Televerse 26, Day 2 Recap: Paradise, The Pitt, All Her Fault and More

Paradise's Sterling K. Brown and Barry's Henry Winkler were among the noteworthy participants at the second day of Televerse.

The festival, which runs August 14-16, features television industry professionals both in front of and behind the camera — as well as a variety of panels, FYC presentations and screenings of this year's Emmy-nominated programming. Check out our recap of Saturday's events:

Paradise: FYC Presentation

Paradise won't conclude its run for fans until next year, but the cast's time on the show recently came to an end.

At the Hulu drama's second trip to Televerse, Sterling K. Brown shared that, the night before taking the stage, he and his fellow castmates had wrapped shooting the third and final season of the Emmy-nominated series.

Panelists joining Brown on Saturday included Julianne Nicholson (Sinatra, who joined via video), Shailene Woodley (Annie), director Hanelle Culpepper, casting director Josh Einsohn, CSA and visual effects supervisor John Weckworth. After showcasing some memorable and intense clips from season two — including the tragic aftermath of Annie giving birth to a newborn that Xavier vows to take responsibility for — the conversation turned to the show's 11 Emmy nominations, with Culpepper sharing how meaningful it feels for her to get a directing nod this year after working with the show's talented team. “We all worked so hard together," Culpepper said. "The cast and crew are so amazing. It is great to have your work honored by your peers. As a woman and a person of color directing, you always want to open the door for [others].”

The show opened the door for several new characters this season, especially Woodley's Annie. The actress reflected on her character's powerful arc on the show, commenting that she knew her character's fate when she first spoke with showrunner and creator Dan Fogelman about joining Paradise. “It was one of the greatest highlights of my career, even though it was short," Woodley said.

Annie's death scene is one of the show's standout moments — and its impact resonated with Brown, who was impressed by his costar's commitment to the scene's visceral and raw nature. “It’s make believe, but we take it very seriously,” Brown explained.

And while he was tight-lipped about where the final season will take his character, he did share that there was “no fat to trim” in the upcoming storyline. “Each episode drives towards something in a very muscular way.”

Paradise is set to return in early 2027. 

Acting Class with Henry Winkler 

Back by popular demand, Emmy winner and Television Academy Hall of Fame inductee Henry Winkler returned to Televerse to lead an acting workshop for the second year in a row.

Channeling his Barry character, acting teacher Gene Cousineau, Winkler brought actors onstage to perform scenes, then worked with them through multiple takes — offering adjustments along the way. The exercises ranged from the practical to the philosophical. At one point, he had two actors sit back-to-back for their performance, emphasizing the importance of listening rather than anticipating what comes next.

His advice was equally direct: “Your energy has to envelope the audience and reach the exit sign [at the back of the room].” And when it comes to performance, he said, “There is no right. There is no wrong. You cannot be perfect. So, you must be committed to whatever your imagination dictates.”

During a Q&A that concluded the workshop, Winkler expanded on his approach: “Do as much theater and read as much theater as you can. It’s where you learn the craft and apply it to everything else.”

Winkler even had advice for aspiring directors: “Wear comfortable shoes,” he said, before adding that directors should remain open to ideas from everyone on set.

Between lessons, Winkler kept the audience entertained with stories about producer-director Garry Marshall, actor John Ritter and the time Winkler transformed into his beloved Happy Days character, Fonzie, to help disperse an overly enthusiastic crowd of fans.

In the end, his words of wisdom for aspiring performers were simple: “Every character — if it’s written well — is in you.”

L.A. Sports: From Game to Broadcast

The voices of Los Angeles' iconic sports franchises came to Televerse for a dynamic conversation about what it takes to deliver unforgettable live sports television — both on and off screen.

Two-time Stanley Cup champion Jarret Stoll (Los Angeles Kings), three-time NBA champion James Worthy (Los Angeles Lakers), and six-time MLB All-Star Nomar Garciaparra (Los Angeles Dodgers) joined producer Brandon Moore (Spectrum Sports), host/sideline reporter Erica Weston (Angels Broadcast Television), and moderator Jaime Maggio (KCBS Sports) for an inside look at the transition from player to broadcaster.

Worthy, Garciaparra and Stoll acknowledged the challenge of pivoting from performing at an elite level as athletes to neophytes as broadcast commentators. All three noted the need to relax, loosen up and be themselves. Stoll listed some crucial basics: “Timing, cadence, storytelling and creating pictures with words — and smile.”

