Something I love about Heated Rivalry is that it's not a choice is a theme but not in a respectability politics "homophobia is wrong because it's not a choice" way.
Ilya is bi and he can't turn off who he is any more than Shane and Scott can.
Scott never wanted to put anyone between a rock and a hard place, he planned on not entering a relationship til he was no longer part of the hockey league. But he fell hard and fast for Kip regardless.
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unpopular Merlin opinions that would get me chased out of camelot with pitchforks:
some of yall only hate uther because the narrative tells you to while simultaneously stanning characters who inherited half his worldview
the fandom babies merlin so much that people forget he also lies, manipulates, enables violence, and makes catastrophic decisions constantly
“the ending was good actually because tragedy and true to arthurian myth yada yada bs” no it was rushed and underdeveloped. tragedy still needs payoff.
this fandom will write 40k essays about how tragic arthur is for having daddy issues and then call morgana irrational for developing murderous rage after years of abuse and isolation
arthur’s growth gets insanely overstated because the bar is literally underground next to the old religion
“camelot became better” DID IT??? DID IT REALLY??? WE GOT LIKE TWO EPISODES OF PROGRESS AND THEN EVERYONE DIED
the finale feels like the writers got put into a room with a countdown timer and a vague memory of arthurian legend
some of yall hate gwen for the crime of interrupting your yaoi headcanons and i NEED you to be serious for one second
merthur fandom sometimes acts like gwen personally broke into the writers room and forced the show to be heterosexual at swordpoint
the obsession with “fixing” characters into soft wholesome uwu versions of themselves removes literally all the tension that made them interesting in the first place
“arthur would’ve accepted merlin’s magic eventually” based on WHAT. VIBES??? HE ONLY FORGAVE MERLIN CUZ HE WAS DYING.
this fandom babies the male characters so hard you’d think camelot was a daycare
there are people in this fandom who care more about whether merlin and arthur kissed than about the actual themes of oppression, fear, loyalty, and corruption and honestly i respect the commitment to missing the point entirely
if morgana had been played by a less attractive actress half this fandom would’ve turned on her by season 2 and i stand by that
elyan deserved better but this fandom remembers him once every solar eclipse
gaius spent years enabling an insanely dangerous status quo and the fandom treats him like everyone’s wise grandpa instead of the court’s number one professional secret keeper
mordred was literally a child shaped by prophecy, fear, manipulation, and rejection and the fandom still talks about him like he personally logged into the writers room to ruin merthur
this fandom excuses every terrible thing arthur does because bradley james is good looking
the fandom acts like the knights were this inseparable legendary friend group meanwhile half their bonding happened offscreen in everyone’s imagination
“arthur was trying his best” his best was frequently terrible ❤️
this fandom has a bizarre tendency to interpret every woman’s anger as irrational while treating every man’s rage as heartbreaking and profound
people rewrite merlin into this innocent awkward little guy when canon merlin is fully capable of being passive aggressive, cruel, manipulative, reckless, and terrifyingly devoted
hunith is one of the only people in this entire show with functioning brain cells and nobody talks about her because she isn’t a sad wet man
Kara did not singlehandedly destroy the kingdom oh my GOD
Nimueh had more presence in one season than some characters had in the entire show
the druids as a whole feel less like an actual culture and more like the writers spawning mysterious forest children whenever merlin needed angst
the sidhe plotline genuinely feels like a collective hallucination
I really love how representative of Alicent's mental state her wardrobe is. This dress is far from being my favorite, but I'm obsessed with how speaking it is!!
It first appears to as green and heavy as her outfits from the second half of S1 (when she held the most political power and was the most involved in the green scheming).
Then, you look at the openings of the gown, the sleeves and the front, and it almost seems like a second dress is hiding beneath, closer to her skin. The fabric is lightweight and softer, it's the same colour as her very first outfit in series, before Otto starts corrupting her, and the Dragonstone dress she wore right before.
The gown is showing where Alicent stands, she's baring the Green faction, she's cosplaying it. But under this sight, the real Alicent, the girl who was loyal to Rhaenyra, is the one working and trying to break free. That dress represents how despite what the others characters see, she's no longer loyal to the Greens.
She's wearing it around Aemond as she tries to manipulate him into leaving. The lighting is nearly hiding the blue of the dress, making it green. It emphasizes how good at pretending she is, it reminds the audience that even though she no longer wants to partake in the game (never really did), she knows how to play.
