Review: ‘The Pitt’ offers hyperrealism, whereas ‘Doc’ leans into melodrama

Based on the types of programs broadcasted on television for the past seven decades, it’s reasonable to assume that an extraterrestrial civilization might conclude that humans predominantly engage in two main activities: investigating crimes and healing illnesses. In essence, these two pursuits can be seen as serving similar purposes.

In real life, people generally try to avoid hospitals, but on TV, they seem appealing. This could be similar to enjoying shows about crime without experiencing it yourself. There’s a significant event that takes place in hospitals, which TV magnifies into intense, dramatic narratives, combining medical and philosophical themes. As the old “Ben Casey” theme song went: “Man, woman, life, death, mystery.” (Those were simpler times.)

This week welcomes two fresh hospital-themed series to the mix. “Doc,” airing on Fox and debuted on Tuesday, features Molly Parker as Dr. Amy Larsen, a Minneapolis internist who tragically loses eight years of memory in a car accident but shows resilience in her work. Meanwhile, “The Pitt” is now available to stream on Max, taking us inside a Pittsburgh emergency room. Its association with “ER” veterans John Wells (executive producer, director), R. Scott Gemmill (creator) and Noah Wyle (star) makes it hard not to mention its predecessor show.

Doc” is a soap opera infused with medical themes, while “The Pitt” is a medical drama that incorporates elements typical of soap operas. Both series provide commentary on the bedside manner, featuring patients who suddenly faint despite appearing fine, as well as misleading clues, unproductive leads, and incorrect paths to investigate.

Originating from an Italian show titled “Doc,” created by Barbie Kligman, this series starts following a car crash incident. The audience is given a glimpse into an open skull, and we are introduced to Amy, who has survived with only a headband and the likelihood of permanent partial amnesia. Her life is marked by constant cognitive dissonance as she encounters numerous instances where her memory fails, making her feel like a time traveler in her own life.

In the hospital where I used to work, now run by Dr. Michael Hamda, whom I once called husband, I’ll find myself unexpectedly. My teenage daughter, Katie, will also be there, unaware of my presence. Neither of them seem to know how to react to me. I’ll discover that my son has passed away, a loss that left me cold and made me less beloved at work and among patients. Yet, my diagnostic skills, though tainted by my recent unpopularity, remain unparalleled – a fact that leaves everyone as puzzled as I am.

As a film enthusiast, I can’t help but reflect on the intricate web of relationships unfolding in this captivating narrative. I’m puzzled about the clandestine romance I seem to have shared with the charismatic Dr. Jake Heller (Jon-Michael Ecker), a secret he appears unwilling to rekindle. The enigmatic Dr. Sonya Maitra (Anya Banerjee), who has mysteriously vanished from my memory, harbors an inexplicable disdain towards me. I’m also oblivious to the whispers and laughter of the nursing staff, their jests directed at me unbeknownst. Moreover, Dr. Richard Miller (Scott Wolf), now occupying my former position as chief of medicine, harbors concerns about something I used to comprehend, praying I’ll remain oblivious. Amidst this whirlwind of secrets and misunderstandings, my closest ally is the empathetic Dr. Gina Walker (Amirah Vann), the hospital psychiatrist, and the ambitious young Dr. TJ Coleman (Patrick Walker), who finds inspiration in me to pursue medicine.

In just a short while, Amy is meandering through the corridors, glancing into rooms of patients and causing a bit of commotion. Reduced to essentially an apprentice, following her fellow doctors as she prepares to re-take her medical boards, she will still uncover much of what’s essential. Yet, she remains modest about it. “I haven’t noticed you giving in to others before,” remarks Dr. Miller. “Fresh start, new guidelines,” responds Amy. “That sounds like the slogan for a rather poor sitcom.