Having been professional athletes themselves helped Worthy, Garciaparra and Stoll handle situations when they need to point out flaws or mistakes made by players, coaches or management. “As a player, you're used to being asked certain questions,” Worthy said. “If you blow a game or if you miss an assignment, you have to answer for that. So, I was okay with asking questions of players, because it wasn't anything that was fake or anything that we hadn't seen on the screen. But I try to keep it really simple. And I think players appreciate when you critique them in a positive way — you see it, and you say it.”

Added Garciaparra: “I’m critical and I’m honest, but I never say anything I wouldn’t say to their face. And if you say something critical, the next day you want to be out there so they can see you and they can talk to you. You're accountable. I'm not going to say something bad and then never show my face. If someone doesn’t like something, we can definitely discuss it.”

The Diplomat: FYC Presentation

Netflix’s The Diplomat brought its ensemble to Televerse for an FYC panel discussion as a nominee in the Outstanding Drama Series category — one of seven Emmy nominations for the series.

Moderated by David Canfield, the panel featured creator, executive producer and showrunner Debora Cahn alongside stars Keri Russell, Allison Janney, Bradley Whitford and executive producer Janice Williams.

With a fourth season of the show premiering this fall, Russell reflected on her time spent mining her character's unique world of diplomacy and intrigue. For her, the learning curve has become part of the job’s appeal: “That’s the gift of getting to do this for a couple of years," she explained. "By the second, third, fourth season — you know more about this world. You get into this weird rhythm of how these characters are.”

Those characters and their complex storylines are what drive the series, with the latter being something that showrunner Cahn takes great effort to closely guard — even from her own cast.

“If a character has a secret — and the actor wants to know what it is — then I’m happy to tell them," Cahn said. "But I don’t want the other actors to know for as long as possible.”

Miss You, Love You: FYC Presentation

Miss You, Love You writer-director Jim Rash joined Televerse for an FYC presentation of HBO Max’s Outstanding Movie Nominee. Rash’s frequent collaborator and Miss You producer Nat Faxon was also on hand with stars Allison Janney and Andrew Rannells.

Rash shared that the idea for this complex dramedy came out of personal experience: His father died nine years ago from Parkinson's. At the funeral, his sister brought her assistant. Those events inspired Rash to conceive of the story initially as a play, before redeveloping it into a movie during the pandemic.

Janney was quick to point out the production was afforded only 17 days to shoot Miss You, a very complex but rewarding feat given the weighty material. She and Rannells were completely off book by the time shooting began, with Rannells particularly impressed with his costar's talents, noting: “Allison is easily the most generous scene partner I’ve ever worked with."

Miss You, Love You is streaming on HBO Max.

Six Feet Under: Inside the Series Finale 

A quarter-century since it premiered on HBO, Six Feet Under’s legacy still endures — especially the funeral home-set drama’s emotional series finale, “Everyone’s Waiting.”

Following a screening of that series capper about the Fishers, one of TV’s most dynamic and dysfunctional families, moderator Daniel Fienberg of The Hollywood Reporter led a discussion of the episode as well as a look back at the show’s emotional and creative resonance. On the panel were creator-showrunner-writer-director-executive producer Alan Ball, production designer Suzuki Ingerslev, picture editor Michael Ruscio, ACE, and music supervisors Gary Calamar and Thomas Golubić.

Although Six Feet Under was set in a Los Angeles funeral home and featured death in every episode, Ball said, “For me, it was never a show about death. It was a show about life in the presence of death — which is life. I think there's some sort of mysteriousness to [death] that we just have to live with.”

Golubić added, “I feel like this show has been a salve for different people who’ve had to confront death, and I feel like, in many ways, the process of viewing the show is part of the process of figuring out your own relationship to grief. I love when I meet people who bring it up as being something that’s very powerful for them, because it got them through a really challenging chapter where the mystery of death was given some shape.”

The last six minutes of the finale, a now-iconic montage showing the deaths of the major characters — set to the song “Breathe Me” by the Australian recording artists Sia — remain its most memorable legacy. But at the time, Sia was at a professional crossroads.

“She was being dropped from her label,” Calamar recalled. “Her career was not going well. But we found the song, and we all thought it was beautiful and perfect. That particular use catapulted her. It kind of changed everything.”

