season.[51] In December 2025, Brittany Allen, Bonita Friedericy, Taylor Handley, Jeff Kober, Meta Golding, Luke Tennie, Christopher Thornton, Travis Van Winkle, Rusty Schwimmer, Jayne Taini, and Annabelle Toomey were cast in recurring roles for the second season.[52][53][54] In February 2026, Jona Xiao joined the cast as a guest star for the second season.[55] In March 2026, Lou Ferrigno Jr., David Fumero, Mary McCormack, Geoffrey Owens, and Wyle's real-life wife Sara Wyle were announced as guest stars for the second season.[56][57] In April 2026, it was announced that Ganesh would exit as Dr. Samira Mohan following season 2, with Ayesha Harris promoted to a series regular for season 3.[7]

Sound design and music

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Before writing the script, Gemmill, Wells, and Wyle decided to use almost no background music in The Pitt to complement its documentary style.[58] Instead, Gemmill, Sachs, and Wells focused on crafting faithful sound design that could directly convey the emotional cues usually imbued in the music and set the pace of the scenes.[58] It involved recording and layering background conversations and machinery sounds beneath each episode's dialogue track.[58] The team used the sound of medical procedures and the dialogue itself to dictate the show's rhythm, relying on the varying intensity of the actors' delivery of medical jargon to relay emotional cues.[41] For the background, Sachs recorded the discussions of real-life ER nurses and gave them to extras to register.[58]

Nevertheless, The Pitt employs some musical motifs and drones composed by Gavin Brivik, intended to blur the line between diegetic and non-diegetic music.[58] The team asked Brivik to create an imperceptible score to occasionally increase the tension of specific scenes throughout the series.[58] Additionally, they meant to capture the sensation of Robby's tinnitus at times.[58] The official album consisting of Brivik's score for the first season was released on January 9, 2026.[59]

Instead of using an opening theme, each episode of The Pitt starts with a simple title card followed by onscreen text stating what hour of the shift it covers.[58] The first season featured an instrumental closing song, "Fail Forward", written by Brivik and singer-songwriter Taji with the aim of expressing Robby's feelings and giving the viewers a moment to reflect on each episode.[60] The vocal version of "Fail Forward" played during the credits of the thirteenth episode.[60] Three other songs were featured in the first season: "Baby" by Robert Bradley's Blackwater Surprise, "Funky Music Sho' 'Nuff Turns Me On" by Edwin Starr, and "Savage" by Megan Thee Stallion.[61]

The second season premiere opened with "Better Off Without You" by Pittsburgh band The Clarks.[62] Brivik composed two new instrumental pieces for season 2, "We Are Back" and "Fourth of July", which alternately play over the closing credits of each episode.[63] Additionally, Brivik and American singer-songwriter Andrew Bird collaborated on the song "Need Someone", which was written for the series and played at the end of the sixth episode of season 2.[64]

Editing

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Mark Strand, Joey Reinisch, Lauren Pendergrass, and Annie Eifrig served as editors on The Pitt. Strand and Eifrig had already worked with Wells on Animal Kingdom and Maid (2021), respectively. Reinisch and Pendergrass were recommended by members of the production team and interviewed for the job; Reinisch had already worked on projects developed by John Wells Productions. The production team wanted to distinguish The Pitt from other medical dramas. In particular, Strand said that Wyle referenced the 2023 film The Zone of Interest by Jonathan Glazer and its continuous motion through space and time. Reinisch stated that he avoided watching medical dramas through the process to not be influenced. Having joined the production later on, Pendergrass and Eifrig said that they followed the editing style established by Strand with the pilot episode, which was "aggressively off-camera". Strand wanted to highlight the emotional reactions of the characters rather than the medical jargon and procedures, describing the style as "medical off-camera, drama or emotion on-camera". The script allowed the editors to introduce characters progressively, first focusing on Robby and few others and then broadening to the full cast.[65]

The editing team had some concerns at first. Pendergrass worried about mismatching scenes due to the large scope of the set and the amount of background action, but shooting in continuity minimized the issue. Reinisch remarked that the synchronized play-like background action allowed them to focus on the story, instead of having to resolve continuity issues. Strand and Pendergrass added that they did not order the sequences in exact chronological order, having some scenes that were happening simultaneously arranged differently. Strand worried that the real-time format would not allow them to build tension by frequently jump cutting through different scenes, but found that the script managed to maintain it while moving characters through space. Regarding the style, the production team invited the editors to use documentary-like "dirty cuts" to convey a sense of realism. Reinisch said he used "messy" frames to change the pace, facilitated by not having to match a score to the scenes.[65]

