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I know I’m late. Not fashionably late. Not even “missed the meme cycle” late. I’m “the show has already been renewed and memed again” late. And no, this isn’t good for SEO, but you know what? I work from streaming apps. I get to things when I get to them. If you’re looking for a blog that’s somehow both 3 months behind and unapologetic about it—hi, welcome.
So let’s talk about The Pitt.
From the very first episode, I was all in. The pacing. The realism. The characters. The chaos that somehow felt both cinematic and claustrophobic. It scratched that old ER itch—but it also felt fresh. It had something to say. It wasn’t nostalgia-bait. It was just good television.
But then I read something that completely rewired my brain:
The Pitt was originally meant to be a continuation of John Carter’s storyline.
Excuse me, WHAT?
Noah Wyle, R. Scott Gemmill, John Wells—basically the holy trinity of ER—were cooking up a spiritual sequel. We could have had ER: The Next Shift. And it was this close to happening, until legal drama (the real kind) got in the way. Michael Crichton’s estate filed a lawsuit saying The Pitt was derivative. Warner Bros. countered. A judge revived the case. And somewhere in the middle, we lost the connective tissue to County General.
I’ve shared this fun fact with people. Most shrugged.
But I can’t shrug. I’m still screaming. Because The Pitt didn’t need Carter to be brilliant—but imagine what could have been. Imagine the storytelling power of using Carter as a bridge—bringing in old fans while launching a new generation of chaos and compassion.
Now, let’s talk about what did make it to the screen.
This show plays with time in a way that few others dare. We’ve all seen real-time movies (Run Lola Run, High Noon, etc.), but to stretch that format across 15 episodes? Madness. Beautiful, gripping madness. Every ticking second feels earned. Every delay in a hallway or missed message adds pressure. It’s storytelling with a stopwatch—and I love it.
There are still a dozen unresolved threads dangling from that season finale, and I cannot wait for Season 2. I want answers. I want heartbreak. I want more chaos in Pittsburgh’s fictional trauma ward.
Also, let’s not pretend I’m above fan-casting:
New crossover idea: Elliot Stabler goes undercover in Pittsburgh and ends up needing treatment from Dr. Robby.
TAKE. MY. MONEY.
Until then, I’ll be over here rewatching The Pitt and imagining what could have been—and what might still be.
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