All Her Fault: FYC Presentation

At the FYC panel for Peacock’s All Her Fault, creator, executive producer and showrunner Megan Gallagher was on hand to unpack her riveting Outstanding Limited or Anthology Series nominee. Joining Gallagher to reveal how they brought the twisty adaptation to the streamer were casting directors Matt Lander and David Rubin. Moderated by Jenelle Riley, the conversation explored the process of adapting Andrea Mara’s novel for the screen — and the choices that shaped the Emmy-nominated limited series.

The thriller opens with a kidnapping but quickly expands into a story about motherhood, marriage and contemporary domestic life. Gallagher praised Mara’s ability to weave together twists and turns with universal themes, while delivering a story that has both a bracing opening and a satisfying conclusion.

That balance also informed the casting. Discussing Sarah Snook’s performance as Marissa Irvine, the mother at the center of it all, Gallagher noted, “If you don’t have an actor that’s incredibly skilled, it’s easy to lose the character in the crying — in the trauma.”

She also praised Jake Lacy, who plays Marissa’s husband, Peter, saying she was drawn to a male character who was deeply invested in his family and embodied many of the qualities typically assigned to female characters.

Rubin and Lander, meanwhile, drew applause when discussing their commitment to auditioning actors in the room rather than over Zoom. They emphasized the importance of performers bringing their own interpretations to a character instead of trying to anticipate what a casting director wants to see. Their advice to actors: Ask as many questions as necessary.

For Gallagher, the appeal of All Her Fault lies in its ability to combine accessibility with ambition. As she put it, “I’m a big believer and a big lover of highbrow genre. Something can be commercially appealing and broad and touch a lot of people without dumbing anything down.”

Homeland Creatives Reunion

Fifteen years after its explosive series premiere, Showtime’s Homeland still represents a watershed moment for both its cable network and for the genre — especially in its depiction of Claire Danes's Carrie Mathison, a CIA officer with bipolar disorder.

The creative team behind Homeland reunited at Televerse for a look back on the Emmy-winning geopolitical thriller that kept viewers on the edge of their seats for nearly a decade. Moderated by Variety’s Michael Schneider, panelists included writers-executive producers Debora Cahn, Meredith Stiehm, Ron Nyswaner and Chip Johannessen. Joining them were cocreators and executive producer/writers Howard Gordon and Alex Gansa. 

Based on Gideon Raff's Isreali series Prisoners of War, Homeland was developed for Showtime at a time when the cabler was looking to deepen their dramas with the kind of complexity this adaption had. That type of drama would reveal itself during the first nerve-wracking scene shared by Claire Danes and Mandy Patinkin. While shooting the scene, Gansa recalled: “We’re going to know in about five minutes whether we have a series or not.” What he saw changed everything: “These two actors — who had only [first] met that morning — had created an entire world in [that first scene].”

Panelists also revisited the show’s rigorous approach to authenticity, including regular trips to “spy camp” to immerse themselves in the intelligence world before breaking each season. “This amazing group of writers would go from spy camp to coming up with the season,” Glatter said, crediting the research as the foundation for the show’s layered plotting.

The nostalgia wasn’t lost on the group, either — Nyswaner admitted he’s seen the fan-made “ship” videos pairing Carrie Mathison with Rupert Friend’s Peter Quinn, a small sign of just how deeply the show’s characters still resonate with audiences years later.

Widow's Bay: FYC Presentation

No sea hag or ominous bell tolls were present at the Widow’s Bay FYC panel. Instead, the stars and creative team behind Apple TV’s hit horror-comedy — nominated for 19 Emmys, including Outstanding Comedy Series — shared plenty of laughs, behind-the-scenes anecdotes and a few genuinely creepy memories.

Star and executive producer Matthew Rhys joined creator, executive producer and showrunner Katie Dippold, executive producer and director Hiro Murai and cast members Kate O’Flynn, Dale Dickey, Stephen Root and Jeff Hiller for a wide-ranging conversation about the series and its unexpected success.

For Dippold, the journey began long before the show made it to the screen. She had originally developed the script 20 years ago, a fact that made its eventual arrival all the more remarkable. “This show is a real swing and a risk.”

Rhys, better known for his dramatic work, recalled his reaction when he first encountered the script: “I knew that I immediately wanted to be in it, so that kind of overrode any nerves. And I wanted to know how it ended: ‘Being in it, I’ll find out!’”