For the action scenes, Strand and the team worked on balancing choreography, camerawork, and actor-blocking to best communicate the sense of continuous motion. Pendergrass and Reinisch found that the camerawork allowed the viewer to become familiar with the characters within the action scenes themselves by focusing on their expressions and reactions, making for an "economic storytelling". For the emotional scenes, Strand noted that they did not have to exceedingly slow down the pace to convey the pathos, due to the fast pace of action scenes providing contrast. Eifrig said that Wells directed them to cut down on emotional scenes to avoid exhausting the audience with excessive sentimentality. Sachs reviewed the sequences for medical accuracy and monitored background action. For the pilot episode, Strand also consulted with Tim Van Pelt and Ambar Martinez, real-life nurses that appeared in the series.[65]

Lawsuit

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In August 2024, the estate of Crichton, led by his widow, sued Warner Bros. Television, Gemmill, Wells, and Wyle over breach of contract, breach of implied covenant of good faith and fair dealing, and intentional interference with contractual relations, claiming that The Pitt was a reworking of a planned ER reboot that the estate had not approved.[66] Additionally, Crichton's widow alleged that Warner Bros. Television had already tried to eliminate Crichton's name from their projects by refusing to credit him as creator on the television series Westworld (2016–2022).[66] In November 2024, Warner Bros. Television's lawyers filed for a motion to dismiss the lawsuit, claiming that The Pitt is "a completely different show".[67] In April 2025, Wyle stated that they "pivoted as far in the opposite direction as we could in order to tell the story we wanted to tell — and not for litigious reasons, but because we didn't want to retread our own creative work", after knowing that they could not produce a reboot.[13]

Release

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Bloys wanted to promote The Pitt by applying a network-style marketing strategy.[18] He chose to use the model of appointment television, having the episodes be released each week on the same day at the same hour during prime time instead of launching them in the middle of the night—a standard practice for streaming services.[18] The first two episodes of The Pitt premiered on Max at 9 p.m. on January 9, 2025, followed by a weekly release of the remaining thirteen episodes through April 10, 2025.[2] Each episode runs for 41 to 61 minutes.[68][69] The first episode of the series was screened for healthcare and emergency medical services (EMS) providers at Allegheny General Hospital on January 10, 2025, followed by a discussion via video conference with Hissrich and Wyle.[29] Max reported that The Pitt's premiere became one of the five most-watched Max series debuts.[18] Bloys said the series would be broadcast on cable network TNT, owned by Warner Bros., ahead of the release of the second season;[18] it was broadcast uncut on TNT on December 1, 2025, with three episodes airing back-to-back per week through December 29.[70]

The second season premiered on January 8, 2026.[4]

Reception

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Critical response

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季數爛番茄Metacritic
194% (88 reviews)[71]78 (32 reviews)[72]
298% (189 reviews)[73]92 (29 reviews)[74]

Season 1

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The review aggregator website Rotten Tomatoes reported a 94% approval rating for the first season based on 88 critic reviews. The website's critics consensus reads, "Setting the trials and tribulations of hospital life on a timer, The Pitt combines multiple tried-and-true formulas to create a bracingly fresh medical drama."[71] Metacritic, which uses a weighted average, assigned a score of 78 out of 100 based on 32 critics, indicating "generally favorable" reviews.[72]

Phillip Maciak of The New Republic praised the contrasting pacing of the show's plotlines.[75] Reviewing the series for Chicago Tribune, Nina Metz gave a rating of 3.5/4 and wrote, "From a viewer's perspective, if you've seen one hospital drama, you've seen them all. What distinguishes one show from another is whether the writing and casting is any good. And The Pitt lands enough on both fronts to make it essential viewing."[76] Linda Holmes of NPR described it as "a very sharp season of television with outstanding performances across the board."[77] Brian Farvour of The Playlist gave the series an A+ and said, "The Pitt stands out entirely independently, separate from its pseudo-ancestor in ER and as a bonafide triumph in storytelling, chemistry and television."[78] David Sims of The Atlantic commented, "It's already without question the finest example of the genre in more than a generation."[79]

Season 2

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On Rotten Tomatoes, the second season has a 98% approval rating, based on 175 critic reviews. The website's critics consensus states, "Clocking in for a second season of a near perfect medical procedural, The Pitt goes all in on narrative excellence, brilliant humanity, and heart-wrenching drama to winning effect."[73] On Metacritic, it has a weighted average score of 92 out of 100 based on 29 critics, indicating "universal acclaim".[74]

For the second season, Time's Judy Berman wrote, "The Pitt isn't just lionizing its central characters; it's also laying the groundwork for conversations that give dimension to lives that have more in common with viewers' own than we might like to admit."[80]

