noah going “i know it sounds weird but my brain works really fast and non-stop so i don’t know what to do with myself most of the time but when i do things especially like directing it’s a full course meal for me and i feel totally alive and in my happy place” in the recent la times podcast and im like yup. that’s an adhd king. welcome to the club my guy can’t believe it took you so long to join us.
i'll never stop talking about trinity santos genuinely a god-tier character. craves connection and camaraderie but is clueless about how to build it so tries to brute-force it. funniest person in the er. pigeonholed as mean and cynical but is incredibly empathetic and perceptive. generous to a fault. scared the shit out of a child molester. offered to share her home with a guy she just met and thought was kind of annoying, just because he had nowhere else to go. got caught losing the idgaf war and crashed the fuck out. too invested in her situationship. puts her whole pussy into karaoke night. they could never make me hate you
Fandom: ER
Characters: John Carter, Peter Benton
Tags: Past rape/non-con, childhood sexual assault, hurt/comfort, whump, angst
Summary:
“Carter? John Carter? You’re all grown up! What were you when I last saw you? Ten?”
“Eleven.” Carter’s reply is a hushed whisper, barely audible next to Benton’s ear.
--
The maid comes to the ER as a patient. Benton notices something is off.
Noah Wyle wrote a character in season 3 episode 3 of the Pitt based on an activist friend of his, who was arrested alongside Noah and 100 other ADAPT disability rights activists in Washington DC in 2012. Here are some footage from the protest along with the LA Times the Envelope podcast interview.
2012 footage by NBC News, Tim Wheat and Dean DeRusso.
No, damn. I'm circling back to this because I just can't let it go.
This is such a perfect depiction of what happened throughout Season 2 (both in the show and, dishearteningly, in the fandom alongside it).
Robby pushes some people away, lashes out/extremely harsh at others, then turns around and is almost paternal toward someone else. He's inconsistent, burning the bridges, cutting his connections, unlike himself. And yes, a lot of viewers understood where that behaviour was coming from. I also believe many of his coworkers recognised that he was having a really, really bad day.
But then he says things like, I hope he dies doing something he loves, and later, I'm not going to be here long enough to find out. People notice. They look concerned. But nobody really intervenes.
It isn't until he blurts out, "What if I don't come back?" that Dana is truly alarmed and eventually asks Jack to step in. Meanwhile, Duke clocks what's going on almost immediately and asks the hard question without beating around the bush - "death can't be changed". People don't talk about the parallel of those moments nearly enough, but I honestly think it's just as important (if not more important) because Duke helps push Robby to a point where he can finally be honest with himself, "I don't know if I want to be here anymore. I don't know that I want to be anywhere anymore," drop the pretense, say "What if I don't come back?" to Dana.
He's asking for help in possibly the only way he can, and it's messy af. That's often what struggling with mental illness looks like. It comes out as anger, withdrawal, inappropriate jokes, cruelty, self-destruction, the list goes on. And because it's messy, people back away, whether to give him space, because they think they're respecting his privacy/wishes, or because they're hurt and angry with him.
I don't know.
In the end, no one really came when he was asking for help. The help that reached him came from the person he never asked. The people he did ask only came after he'd stopped asking altogether.
(Diff anon lol) Thank you for being level headed about all the weird Robby/Noah marketing hate given he’s the lead POV character of an ensemble show that was kinda flying under the radar when it first kicked off and has since exploded into an award winning production with Noah as a Best Actor.
IDK how much everyone knows about modern hollywood media marketing, but I wanted to add a couple thoughts re: Noah being the face of everything from the perspective of someone that’s worked in film and TV in LA for a hot minute (grain of salt tho, I’ve since left the industry due to the same LA film work turndown Noah’s been vocally rallying against, so I own my bias here):
- Season 1, Dr. Robby is the lead POV character of an ensemble cast show that had been partially been greenlit on the back of face/name recognition of Noah Wyle as one of the most prominent TV doctors on network television in the last 30 years. ‘Network’ being the key - since HBO is now primarily satellite/streaming, a show like The Pitt would bank on gaining nostalgia views/subscriptions from a demographic that watched John Well’s ER and remembers Wyle from his Dr. Carter days. He’s the lead because a skilled actor and he’s marketable to the audience they want to cultivate.
- Film/TV Actors that win big awards are almost always put FRONT AND CENTER in marketing campaigns for the next seasons - this goes double for Best Actor. That’s the absolute best advertising you can ask for. If Shawn Hatosy had won Best Supporting and Noah lost Best Actor, I guarantee Shawn would have been highlighted more heavily in S2 marketing. That said, since the Emmy wins there has been a ton more marketing featuring the extended cast and nominees—but that marketing does not override that the lead POV character actor is now also a Best Actor winner, and that by default puts him at the top of the marketing heap.