The cast then reflected on the show’s runaway success, from fan theories and memes to the challenge of its accents and genuinely frightening material. Discussing the much-memed scene, Dickey said flatly, “Dead baby, dead baby, lesbian.” British O’Flynn, meanwhile, joked about her approach to the American accent: “Generally American, not Boston, thank God.”

Despite the show’s comedic elements, the horror elements are genuinely scary — even for the cast. Hiller recalled: “I had a nightmare after the clown episode — after just reading it — and Katie said, ‘That’s good.’”

 

Modern Family: Making a Mockumentary 

Modern Family became one of network television’s most successful sitcoms, using a mockumentary approach to chronicle the hilarious — and occasionally chaotic — members of a multigenerational Los Angeles family. At Televerse, attendees were treated to a clip from the season two episode “Halloween,” followed by a panel discussion with director Michael Spiller, director of photography James R. Bagdonas, production sound mixer Steve Tibbo and first assistant director Helena Lamb.

Across 11 seasons, 250 episodes and 22 Emmy wins, the series was a technical trailblazer that, the panelists argued, remains timeless.

That longevity was partly rooted in the show’s famously efficient production. Lamb recalled how quickly the series worked, and how that pace contributed to a positive atmosphere on set: Actors knew what to expect: three to five takes before moving on to the next scene. As Lamb put it, “You guys were all home by dinner time.” Spiller added, “Most days, by lunch.”

The panel also highlighted the ingenuity behind the show’s distinctive storytelling. Bagdonas noted that if the series were remade today, its stories would still draw from the writers’ own lives, as they did during the original run. Tibbo, meanwhile, discussed the technical challenges of mixing the season six episode “Connection Lost,” which required four sets to operate simultaneously.

Ultimately, Spiller suggested that the show’s lasting impact extends beyond its technical accomplishments. “Our work changes people’s lives. Our work can have an impact on society. Our work can reshape and explode prejudices and preconceptions and examine the things we all have in common.”

 

Shrinking: FYC Presentation

Emmy nominee Harrison Ford joined his Shrinking costars for a very funny — and sold out — discussion about the hit Apple TV comedy.

Joining Ford were cocreator and actor Jason Segel, Jessica Williams and Michael Urie to delve into the heartbreaking comedy's third season. All the actors praised the writers, complimenting the exceptional quality of their scripts. “The characters have been really thought out by our writers,” Williams said. Ford added: “This show is wildly comedic and, at the same time, it’s emotionally real. It’s an extraordinary opportunity for me to be working with these people, and with these kinds of writers.” 

Segel also shared his thoughts on how special the show is as it heads into its fourth season. “I’ve never been bored on Shrinking,” he said. “We haven’t run out of material. It’s the biggest blessing.”

Beef: FYC Presentation

Beef creator and showrunner Lee Sung Jin provided attendees with a deep dive into the creative process that went into making the second season of his Emmy-winning series. Joining him for his show's lively Televerse panel were Beef stars Oscar Isaac, Charles Melton and Youn Yuh-jung. Cinematographer James Laxton, ASC, editor Laura Zempel, ACE, and casting director Jeanie Bacharach also took the stage.

Scene by Scene with Paris Barclay

Emmy-winning producer-director Paris Barclay (Paradise, NYPD Blue, The West Wing) took the audience inside the director’s POV with a deep dive into his creative process — from pre-production to post — spotlighting iconic scenes from his illustrious career.

“I’m going to impart on you every single thing I’ve learned in the next 60 minutes,” he joked.

True to his word, Barclay offered eight essential lessons for succeeding as a director in television:

1. Television’s impact is far reaching and powerful.
2. You are primarily on a spiritual journey when you are a TV director.
3. Know who actually runs the show. It’s not you.
4. TV is always about family.
5. Empowering others creates infinite power.
6. Your currency is clarity. Learn how to be concise.
7. Your authenticity is your superpower.
8. You can always go deeper.

Still Shameless with John Wells, William H. Macy and Emmy Rossum 

Fifteen years after the premiere of Showtime’s gritty dramedy, showrunner-writer-EP John Wells returned to Televerse alongside Shameless stars William H. Macy and Emmy Rossum to revisit the Gallaghers in all their dysfunctional glory.

The unflinching series dramatized several topics — like poverty, sex and addiction — in ways that made it hard for audiences to look away and very easy for them to keep tuning in for the show’s 11 season run, which garnered 15 Emmy nominations and 4 wins. Wells and his cast toured the audience on a memorable trip down Shameless memory lane, with key stops highlighting unforgettable moments and episodes as well as the behind-the-scenes process that pulled them off. 