It's even more speaking when earlier, we saw Alicent planting the first seed of her new plan after she got back to the Red Keep. She's committing treason, in her Dragonstone dress, in front of none other than Helaena, the very person she's trying to save there. Her daughter is the only Green member she's allowing to see her true colour and intentions because Alicent is expecting her to follow along the betrayal.
That dress is a giant "I'm a traitor" sign and it's totally amazing!
The Pitt and Public Health: A Story of Radical Hope and the Work of Dreaming
Wherein I discuss The Pitt through a lens of public health praxis, disabled theory, and radical hope.
okay y'all, be warned this is a long one (5.1k words). it's contained in full under the cut, but i also crossposted on my substack HERE if you want slightly better UI or an audio recording of it :)
this piece begins with some background on radical hope, then it moves into discussions of public health praxis and frameworks that i find to be relevant to The Pitt, and finally i move into some contained character studies within the context of radical hope/the work of dreaming/healthcare. i chose to discuss Robby, Trinity, Dennis, Baran, and Cassie in particular, although i definitely think the points i make here could be applied to many more characters in the show!
tagging @tanely @lancey-lance-963 @puppydogwhitaker @ineffablepretzel since i know y'all were keen for this nonsense<3
keep reading if you please <3
Back in February, I decided to start The Pitt on a bit of a whim. I’m not one who typically gravitates towards medical dramas; I have a tolerance of about 0% for gore and blood and there is a very good reason I chose healthcare adjacency over actual healthcare for my career path. But, I had heard enough buzz about how good the show handled character writing and mental health and the issues of US healthcare in the 21st century; so I figured, “sure, I’ll give it a shot.” And here we are, a few months later. I have not been this insane about a TV show since 2023, but something about The Pitt hooked me.
I’ve rewatched season 1 a handful of times now, and watched through bits and pieces of season 2 a few times over as well. What I keep coming back to, amidst my rewatches and reexaminations, is that The Pitt is fundamentally a story of radical hope. It is an embodiment of all the best and brightest parts of healthcare that I know, while also being cuttingly honest about the skeletons barely being held behind the closet doors.
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What do I mean when I invoke “radical hope”?
Radical hope is a key part of both my personal worldview as well as the framework with which I approach public health and science (hi! biochem x global health student here). Radical hope is not empty platitudes, it’s not blind belief in the future, it’s not toxic positivity, and it’s not foolishly believing things will simply “work themselves out.”
To tell you what radical hope is to me, I bring you a quote from a piece I wrote titled GRAB THE LIVE WIRE:
What people often misunderstand in discussions of hope is the labor that goes into it. […] Hope is gritty and raw and jagged. Hope is homegrown and fought for. Hope is bloody knuckled and unrelenting. In other words, hope is not nice and it does not ask nicely. Hope demands. Demands better, demands us to work harder, to fight harder. Hope is the voice in your ear telling you to get back up and keep pushing; pushing for a kinder world, pushing for a brighter future, pushing for a softer fall the next time you go down.
In short, hope is not the voice of baseless positivity that tells you you won’t ever go down again. Rather, it’s the voice that says “well shit. you have to get up and you have to make the next fall hurt less. even if you’re not the one being pushed down next time.” Hope is an action, it is the labor of loving.
In the same piece this quote comes from, I lay the groundwork for an outlook on life I termed “grab the live wire.” To me, this is an invocation of the intensity with which many of us have to choose to stay alive. It is an acknowledgement that for a lot of us, we are not alive passively but because we chose— violently and viscerally and perhaps even heartbreakingly— that we were not going to die. Not yet.
To grab the live wire is to understand that being alive will rip you into yourself and that this process will be intense and messy and shattering.
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Crash Course: Public Health Nerd Shit
Section I: Alma-Ata
A thought that runs through my mind not infrequently while watching The Pitt is, “If Alma-Ata had worked, this show wouldn’t exist. Not like this.”
