After a wait more interminable than most spells in an A&E reception area, medical-drama-of-the-moment The Pitt finally made it on to UK screens last month, via the arrival of streaming service HBO Max, and just about everyone I know has spent the following weeks hoovering it up. Some, in fact, are already up to speed with its second season (the finale aired last night on US TV) and so are trying very, very hard not to blurt out major plot points at the office tea point/on public transport/in an actual hospital waiting room – we’re in a post-spoiler age, remember.
I’ve been a little bit slower off the mark – mainly because it took so long to figure out if I actually had access to HBO Max as part of my bafflingly arcane Sky TV package – but I’m racing through it now, and so am ready to share the same observations that everyone else made weeks, or in the case of the US, a full year ago. The main one being: how did not one TV producer have the idea to mash together ER and 24 before? It was right there, staring you all in the face! (Jed Mercurio, whose forgotten 2015 medical drama, Critical, also had a real-time element, might have a finger raised in objection at this point.)