Wells revealed that Shameless had a long road to getting onscreen in the first place. “We tried to get it made for seven years," recalled Wells. The script spent four years in development at HBO and two at NBC before the project landed at Showtime.

Rossum — an only child raised by her mother — recalled how badly she wanted the complex and compelling role of Fiona, and the way she saw herself in the character despite their different backgrounds. “The kind of chaos and dysfunction [she had] was familiar, [as well as] the yearning for a parent that wasn’t there." When asked where she imagines her character is at now, she mused that she feels Fiona is far from her hometown of Chicago. “I think she’s in Miami doing something with boats. I think she’s good. She’s a little tan — but, knowing her, there’s also a little chaos.”

RuPaul’s Drag Race: Reality Competition Program Nominee FYC Panel

Kicking everything off were two Season 18 queens, Juicy Love Dion and Mia Starr, who treated the crowd to a raucous lip sync number. (No sashaying away this time!) 

Meeks then sat down with some of the talented people who make reality TV’s favorite LGBTQ competition series happen. Co-EP John Polly, production designer Jen Chu, choreographer Jamal Sims and Drag Race: Untucked! EP Natalia James discussed the hard work that went into this most recent season, plus their own personal favorite moments. 

A highlight was Polly discussing what inspires the show’s notoriously creative challenges. “Taking a look at RuPaul’s career is always a great place to start,” he said, referencing the longtime host’s multifaceted career as a singer, actor, author and brand ambassador. “Our queens are the most talented people on television,” Polly said. “They can sing, they can dance; their gifts are so vast. We just try to figure out how to make great challenges but also make them shine.”

And in true Drag Race fashion, things wrapped up with one more lip sync number featuring Dion and Starr — Whitney Houston’s “Queen of the Night,” this time with Meeks joining in — before sending attendees on to the rest of the day’s programming with a smile on their faces.  

DTF St. Louis: FYC Presentation

An FYC presentation for DTF St. Louis: Outstanding Limited or Anthology Series Nominee. Panelists included: Steven Conrad, Creator, Writer, Director, Showrunner and Executive Producer; David Harbour, Floyd Smernitch and Executive Producer; Linda Cardellini, Carol Love-Smernitch; Richard Jenkins, Detective Donoghue Homer; and Joy Sunday, Detective Jodie Plumb. The panel was moderated by Tom Pelphrey, Emmy-Nominated Supporting Actor for Task.

Bump in the Night: A Conversation with Horror Showrunners 

Horror TV is undergoing a renaissance, as proven by all the recent buzz surrounding the shows represented on this panel: Netflix’s Something Very Bad Is Going to Happen, AMC’s The Terror: Devil in Silver and Peacock’s upcoming Friday the 13th prequel series Crystal Lake. Together, the showrunners of those series (Haley Z. Boston, Chris Cantwell and Victor LaValle, and Brad Caleb Kane, respectively) examined the excitement of the genre with insight and humor.

The panelists kicked things off by sharing which piece of pop culture first scared them as children (answers were as wide-ranging as 1983 TV film The Day After and 2007 feature I Am Legend), before the conversation led to work on their latest projects. The group discussed the process of “selling” horror to Hollywood, how the genre works differently on television than the big screen and the many different forms that horror storytelling can take. “The thing I love about horror is that it’s just like John Carptenter’s The Thing, in that every time it shows up, it’s a different monster,” LaValle said.

Of course, it wouldn’t be a discussion of horror if hints of familial trauma didn’t rear its head, and multiple panelists humorously mentioned true-to-life experiences that influenced their shows’ storytelling. (Thanks, Mom and Dad!) “I’m really working out a lot of shit with this show,” Kane said with a laugh. “But the best horror is that.”

 

Hacks: FYC Presentation

The cast and creatives of Hacks gathered Saturday evening for an FYC presentation celebrating the HBO Max comedy’s final season. The panel featured stars Jean Smart and Hannah Einbinder, along with creators and showrunners Paul W. Downs, Lucia Aniello and Jen Statsky, and was moderated by Entertainment Weekly’s Gerrad Hall.

The conversation was an emotional look back at the show’s journey — from starting production at the tail end of the pandemic to favorite moments, memorable fan encounters and the ways the experience changed them. For Einbinder, the emotional weight of the final season even earned her a new unofficial role: “I have become a doula for folks,” she joked.

