“The Pitt” Season 2, Episode 6 is an ode to the nurses who keep emergency rooms running — and it’s directed by the son of a career nurse.
Noah Wyle spent part of his hiatus from the HBO Max medical drama on Capitol Hill with his mother, retired nurse Marjorie Wyle-Katz, speaking with lawmakers about policy changes to address burnout and staffing shortages among health care workers. That perspective carries into the hour he helmed this week, which, alongside the death of longtime patient Louie, finds charge nurse Dana Evans at her wits’ end. It also spends more time with PTMC’s support staff, including RNs Perlah, Princess, Jesse, and Kim, as well as newly minted nurse practitioner Donnie, underscoring just how much they do for patients once the doctors leave the room.
Centering the nurses in this way was a deliberate choice. As Wyle puts it, “Nurses do the real hands-on work. They’re the ones that are holding the hands and bringing the blankets and cleaning the bodies and wiping the a**es. They do the dirty work, and they do it tirelessly, and they do it with great nobility, and they confer dignity on the patients while they do it.”
Series creator R. Scott Gemmill echoes that sentiment, noting that nurses are often sidelined in medical dramas despite the reality of how hospitals function. “They literally run the ER,” he says. “Traditionally, unless it was a nurse-centric show, nurses were always sort of secondary or tertiary characters. But the reality is, they’re the ones who keep everything moving.”
That reality, Gemmill adds, was essential to explore — not just in terms of logistics, but cost. “We really wanted to see what the ER looks like from their perspective, and what the emotional toll is on them,” he says. “What does it take to keep showing up?”
That toll is most clearly embodied by Dana. Early in the episode, when a patient in a gurney, frustrated by the wait, grabs Emma’s arm in an attempt to be seen sooner, Dana unleashes her inner mama bear, warning that assaulting a health care worker can result in a hefty fine. She’s clearly triggered by what she experienced in Season 1 at the hands of Doug Driscoll — but as she later tells Langdon, she ultimately decided against pressing charges.
Warrick Page/HBO Max
“I can understand how [she thinks] that could be a good idea, thinking, ‘You know, I just want to move on with my life. I don’t want to be further involved with this person,'” Katherine LaNasatells TVLine of Dana’s decision. “But I also think that sometimes when an injustice has been done toward us, and there’s no relief from that injustice, it can fester, and it can live, and it can still be with us decades later…. There’s still a lot of grief, [and] I think on some level, Dana is not able to turn the care on to herself.”
That internal reckoning surfaces again toward the end of the hour, after Dana walks Emma through one of the most unseen parts of the job: cleaning a dead body. The patient is Louie, the same frequent flyer whose death hangs over the episode. Once the work is done, Emma asks Dana a question: “Why do you keep coming back?” But there’s no easy answer, and Dana doesn’t provide one.
“I don’t think she knows the answer,” LaNasa says. “I think she came back [after the assault] because this is where she has her sense of purpose, where she finds meaning in her life, where she knows that she’s useful and important in a way that really matters — when people are in their worst days, having their largest traumas.”
At the same time, LaNasa adds, everything Dana has experienced has complicated that certainty: “Because of everything that she’s gone through, she’s not really sure. When Emma asks her that… I think it affronts her, and I think it festers with her throughout the day. And I think it’s kind of the question for Dana for the whole season.”
.jpg "American Love Story – Season 1")