The Alma-Ata Conference was held in 1978 and attended by 168 countries; it was convened with the main goal of defining primary healthcare and launching a global vision of “health for all by the year 2000.” It’s Six Key Principles are as follows:
(1) Health is a fundamental human right
achieving health for all requires intersectoral work and collaboration
social determinants of health (such as education, nutrition, poverty reduction, agriculture, and public works) are necessary to achieve health for all
health outcomes are only fundamentally improved by tackling root causes of injustice
(2) Economic and social development must be equitable
the Global North has a moral imperative to support infrastructure and social betterment in the Global South
resource extraction from the Global South must be limited if not completely eliminated
the Global North must stop perpetuating colonial dynamics and should instead invest in community based care
(3) Governments are the primary stewards of health
governments have a moral imperative to support and foster health amongst their citizens
(4) International cooperation is imperative
(5) The definition of Primary Healthcare (PHC) as a system of healthcare
health systems should be appropriate, accessible, affordable, and acceptable to the communities they serve
(6) “Health for all” requires reallocating resources from the military to social service
The US acted as a key geopolitical opponent to the implementation of PHC globally and the decolonization of public health writ large. The US benefits from vertical programs (siloed programs centering one disease or health target) because it keeps developing nations reliant on external funding. Alma-Ata attempted to lay the ground work for a version of healthcare that is in direct opposition to vertical programs.
Alma-Ata was, in many ways, rooted in liberation based politics that aim to foster agency and independence, rather than building systems that leave the subjugated beholden to the funding whims of those who extracted their resources and left their systems shattered. However, in their opposition to Alma-Ata and similar efforts to create equitable and adequate health systems, the United States has left their own citizens in the dust as well.
I take some issue with the premise of Alma-Ata in its goal for “health for all” as it doesn’t account for disabled lives within this imagined future framework for health. I believe more so in healthcare for all, because while some of us will never “be healthy,” we still deserve quality of life. That said, I find Alma-Ata to have laid useful groundwork for discussing the core issues of inequitable health systems; in this case, the United States’ healthcare system.
The United States’ healthcare system is predicated on maximizing profit first and foremost. It is, for all intents and purposes, a business. PHC defines the government as the primary steward of health; so, it follows, that to implement PHC effectively we would also need to implement universal healthcare (UHC). The US’s lack of UHC shapes every aspect of health in America. From the high rates of medical debt to the inaccessibility of life saving medication to the absolute hell of finding a provider who takes you specific insurance, Americans are left being scolded for our unhealthy lifestyles in a system that seems determined to keep us from health at all costs.
Section II: Public Health, Collective Care, and Radical Hope Politics
I pursued public health academically because I view the work of public health as a hope based form of collective care. Public health work, on all levels, is predicated on the belief that healthcare should not be treated as a privilege. Public health work is focused on improving community health via targeting social determinants of health (e.g., education, poverty, clean water) as well as on making sure the populous is informed on the health issues of the moment.
I may be “the radical hope guy” to a lot of people, but that doesn’t mean hope is inherently easy to come by in my life. The moments in the human story that I always return to as beacons of hope—as reminders that we have done so much good, as reminders that we have achieved the impossible— are always moments in public health history. I think of smallpox eradication; of the massive global, international cooperation it was born out of. I think of PEPFAR; of how the United States (yes!! the US!!) made the single largest contribution by any one nation towards disease prevention. I think of the tireless work to make the COVID-19 mRNA vaccines available to the masses. And while this may not be directly public health work, I also think of the long history of disabled people, scholars, and activists who have worked throughout the decades to make our world just a little bit more accessible.
For me, the work of healthcare, writ large, is a hope based practice. To participate in providing healthcare— whether it be directly as a nurse, doctor, or medical assistant or indirectly as a researcher or communicator— is to place yourself within a lineage of individuals who have said, “people deserve to have a chance.” To treat someone’s illness, to give them the aids that make the world more accessible to them, to give them access to the resources that will improve their quality of life, is to give people a chance. To quote one of my favorite books, The Anthropocene Reviewed by John Green, “I guess, I believe, in spite of it all, that the human enterprise has value.” That is the sentiment I bring to public health work, that is the sentiment that I believe fuels all earnest engagement in healthcare, that is the sentiment that guides how I engage with healthcare and the stories it tells.
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Public Health Praxis and The Pitt
Before I get into a character by character analysis of The Pitt as understood by my own radically hopeful public health-pilled brain, I want to talk about the show as a whole.
This show exists within a very specific, very American political context that I hope I’ve laid out well enough. Many of these story lines only exist due to the lack of UHC in the US. For example: the kid with asthma who lost access to Medicaid or the man with diabetes who can’t afford his insulin and is in massive medical debt.