Medical community response

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The Pitt has received praise from the medical community for its accurate and comprehensive depiction of the challenges faced by workers in the American healthcare system.[81][82][83] Several healthcare professionals found certain scenes triggering and difficult to watch for their realistic approach.[81][82] In particular, they referenced the flashbacks to the pandemic and a scene where the cries of a grieving mother are heard throughout the ER.[81][82][83] Some members of EMS said the series led them to confront the emotional weight of their profession.[84][81] Other professionals have enjoyed watching The Pitt with their families to show them their daily routines, since physicians are not allowed to have family members visit them at work due to HIPAA and patient confidentiality rules.[82][83][85] Dr. Nicholas Cozzi, director of EMS at Rush University Medical Center, felt moved by its sympathetic portrayal of doctors trying to work in "a system that is unwell itself—stretched thin, underfunded, and unable to keep pace".[84] Healthcare workers in Canada have also found The Pitt accurate and relatable despite systemic differences.[86]

Several physicians have described the technical scenes as mostly realistic, but they focused on how The Pitt manages to capture the frenetic atmosphere of hospitals and touch on issues such as nursing shortages, insufficient resources, violence against healthcare professionals, health misinformation, and their consequent psychological impact on workers.[84][82][87][88] Amanda Choflet, dean of Northeastern University School of Nursing, appreciated the series' inclusion of themes related to mental health and substance abuse issues in healthcare providers.[87] Dr. Lukas Ramcharran, an attending physician and assistant professor in the department of emergency medicine at Johns Hopkins Hospital, said that the character of Robby represented correctly the life of an attending physician at a teaching hospital, balancing the education of residents with the practice of medicine.[85] Angela Hosking, dean of Northeastern University's Charlotte campus, appreciated the series' portrayal of the ER nurses' level of expertise and alertness, criticizing other medical series' tendency to show nurses as "glorified assistants".[87] Dr. Lois K. Lee, an associate professor of pediatrics in the department of emergency medicine at Boston Children's Hospital, described as fairly accurate the implementation of MCI protocols, having herself experienced them during the bombing at the Boston Marathon in 2013.[88] Ramcharran and Lee appreciated the use of real-time narration, saying that the format allowed the writers to explore a wide range of human emotions and experiences while keeping the focus on the events inside of the ER.[85][88]

Nevertheless, healthcare workers have criticized aspects of The Pitt: the improbably high number of complex trauma cases presented in a single shift; the incorrect depiction of CPR, which would look "much more violent" in real life; and the unrealistically rapid resolution of intricate cases.[81][88] Sachs has stated that CPR could not always be done correctly in the series because it cannot be performed on an actor.[83] Some physicians noted that they spend a lot more time filling medical records in real life.[82][88] Ramcharran found the portrayal of hospital administrators inaccurate, saying: "The idea of an administrator coming down in the actual shift and engaging with you in real time ... that's not realistic. You can imagine how that would be an incredible disruption to patient care."[85] He thought that tension over systemic issues such as patient satisfaction and hospital incentives would not result in interpersonal conflict, but he understood "why they do that for the show".[85] A scene in the 11th episode depicting childbirth with shoulder dystocia and postpartum hemorrhage complications was criticized as unrealistic by OB/GYN physicians.[89] The depiction of mandatory reporting suspicions of child abuse has also been criticized by social workers and emergency physicians, with Yale New Haven Health emergency physician Dr. Alexis Cordone criticizing the show's emphasis on providing proof for allegations as "[setting] unrealistic expectations for viewers who might be navigating similar circumstances in their own lives."[90][91]