As a cinema enthusiast, I must admit that this film isn’t your typical comedy, but it does have its humorous moments – especially when it comes to second chances. And let me tell you, Parker’s performance is nothing short of captivating and heartwarming as she breathes new life into her character. Now, “Doc” might veer a bit towards the cheesy and overly television-like in its case investigations, but overall, it’s an engaging and entertaining watch.

In the 15-episode series “The Pitt,” humor abounds as it unfolds in real-time during a single day’s work at the Pittsburgh Trauma Medical Center. Wyle plays Dr. Robinavitch, affectionately known as Dr. Robby, who works alongside Dr. Collins portrayed by Tracey Ifeachor. Together, they manage the ER, with Dr. Robby being more relaxed (but attentive) and Dr. Collins being serious (also focused — and pregnant, though keeping it a secret).

In contrast to “Doc,” which unfolds on the calmer levels of a sprawling urban hospital, “The Pitt” unfolds in its most chaotic area: the bustling emergency room. Unlike “Doc,” there’s no background music here; instead, machines are constantly beeping, and there’s constant running, shouting, and commotion. The opening scene features a frantic, bare-naked man pleading, “No more needles.” Conflicts arise as families strain under pressure, and hospital staff face both physical abuse and additional emergencies within the existing crises. A quick glimpse of the waiting room reveals it to be packed with patients, reflecting the urgent situation inside.

In the emergency room, there are numerous doctors packed together. Keeping tabs on all these people – doctors, patients, and their families – is quite a challenge, and it can take some time to distinguish everyone.

In this setting, Patrick Ball portrays the charming Dr. Langhorn with a keen interest in canines. Fiona Dourif takes on the role of Dr. McKay, who sports an ankle monitor and has a nose for danger. Supriya Ganesh plays Dr. Mohan, known as “Slo Mo” due to her extensive patient interactions. Taylor Dearden portrays the rotating Dr. King, a lively, enthusiastic character who celebrates success with high-fives. Katherine LaNasa is Dana, the charge nurse who keeps the operation running smoothly, although she dreams of a pay raise.

In this setting, a threesome of budding physicians – Javadi (Shabana Azeez), Dr. Santos (Isa Briones), and Whitaker (Gerran Howell) – make their debut on their inaugural day at the teaching hospital. At 20, Javadi is a prodigy who’s protective of her age, while Dr. Santos will have to grasp that “team” doesn’t have an “I”. Whitaker, affectionately dubbed “Huckleberry” by Santos (which seems sarcastic), is a kind-hearted farm boy. They all grapple with the question of whether they can cope with the demanding pace and tumultuous journey ahead, reminiscent of a roller coaster ride.

Robby describes his current job as one that never ceases to bring challenges,” he explains, “it brings sleepless nights, stomach problems, and thoughts of despair.” (His mentor’s pandemic-related passing continues to weigh heavily on him throughout the day.)

As a movie enthusiast, I can’t help but marvel at the authenticity of “The Pitt.” While it may not be an exact portrayal of a real-life emergency room, it certainly feels genuine. The actors seamlessly navigate the medical jargon, handling the various tools such as needles, scalpels, tubes, and paddles with a natural ease that suggests they’ve been there before. And let’s not forget the casual pump of Purell upon entering each room – it’s small details like these that make the show feel incredibly real.

Medical professionals are prepared to handle cases involving electrocution, drowning, overdose, trauma, scurvy, sickle cell anaemia, puncture wounds (like a nail in the chest), eye injuries from fastballs, gallstones, severe burns, chlamydia, malfunctions with pacemakers, infestations of rats in the clothing of homeless individuals, and many more scenarios – each one unique with its own narrative and background.

The storyline offers a diverse representation of people in shared hardship, interspersed with occasional social-political observations. With its blend of raw realism and dramatic flair, as well as mysteries to unravel and personal matters to manage, “The Pitt” evoked reminders of “Homicide: Life on the Street.” I didn’t watch enough “ER” for it to bring “ER” to mind.

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2025-01-09 23:01