The Pitt

Premise

In the first season, attending physician Dr. Michael "Robby" Robinavitch starts a shift at the Pittsburgh Trauma Medical Center's emergency room (ER), nicknamed "the Pitt". Four trainee doctors join the team. Throughout the next fifteen hours, the students and residents learn more about their professional duties, while trying to deal with the emotional toll of patient care and the hardships of working in an overcrowded and underfunded ER. They are guided by Robby and the Pitt's other staff members. Meanwhile, Robby struggles to cope with traumatic memories resurfacing on the fourth anniversary of his mentor's death, which happened in the Pitt during the COVID-19 pandemic.

The second season takes place ten months later, on the 4th of July. Robby meets the attending physician who will be taking over for him while he is on a three-month sabbatical. A staff member returns from time away, while two medical students and a nursing school graduate join the team.

Cast and characters

In decreasing order of seniority, the medical hierarchy begins with the attending physician, followed by senior residents, junior residents (categorized by year), interns (first-year residents), and finally, medical students (categorized by year). Nurses and other medical staff have their own hierarchy not listed here.

Noah Wyle as Dr. Michael "Robby" Robinavitch, a senior attending physician at the Pitt. He cares about his hospital, staff, and patients but is struggling with PTSD from the COVID-19 pandemic. In season two, he is suffering from burnout and depression, and plans to take a sabbatical.

Tracy Ifeachor as Dr. Heather Collins (season 1), a senior resident who is secretly pregnant. She and Robby have a romantic past.

Patrick Ball as Dr. Frank Langdon, a quick-witted senior resident. He is found to be struggling with addiction and stealing medication from the hospital, and is sent home by a furious and betrayed Robby toward the end of season one. He returns in season two having gone to rehab.

Katherine LaNasa as Dana Evans, the no-nonsense day-shift charge nurse. She puts on a strong front but is compassionate when the staff or patients need her.

Supriya Ganesh as Dr. Samira Mohan (seasons 1–2), a third-year, and later fourth-year, resident trying to find balance between diligence and speed.

Fiona Dourif as Dr. Cassie McKay, an empathetic, 42-year-old second-year, and later third-year, resident. She is raising her young son, Harrison, as a single mother.

Taylor Dearden as Dr. Melissa "Mel" King, a neurodivergent second-year, and later third-year, resident with an autistic twin sister. Mel connects with Langdon in season one and is one of the few staff members who seem happy about his return in season two.

Isa Briones as Dr. Trinity Santos, a cocky, ambitious intern and later second-year resident. Although she can come off as cold, Santos lets Whitaker, whom she nicknames "Huckleberry", live with her after learning he is homeless in season one. She also has a complicated relationship with surgical resident Dr. Yolanda Garcia in season two.

Episodes

Production

Development

From the 1990s, actor Noah Wyle and television producers R. Scott Gemmill and John Wells worked together on the set of the medical drama television series ER, which aired from 1994 to 2009. ER became successful throughout its run, influencing subsequent medical drama series. After its end, Gemmill and Wyle purposefully pursued projects unrelated to the genre, with Gemmill saying he thought he "would never do a medical show again, because we had done it so well". In 2020, Wyle began receiving an influx of direct messages on Instagram and fan mail from first responders working in the healthcare system, thanking him for inspiring them to pursue emergency medicine, with his role as Dr. John Carter in ER, and talking about their struggles during the ongoing COVID-19 pandemic. Wyle shared many of the messages with Wells, with whom he thought he could make a television series dealing with the contemporary challenges faced by healthcare workers and the spread of health misinformation. Meanwhile, Gemmill began thinking about possibilities to innovate the genre of the medical drama after having a conversation with a fellow television writer. Gemmill, Wells, and Wyle kept in contact with each other and with other ER collaborators, such as television writer and ER doctor Joe Sachs, who shared his experiences in the healthcare system.

Over the next few years, Gemmill, Wells, and Wyle began sharing their ideas and developing an ER spin-off focused on Carter, also recruiting Sachs and other ER collaborators such as Mel Herbert. 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. Nevertheless, Max, a streaming service affiliated with Warner Bros. Discovery, expressed their interest in making a medical drama series starring Wyle with the team. At the time, Max CEO Casey Bloys was searching for a network-style procedural drama that could keep audiences engaged for several weeks. 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. The team began developing The Pitt after the end of the Writers Guild of America's strike in the fall of 2023. 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. 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".