I find The Pitt to be one of the best depictions of the injustices inherent to life in America, both within and outside of healthcare. Healthcare just so happens to be an incredibly effective lens with which to magnify injustices. Within healthcare we are able to see who is granted the dignity of personhood, and who is left behind. When are the unhoused granted dignity? How much must an addict suffer before they are worthy of our sympathy? How much dehumanization will we allow immigrants to go through before we decide to step in?
Models of Public Health:
There are five main models of public health:
Biomedical
Views healthcare through a strictly biological and scientific lens
Health issues are contained within the body and not influenced by non-scientific, outside factors
Behavioral
Health issues and outcomes are the direct result of individual choice
Assumes everyone is a completely free agent with the access and ability to make the “best” choices for their health
Life Course
Frames health temporally and asks us to examine how long term exposures shape final health outcomes
Long term exposures include things like poverty, food security, and job security
Includes consideration of the impact current health based decisions will have on future generations
Especially pertinent when discussing childhood health and mortality
Political-Economic
Key to critical global health
Health is inherently political
Political status, immigration status, economic standing & debt, labor rights & conditions, access to and quality of public infrastructure all play a roll in determining one’s health outcomes
Implores us to center justice and liberation based politics in public health efforts
Social-Ecological
Frames our social experiences as being nested within one another
The Individual is contained by the Relationship is contained by the Community is contained by the Societal
Emphasizes that individual behaviors do not exist within a vacuum, rather they are heavily influenced and impacted by the people and spaces we exist around and within
Gives us good tools to decide where to look but doesn’t do a great job of answering why things are the way they are
I bring up these models for understanding health because in watching The Pitt it seems to me that the show is trying to emphasize the importance of political-economic and social-ecological models of health over bio-behavioral models.
Bio-behavioral models of health are especially common in Western, colonial outlooks on health. This is in large part due to their ability to ignore how things like political decisions and social infrastructure shape health outcomes for individuals. Bio-behavioral models turn health into issues of the individual person, rather than issues of the social order at large. They function under the belief that everyone is able to make the “correct” or “best” decisions for their health, and those who experience adverse outcomes simply weren’t willing enough.
The Pitt, in my view, works to push against that. They routinely emphasize the social, political, and economic strains that leave people in poor health. We see it in the young boy who loses his fingers because he was left unsupervised with other children. He ended up with those kids playing with explosives because he’s in his sister’s care, because his parents were deported, and his sister can’t afford childcare while she works or studies. We see it in the man rushed in by his son in critical need of dialysis who drove great lengths because the closer hospital to their home was shut down. We see it in the boy who lost access to his asthma medication because his family lost access to government subsidized insurance. We see it in the diabetic man who goes into DKA because he’s rationing insulin, because he doesn’t have health insurance, because his family makes just enough to not qualify for Medicare or Medicaid.
Over and over again The Pitt urges us to understand that most otherwise healthy people, or those with manageable illness, do not end up on death’s door completely out of nowhere. There are many dozens of compounding and intersecting factors that land you in the ER more often than not. If we look at any one of these cases through a bio-behavioral model of health, we would think that the health emergencies being experienced by these patients can be chocked up to mere happenstance. The boy just made a bad choice to hang out with the wrong kids. The man just didn’t get his dialysis. The diabetic man just decided to take too little insulin. Bio-behavioral models of health fundamentally work to isolate the individual, make them into an entirely free agent who exists separately and entirely cut off from everyone and everything around them.
Conversely, political-economic and social-ecological models ask us to interrogate the societal and political symptoms that worked to create the biological symptoms. They force us to bear witness to the failings of our government, social order, and infrastructure. To circle back to Alma-Ata, The Pitt shows us quite starkly what happens when the government does not assume their roll as the primary steward of their citizens’ health.
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Michael “Robby” Robinavitch — Hope as a choice, life as inevitability
The Pitt is fundamentally a show about Robby and his journey through, with, and around mental illness. Season 2 in particular shows us the messy, ugly, viscerally uncomfortable realities of mental illness. We watch as Robby pushes away the people he cares about most, we watch as he blows up at them, we watch as he shrouds his worries and cares and fears in a thick coat of anger and ambivalence.