For Statsky, the show’s ability to resonate with its audience has been its greatest reward. “To get to make a television show that makes people laugh and connect is the dream,” she said.

That connection has extended far beyond the show’s expected audience. The panelists recalled a moment in which Ava, played by Einbinder, gives her email address. The production team went a step further, creating a real email account for the fictional character so fans could actually write to her — and thousands did. Aniello revealed one particularly unexpected discovery: “What we learned is that there’s a huge fan base for the show in China, and they call it The Diva and the Strawberry.”

Downs saw that sense of connection as central to the series itself. “This show is about finding your people. For us, that’s how we were able to make the show. We found each other — Jen, Lucia and I — early on.”

Smart, meanwhile, reflected on how much the series meant to her personally, saying that making the show helped get her through one of the worst times of her life. Even so, she emphasized how much joy she found in coming to work every day. “What more could you ask for?”

  

The Final Cut with Michael Ruscio, ACE

ACE Eddie Winner and Emmy-nominated editor Michael Ruscio, ACE (3 Body Problem, True Blood, Six Feet Under) took audiences inside the edit room for a one-of-a-kind look at his craft.

Drawing upon six extended clips from his four-decade career, Ruscio illustrated several key fundamentals of picture editing. Each was accompanied by a descriptive title card to reinforce his points.

• “Who am I in this scene?” presented an intriguing sequence from the HBO drama The Leftovers in which cutting between Regina King and Carrie Coon and their respective points of view.

• “What do I do with all these cameras?” showcased the use of footage from conventional cameras, drone cameras and a Volume stage shoot to assemble a sequence from the Prime Video drama in which star Daniel Dae Kim becomes involved in a car chase.

• “When actors are playing the beats, get OUT of the way” demonstrated the subtlety of a great performance through a scene in which we see Bryan Cranston, playing a New Orleans judge, conceiving a legal defense while his son admits to fleeing the scene of a fatal car crash.

• “Why am I so scared?” displayed a scene from the Showtime drama Dexter in which the source of fear is not Michael C. Hall’s serial killer Dexter Morgan but a recalcitrant horse.

• “When NOT to cut” used a scene from the HBO drama The Sopranos in which recovering addict Christopher Moltisanti, played by Michael Imperioli, relapses to demonstrate the power of staying on a shot when the material calls for it.

• “Anticipation” unspooled a sequence from the Netflix drama 3 Body Problem in which the lead-up to a devastating tragedy exemplifies how to build tension and suspense through slow, deliberate pacing.

The Pitt: FYC Presentation

The Pitt’s sold-out panel wrapped up the second day of Televerse. And, like last year’s equally popular event, it was full of behind-the-scenes insights into the making of HBO Max’s character-first medical procedural that has garnered 26 Emmy nominations for its second season. 

Executive producer John Wells and showrunner R. Scott Gemmill led the discussion, alongside writer-executive-producer-director and star Noah Wyle. Sharing the stage with Wyle were fellow castmates Shabana Azeez, Patrick Ball, Isa Briones, Taylor Dearden, Fiona Dourif, Shawn Hatosy, Gerran Howell, Katherine LaNasa and Sepideh Moafi.

Moderator Jenelle Riley put cast and creatives under the proverbial microscope to explore how some of season two’s most emotionally charged (and medically accurate) moments were accomplished.

Wyle, who plays Dr. Michael "Robby" Robinavitch at the show's fictional Pittsburgh hospital, was very proud of the relationship that the show has nurtured with the healthcare community. “First and foremost, that is a community that we set out to win over," Wyle said. "We meet with a lot of experts to see where the country is going to go in 12 months. The fact that they’ve continued to embrace us makes it feel like we’re doing our jobs well."

Later, Briones unpacked the simmering professional tension and memorable confrontation this season between her character, Dr. Santos, and Patrick Ball's Dr. Langdon: “We made that scene feel as genuine and as imperfect as possible. We have to show the ugly and the good of everything. [Santos] had the right to be angry, but she also has a lot of things that has nothing to do with Langdon that she’s taking out on him. In those two minutes, you get two people desperately trying to heal.”

With the second season of the Emmy-winning drama chronicling Dr. Robby's mental health struggles, Wyle teased how the third season will further explore that aspect of the character. "In season three, we’re climbing out of the proverbial pit."

The Pitt is expected to return with new episodes in early 2027.

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For the latest news about this three-day event, visit Televerse.