Filming

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). 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. Ultimately, Ruscio managed to join the production and met with Gemmill, Hissrich, Wells, and Wyle to discuss the details. The team informed her of their plan to shoot in continuity with handheld cameras, therefore requiring a set with capacity for freedom of movement. 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. Ruscio planned to create a transparent space with full visibility from all angles to allow for filming of simultaneous foreground and background action. 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.

A team of about 125 people built the 25-bed ER, occupying over 20,000 square feet (1,900 m2), on a sound stage owned by Warner Bros. in Burbank, California, in ten weeks. The waiting room and the trauma center were built on another sound stage next to the ER. The overall set cost over $4 million. Ruscio focused on five main aspects of the set: the palette, the floor, the lighting, the ceiling, and the layout. For the color palette and the lighting, she worked with The Pitt's cinematographer Johanna Coelho. Ruscio said she selected a realistic, bleached palette to convey the sterile feeling of entering an ER. 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. 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. 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. 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. Lyn Paolo served as costume designer.

For the layout, Ruscio collaborated with art director Josh Lusby, set designer Dean Wolcott, set decorator Matt Callahan, and prop master Rick Ladomade. 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. Ruscio designed each set element with Lusby and Wolcott, paying attention to the ergonomics of an ER. 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. She used marble columns to figuratively convey how the Pitt—located in the hospital's basement—both supports the structure and bears its burdens. Callahan and Ladomade reached out to medical equipment manufacturers to furnish the facility, striving to replicate the precise layout of a real medical facility. The team personally designed and built the nurses' station. To portray accurately the medical procedures, The Pitt uses almost exclusively practical effects with few modifications in post-production. The team collaborated with special effects company Autonomous FX to create several of the prosthetics featured in the series.

Writing

Baidwan, Gemmill, Sachs, and Wyle constituted a writers' room by December 2023, along with Cynthia Adarkwa, Valerie Chu, and Elyssa Gershman. 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. 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. 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. By using real-time narration, Gemmill sought to highlight the importance of time, which he believed set emergency medicine apart from other medical specialties. Sachs said that the writers used the narrative device to build suspense by extending some patients' storylines across multiple episodes while suddenly ending others. After writing the episodes, the staff consulted with Wells on both writing and production.

The team reunited in the writers' room in March 2025 for the second season; Herbert joined the writing staff for the first time. Wyle wrote two episodes in the second season, having also written two for the first. He additionally directed the sixth episode. 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.

Casting

Wyle took an active part in the casting process along with casting director Cathy Sandrich Gelfond, aiming to recreate with the new ensemble the camaraderie that he had shared with the ER cast. 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." Additionally, Wyle emphasized the physicality of the roles and the preference for actors with experience working in theater and handling props. 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. 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.

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. 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. 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; extras also received medical training.

In May 2025, the casting process for the second season began. The boot camp for the second season began on June 1, 2025. 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. In July 2025, it was reported that Ifeachor exited the series. In the same month, Lawrence Robinson joined the cast in a recurring role for the second season. In August 2025, Zack Morris was cast in a recurring capacity. In September 2025, Victor Rivas Rivers joined the cast as a guest star for the second season. 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. In February 2026, Jona Xiao joined the cast as a guest star for the second season. 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. In April 2026, it was announced that Ganesh would exit as Dr. Samira Mohan following the second season, with Ayesha Harris promoted to a series regular for third season. In June 2026, Pruitt Taylor Vince, Malachi Beasley, Cheyenne Perez, Jeremy Radin, Charlz Williams, and Rosanny Zayas were cast in recurring capacities for the third season.

Sound design and music

Before writing the script, Gemmill, Wells, and Wyle decided to use almost no background music in The Pitt to complement its documentary style. 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. It involved recording and layering background conversations and machinery sounds beneath each episode's dialogue track. 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. For the background, Sachs recorded the discussions of real-life ER nurses and gave them to extras to register.

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

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. 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. The vocal version of "Fail Forward" played during the credits of the thirteenth episode. 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.

The second season premiere opened with "Better Off Without You" by Pittsburgh band The Clarks. 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. 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.

Editing

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.

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.

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.

Lawsuit

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. 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). 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". 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.

Release

Bloys wanted to promote The Pitt by applying a network-style marketing strategy. 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. The first two episodes premiered on Max at 9 p.m. on January 9, 2025, followed by a weekly release of the remaining thirteen episodes through April 10. Each episode runs for 41 to 61 minutes. The first episode was screened for healthcare and emergency medical services (EMS) providers at Allegheny General Hospital on January 10, 2025, followed by a discussion with Hissrich and Wyle.