And yeah, it’s ugly. It’s difficult to watch. I see a lot of the angry self I used to be in Robby. I know intimately that mental crisis has a habit of turning you into the worst version of yourself. More than anything, though, I look at Robby and I see a man who is desperately trying to outrun himself. He’s trying to outrun the care and love he’s filled with. He’s trying to outrun the ghosts that haunt him. He’s trying to convince himself he isn’t needed because if he is needed then how can he justify leaving? For good?
I found that in season 2 we watched in real time as Robby was ripped into himself, in that “grab the live wire” way I spoke about earlier. By the end of the shift, he’s said a lot of things that I think he’ll come to regret. Some people he cares about deeply didn’t pick their words as wisely as they could have because they are all on the brink. But he was told, more than once, that he is needed. And when you’re confronted head on with all those skeletons you’ve tried to push behind the closet doors you are left with an ultimatum of sorts. Do you choose to engage with the terrifying prospect of not just surviving, but living, being really and truly alive? Or do you turn to the unimaginable?
Maybe you look at Robby and you see a cynical, nihilistic man with no hope for the future. But I don’t. I look at Robby and I see someone who so desperately chases a reason to keep going. I see a man who has contemplated death so often because he faces it so frequently; but who still wants to keep helping people. A man who feels as though he’s dying because he has witnessed so much death, and he does not know how to separate himself from those he watches die.
I see a man who has watched the system fail so often— who has seen the people he cares about be failed— and who has internalized those failings as his own. I see a man who feels as though he has something to atone for. Robby is a gritty and raw and imperfectly hopeful man. He needed someone to ask what lesson he wanted to leave the kids with, he needed people to tell him he was needed, he needed to hear it from the outside looking in that the space he takes up within the world is not simply disposable.
And I like that this wasn’t easy for him. I like that he runs from these truths even when it’s what he so desperately needed to hear. Because it solidifies that he is well and truly being ripped in. He is being pulled kicking and screaming back to the land of the living and he does not know what to do with himself. The hope I see in Robby is not one that comes naturally, but rather one that is a hard fought choice.
At the end of season 2, we see Robby cradle Baby Jane Doe in his arms and tell her that she has so many people to love ahead of her. That it will be okay. That she has so many wonderful things to see and people to love ahead of her and it will be okay. In that moment, I see Robby make the choice to hope. I see him choose life; radically and willingly and viscerally and against all the terror that surrounds it. He has chosen life, he has chosen to believe there is love ahead of all of us. Even in our darkest moments when nothing seems more impossible.
Even in his most fraught relationships, his fundamental kindness and care cannot help but to seep through. In season 2, he is angrier than we’ve ever seen him (and, it seems, angrier than anyone at PTMC has seen him). But he still urges Duke, his friend, to come in to get checked out. Because he cares, he worries, he wants the people he loves to be okay. Even in his incredibly fraught and fragile relationship with Langdon, we see glimpses of a man who wants people to be okay. He didn’t fire Langdon outright, he didn’t just send him off; instead, he told Langdon that he needed help. I don’t labor under the belief that he handled his frustration with Langdon perfectly, but I do think it is a key show of Robby’s character that he told Langdon that he could come back after rehab. Through his anger, through the pain and frustration, he sees an opportunity for someone to manage to heal. Even when he doesn’t see those opportunities in himself.
Michael Robinavitch will always, unwaveringly, be a character who I point to as an example of what it means to grab the live wire. He is an embodiment of how life is a choice, how to hope is to do the work of loving, how words alone do not save us but they can very well help guide us and those we love towards a softer fall the next time we go down. Because we will go down again, so we might as well do our best to build safety nets to land in instead of making do with the rocks at the bottom.
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Trinity Santos and Dennis Whitaker — The Work of Dreaming
What is “the work of dreaming”?
The notion that there is labor to dreaming is a concept I first encountered while reading Leah Lakshmi Piepzna-Samarasinha’s essay collection The Future is Disabled, though this concept exists beyond their work in the wider space of disabled theory and scholarship.
As I understand it, and as I will invoke it in this essay, the work of dreaming is the labor required to dream and create better futures, better worlds, better lives. A lot of disabled theory and scholarship centers the notion that disabled futures and possibilities are endless if you allow yourself to think outside the box. Disabled existences are ones that are oftentimes predicated on creativity and finding radical and new ways of moving through the world.