Awards and nominations

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Year Award Category Nominee(s) Result Template:Ref.
2025
 American Film Institute Awards Top 10 Programs of the Year The Pitt 獲獎 [92]
Astra TV Awards Best Drama Series The Pitt 提名 [93]
Best Actor in a Drama Series Noah Wyle 獲獎
Best Supporting Actress in a Drama Series Taylor Dearden 提名
Best Directing in a Drama Series John Wells (for "7:00 A.M.") 提名
Best Writing in a Drama Series Joe Sachs and R. Scott Gemmill (for "7:00 P.M.") 獲獎
Best Cast Ensemble in a Streaming Drama Series The Pitt 獲獎
Black Reel Awards Outstanding Supporting Performance in a Drama Series Tracy Ifeachor 提名 [94]
Outstanding Directing in a Drama Series Damian Marcano (for "7:00 P.M.") 提名
Outstanding Writing in a Drama Series Cynthia Adarkwa (for "12:00 P.M.") 提名
Dorian Awards Best TV Drama The Pitt 獲獎 [95]
Best Written TV Show 提名
Best TV Performance – Drama Noah Wyle 獲獎
Best Supporting TV Performance Taylor Dearden 提名
Katherine LaNasa 提名
Gotham TV Awards Breakthrough Drama Series R. Scott Gemmill, Simran Baidwan, Michael Hissrich, Erin Jontow, John Wells, and Noah Wyle 獲獎 [96]
Outstanding Lead Performance in a Drama Series Noah Wyle 提名
Outstanding Supporting Performance in a Drama Series Katherine LaNasa 提名
Primetime Emmy Awards Outstanding Drama Series R. Scott Gemmill, John Wells, Noah Wyle, Michael Hissrich, Erin Jontow, Simran Baidwan, Joe Sachs, Terri Murphy, Amanda Marsalis, Damian Marcano, Cynthia Adarkwa, and Michelle Lankwarden 獲獎 [97]
[98]
Outstanding Lead Actor in a Drama Series Noah Wyle (for "9:00 P.M.") 獲獎
Outstanding Supporting Actress in a Drama Series Katherine LaNasa (for "9:00 P.M.") 獲獎
Outstanding Directing for a Drama Series Amanda Marsalis (for "6:00 P.M.") 提名
John Wells (for "7:00 A.M.") 提名
Outstanding Writing for a Drama Series R. Scott Gemmill (for "7:00 A.M.") 提名
Joe Sachs (for "2:00 P.M.") 提名
Primetime Creative Arts Emmy Awards Outstanding Guest Actor in a Drama Series Shawn Hatosy (for "9:00 P.M.") 獲獎
Outstanding Casting for a Drama Series Cathy Sandrich Gelfond and Erica Berger 獲獎
Primetime Emmy Award for Outstanding Contemporary Makeup (Non-Prosthetic) Merry Lee Traum, Marie-Flore 'Ri' Beaubien, and Leese Simone (for "7:00 P.M.") 提名
Outstanding Prosthetic Makeup Myriam Arougheti, Thom Floutz, Chris Burgoyne, and Martina Sykes (for "4:00 P.M.") 提名
Outstanding Sound Editing for a Comedy or Drama Series (One Hour) Byran Parker, Kristen Hirlinger, Vince Tennant, Josh Adeniji, Roland Thai, and Sam Lewis (for "7:00 P.M.") 提名
Outstanding Sound Mixing for a Comedy or Drama Series (One hour) Todd M. Grace, Ed C, Carr III, Von Varga, and Tami Treadwell (for "6:00 P.M.") 提名
Television Critics Association Awards Program of the Year The Pitt 獲獎 [99]
[100]
Outstanding Achievement in Drama 獲獎
Outstanding New Program 獲獎
Individual Achievement in Drama Noah Wyle 獲獎
2026
 Critics' Choice Television Award Best Drama Series The Pitt 獲獎 [101]
Best Actor in a Drama Series Noah Wyle 獲獎
Best Supporting Actor in a Drama Series Patrick Ball 提名
Best Supporting Actress in a Drama Series Katherine LaNasa 獲獎
Film Independent Spirit Awards Best Lead Performance in a New Scripted Series Noah Wyle 提名 [102]
Best Supporting Performance in a New Scripted Series Taylor Dearden 提名
Golden Globe Awards Best Television Series – Drama The Pitt 獲獎 [103]
Best Actor in a Television Series – Drama Noah Wyle 獲獎
Actor Awards Outstanding Performance by a Male Actor in a Drama Series 獲獎 [104]
Outstanding Performance by an Ensemble in a Drama Series Amielynn Abellera, Shabana Azeez, Patrick Ball, Isa Briones, Jalen Thomas Brooks, Taylor Dearden, Fiona Dourif, Supriya Ganesh, Joanna Going, Gerran Howell, Michael Hyatt, Tracy Ifeachor, Katherine LaNasa, Krystel V. McNeil, Brandon Mendez Homer, Alexandra Metz, Tracy Vilar, Kristin Villanueva, and Noah Wyle 獲獎
Peabody Awards Entertainment The Pitt 獲獎 [105]
Queerties Awards Best TV Drama The Pitt Template:Runner up [106]
Best TV Performance Supriya Ganesh 提名 [107]
Writers Guild of America Awards Dramatic Series Cynthia Adarkwa, Simran Baidwan, Valerie Chu, R. Scott Gemmill, Elyssa Gershman, Joe Sachs, & Noah Wyle 獲獎 [108]
Television: New Series 獲獎
Television: Episodic Drama R. Scott Gemmill for "7:00 A.M." 獲獎

Notes

[编辑]

References

[编辑]
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