Ahead of the release of the second season, the series was broadcast on the cable network channel TNT on December 1, 2025, with three episodes airing back-to-back per week through December 29. The second season premiered on January 8, 2026, followed by a weekly release through April 16.

Reception

Audience viewership

The premiere of The Pitt ranked among the top five most-watched Max series debuts. According to Nielsen, each episode averaged 6.18 million viewers within its first 35 days of release. Warner Bros. Discovery reported consistent week-to-week growth in viewership, with the first 14 episodes reaching an average of 10 million viewers per episode by April. After its initial run, the series achieved the highest post-season viewership growth for a debut season of any HBO series, averaging an 80% audience increase and amassing more than 18 million viewers per episode. Following its wins at the 77th Primetime Emmy Awards, global viewership nearly tripled compared to the prior week, marking the series's best ratings week since its finale, with a 142% increase in US audiences.

Warner Bros. Discovery stated that the premiere of the second season drew 5.4 million US viewers within its first three days, marking a 200% increase over the first season's premiere. Two weeks before the season finale, The Pitt topped Nielsen's ranking for the most-watched streaming series for the week of March 30–April 5, 2026. Nielsen also reported that viewership for the second season grew compared to the first over the same period, with each episode averaging 13.45 million viewers within its first 35 days of release. Warner Bros. Discovery stated that viewership for each episode reached an average of 15.4 million viewers within its first 90 days, marking a 50% increase over the first season, with the finale peaking at 9.7 million viewers in its opening weekend. TheWrap attributed the series's viewership increase for the second season to its consistent weekly release schedule, which allowed "fans space to convene weekly in the wake of a new episode as well as a more approachable midseason entry point for first-time watchers".

Critical response

The review aggregator website Rotten Tomatoes reported a 94% approval rating for the first season based on 89 critic reviews with an average rating of 8.6/10. 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." Metacritic, which uses a weighted average, assigned a score of 78 out of 100 based on 32 critics, indicating "generally favorable" reviews.

Phillip Maciak of The New Republic praised the contrasting pacing of the show's plotlines. 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." Linda Holmes of NPR described it as "a very sharp season of television with outstanding performances across the board." 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." David Sims of The Atlantic commented, "It's already without question the finest example of the genre in more than a generation."

On Rotten Tomatoes, the second season has a 99% approval rating, based on 211 critic reviews with an average rating of 8.5/10. 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." On Metacritic, it has a weighted average score of 92 out of 100 based on 32 critics, indicating "universal acclaim".

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."

Medical community response

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. Several healthcare professionals found certain scenes triggering and difficult to watch for their realistic approach. In particular, they referenced the flashbacks to the pandemic and a scene where the cries of a grieving mother are heard throughout the ER. Some members of EMS said the series led them to confront the emotional weight of their profession. 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. 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". Healthcare workers in Canada have also found The Pitt accurate and relatable despite systemic differences.

Several physicians have described the technical scenes as mostly realistic, and 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. 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. 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. 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". 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. 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.

Healthcare workers have also 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. Sachs has stated that CPR could not always be done correctly in the series because it cannot be performed on an actor. Some physicians noted that they spend a lot more time filling medical records in real life. 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." 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". A scene in the 11th episode depicting childbirth with shoulder dystocia and postpartum hemorrhage complications was criticized as unrealistic by OB/GYN physicians. 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."

Accolades

The Pitt has received several accolades from television award ceremonies. It has been nominated for 19 Primetime Emmy Awards, 19 Primetime Creative Arts Emmy Awards, and two Golden Globe Awards. Its first season won Outstanding Drama Series, Outstanding Lead Actor in a Drama Series (Wyle for "9:00 P.M."), Outstanding Supporting Actress in a Drama Series (LaNasa for "9:00 P.M."), Outstanding Guest Actor in a Drama Series (Hatosy for "9:00 P.M."), and Outstanding Casting for a Drama Series (Cathy Sandrich Gelfond and Erica Berger) at the 77th Primetime Emmy and Primetime Creative Arts Emmy Awards. It also won Best Television Series – Drama and Best Actor in a Television Series – Drama (Wyle) at the 83rd Golden Globe Awards. The American Film Institute listed the series among one of the 10 best television programs of 2025.