As it turns out, a lot of oppressed communities have a lot of practice dreaming in the middle of complete despair.
— Leah Lakshmi Piepzna-Samarasinha, The Future is Disabled
We cannot build new futures and existences for ourselves if we do not first allow ourselves to imagine possibilities far beyond the scope of our current social order and systems. This is where the work of dreaming lies. It lies in the quiet moments with friends where you ask “what if?” It lies in late nights spent studying where you can’t help but consider “why this system of things?” It lies in the careers we choose, the fields of study we pursue, the ones we joined because we wanted to “make a difference.” Fundamentally, how do we make a difference if we have not first spent the time to imagine, in detail, what those differences would entail?
And while neither Dennis or Trinity are disabled characters, I find that their participation in the medical field is one that aligns well with the idea that there is work to dreaming. I’ve chosen to discuss them together rather than individually because what enamors me most about their characters is the way they interact with and reflect one another.
I find the work of dreaming to be most present when you are intimately familiar with the ways in which the system not only has failed (past tense), but continues to fail (actively). When all you know is your community falling through the cracks, can you really help but to imagine alternative futures?
“We were maybe not going to save the world, but we were going to save each other”
— San Alland, as quoted by Leah Lakshmi Piepzna-Samarasinha in The Future is Disabled
I see this in Dennis and his call to rural emergency medicine. I find him to be the more overtly hopeful character. He’s a first generation college student, he’s becoming a doctor, he wants to serve the communities that raised him. I can’t help but wonder if Dennis watched hospitals that his community relied on be shut down. I wonder how many people he knew died because medical care was too out of reach— too far to drive, too much to pay. Dennis’ desire to participate in an unforgiving system, one that is constantly on the brink, because he cares deeply for the people it serves is an embodiment of laboring through dreams. Laboring into dreams.
One of the foundational principles of disability justice is that nothing has to be the way it is. And there is no law saying that protests always have to be thousands of people in the streets chanting.
— Leah Lakshmi Piepzna-Samarasinha, The Future is Disabled
In Trinity, I see someone who has chosen kindness and care against it all. I see someone who has been wounded and traumatized, failed repeatedly by those meant to protect her, and despite it all she still chose to become a caregiver. One of Trinity’s defining moments in her past is her decision to choose life, even when the person she cared for most couldn’t. She may be angry at times, she may shield herself from earnestness with a cynical and sarcastic exterior, but more than anything she is a fundamentally kind individual who believes in giving people a chance. A chance at life, at safety, at honesty.
I see in Trinity someone who watched the systems fail her and her loved ones so brutally that she saw no other option than to work for the better. To fight with gritted teeth and bloodied knuckles to keep more kids from being hurt in the ways that she was. Trinity hasn’t just dreamed better futures, she is willing to fight tooth and nail to make those futures a reality.
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Baran Al-Hashimi — Bearing Witness to Pain
Al-Hashimi began season 2 as a character I could take or leave, but she finished season 2 as a character I find myself enraptured in. In particular, I find myself captivated by the depiction of chronic illness she brings to the table and how that informs the way she practices medicine.
In the finale we find out that Baran has a seizure disorder that has flared up over the course of the shift. We learn this wasn’t congenital, but rather acquired due to a childhood infection of viral meningitis. She is anything but the perfect patient when it comes to her illness. She is in denial of its impact on her work. She is adamant that it won’t hurt her ability to treat patients. She’s determined to convince Robby that she is not a danger to herself or to others. Despite that, I believe she knows deep down that it does impact her work. I watched Baran break down in her car post shift and I saw every single car breakdown I’ve had due to my chronic illness flash before my eyes. Because to be chronically ill is to grapple with the reality that no amount of hard work will ever dig you out of illness. No amount of determination will break down the walls your body sets for you.
That said, I think that Baran’s experience with chronic illness informs her practice as a physician deeply. I find her to be deeply empathetic with her patients, likely because she has been the person on the bed more times than she can count. We see her spend her time listening to her patients, understanding where their pain lies, understanding the worries they carry with them and I cannot help but believe it’s because she knows intimately the realities of warring with your own body.
Fundamentally, I believe Baran seeks not just to treat but to bear witness to the pain of her patients because she has learned through lived experience that sometimes simply being acknowledged can change the trajectory of your care. To bear witness to pain is to acknowledge the personhood of your patient. To bear witness to pain is not just to affirm its existence, but to understand that despite its reality it does not define a person’s whole. To bear witness to pain is to say, “I see your humanity. I see your struggle, I believe your struggle. But you are more than the sum of this pain.”