- Studios often outsource trailers/posters/award campaigns to third parties to create materials that are then signed off on by studio teams that aren’t working day-to-day with the productions, because by this time production has wrapped. These teams work with what they have and what will draw the most attention. Whenever you see a movie trailer or a poster that gives away a pretty blatant spoiler (think ‘Kingsman: The Golden Circle’ revealing Colin Firth is in the film, despite the director’s open objection to the reveal) that’s usually a marketing team that didn’t work on the project trying to cut together the most exciting preview they can (at the expense of the creative narrative).
- Actors and creatives have little to no control over how their projects are marketed, and it’s not uncommon for an actor to take issue with scenes/glamour shots they’d have prefer not to be highlighted because they didn’t negotiate likeness approvals into their contracts. Unless you have a lot of pull, great manager/contract, etc., you’re kinda out of luck. Moving forward, because John Wells renegotiated his overall deal with WB, this may change. He may have more veto authority with how the The Pitt is marketed, but even then from a studio organizational structure, marketing is not really his responsibility/purview (nor is it Noah’s at all).
- Actors, especially leads, are often contractually obligated by the Studio to show up for interviews and FYC events, sometimes at the expense of other projects they’re working on. If you’re getting annoyed by how often you’re seeing an actor give the same interview over and over, I promise you the actor is likely tired of it too, because their involvement is probably mandatory.
(anyway, you’re amazing, keep killing it 😘)
Are they bitching about the marketing campaigns now? Just jumping in to add that I used to work in theatrical advertising, meaning I designed movie and TV posters for a living. My husband worked for the agency that designed the key art for the Pitt season 1 and 2. I can assure you, Noah Wyle did not tell them how big to make his head and he did not pick the final finishes. Not his job. Not his department.
my personal headcanon is that John Carter ER doesn’t actually have a sister.
he just got tired of people asking why his parents weren’t showing up for this event or that important thing in his life, and while the excuses he made were a little more ecelectic and varied at frist, they eventually just solidified into a story about an older sister who lived abroad that his parents were always visiting.
Peter Benton catches onto this during that first Thanksgiving dinner. Jackie asks about his family, and Carter stumbles. The country his sister lives in changes. The details shift just slightly, just enough that Benton can tell he’s improvising most of them.
Benton doesn’t say anything at the time, but he catalogues it alongside Carter’s tendency to default to lying about other seemingly trivial things. Whenever Benton hears Carter make mention of this sister of his, another detail has changed. Benton gets the impression he’s the only one paying enough attention to notice.
He comes back to it years later when Carter is in the hospital post-stabbing and his parents are nowhere to be found.
“They’re, uh, they’re in Tokyo, so…” Carter mumbles, when Benton asks.
“Visiting that sister of yours, again?” Benton asks pointedly. Carter freezes, eyes darting around, fidgeting.
“Um, yeah. Yeah, that’s, uh…”
“Thought she lived in Switzerland? Or she moved to Montreal? Think you said she lived in Europe for a while too. France? Or Wales? You said she was in New Zealand once, too.”
“… She moves around a lot. Doesn’t, uh, like to stay in one place too long.”
“Neither do your parents, huh? Unless it’s staying away from their son, right?”
Benton doesn’t mean it to sound as harsh or accusatory as it does, but Carter flinches nonetheless. Benton sighs, a quiet “I’m sorry, man,” slipping out.
Carter just nods a little, like he already knows that Benton is apologising for more than just the words. It doesn’t really matter. Carter doesn’t even have to come up with an excuse for his parents not being there to anyone else, because most of the folks who visit him just tease him about Benton practically living in his hospital room instead.
Characters | John Carter, Peter Benton, Mark Greene, Jing-Mei Chen, The Nurses
Summary:
After the stabbing, Carter's ER family gathers close.
It's foreign.
It's overwhelming.
It's the only place he's ever felt this safe.
Moments brief and long from Carter's journey toward recovery. Five chapters so far.
Taking the chair by the bed, Peter studies him. "I didn't expect you to be working today," he says finally, testing the waters.
Carter's eyes cut to his, then drop again. "Peter, it's been ten years." A beat. A shrug. "Morris called in sick."
They fall into silence, but just outside the curtain, the noise of the party swells.
Peter had imagined it, seen it in his dreams more than he can count. Carter and Lucy, bleeding out in the floor, helplessly listening to the sounds of the party, the tantalizing promise of help just a few impossible yards away.
So when the music flares again and Carter sucks in a sharp breath, Peter shunts to his feet and beelines for the front desk. He doesn't ask permission before unplugging the CD player.
Why couldn't you save her? I mean, this- this is what you do. I tried. I really tried. We all did. If this had been any other day, man... Any other day? What the f*ck does that mean, "any other day?" What, you would've saved her life? Yes. No. I don't know. I don't- I don't know. We're getting slammed up there. We've had dozens of shooting victims. You've seen it.
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