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Cassie McKay — Empathy and the Capacity for Change
Cassie’s character acts as a testament to people’s capacity for change and the tangible effects of doing to the labor of dreaming & hoping.
Cassie is a 40-something year old resident. She’s nine years sober in season 2. She has a kid that she, at some point in time, lost custody of and she was on house arrest in season 1. In Cassie we see the aftermath of a person who chose to dream a better future for herself, for her kid. Who has seen the edge many times, who has watched people step off of it, who very likely contemplated the edge herself. But she made the choice, at some point, to step back. To not just rebuild but build entirely anew.
In her work as a physician we see a doctor who puts empathy first and foremost. Who doesn’t pretend she’s perfect, who listens when she’s called in on her biases, who works to do better moving forward.
What I appreciate so much about Cassie’s character is that she is always working to improve her practice as a doctor because while she knows perfection is unattainable, she also knows intimately that change is always possible. She rarely assumes malice when others let their biases show— whether it’s Whitaker wanting to send the PCOS patient home early, or Ogilvie being undereducated on addiction— but she doesn’t allow them to go unchecked. By choosing to approach these conversations from a place of empathy she is saying, “it’s okay that you didn’t know, but now you can do better next time. We can always do better next time.”
Cassie shows up every day and she works to maintain and bolster the better future she fought so hard to make a reality. She is the tangible outcome of dreaming into better futures.
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In conclusion, The Pitt is a show that centers empathy and hope as the response to the many injustices of the United States’ healthcare system. I chose to examine these themes through my own academic background as a global health student who spends a lot of time in and around healthcare centered spaces. To circle back to something I mentioned while discussing models for public health, no one and nothing exists within a vacuum and that includes this show. It exists within an American political and social context that is specific to the time we currently inhabit. It tells the stories that go on in emergency departments across the nation every day, and it allows us to interface with the fact that our current systems and infrastructure are killing our healthcare providers from the inside out.
It’s a hard time to be an American. It’s an especially hard time to be an American engaged in healthcare, public & global health, and disabled realities. But above all else, there is always room and reason to hope. We will make it out the other side, the question truly lies in if you are willing to help us imagine those futures?
Obsessed with the idea that The Road is making these women deal with their trauma, and somehow that trauma is both individual AND intergenerational within each of them because they've lived for so long through so many different time periods where (witchy) women were persecuted in different ways physically, socially, etc. Then you have Alice, who actually has generational family trauma to deal with around her mother and whatever curse may or may not be passed down to her. (Side note: that makes her like a normal age, right?) Lilia also seemed to deal with some kind of ancestral trauma in her ep. 3 vision, maybe? And then there's the whole maiden mother crone thing, where Agatha literally seems to be carrying these three generations of women around her neck, which is a symbol of protection but also a burden, as it's a locket that (probably) carries the hair of her (not?) dead child, which is her biggest trauma - and a symbol that for her, the line ends here, there will be no future generations to carry on. Idk I'm rambling but it's fascinating yall. Can't wait to see what kinda shit Rio has to deal with.
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So this started because I was rewatching Season 5 — specifically episode 5x15 of 9-1-1 — and it made me realize something I hadn’t fully processed before.
Right now, everyone (myself included) is focused on Season 9.
All the analysis, all the theories — they’re centered on what’s currently happening.
But rewatching older seasons?
It unlocks completely different conversations.
And this one is about May.
First Thought: A Relationship That Just… Disappeared
Let me be very clear about something before I start.
This is not about ships.
I don’t care who you ship. I’m not talking about romance.
I’m talking about human relationships.
Because what doesn’t make sense to me is this:
How do two characters who had that level of connection…
end up acting like strangers in the same room?
May & Eddie: Same Moment, Same Struggle
In that episode, May and Eddie have one of the most genuine conversations in the show.
She tells him she chose dispatch because of her mom — because after Athena was attacked, that felt like a place where she could protect her.
And Eddie immediately gets it.
“Tell me about it.”
Because he’s the same when it comes to family.
Then she says something even more important:
She realizes she lost sight of who she was — of what she actually wanted.
And Eddie answers:
“When you figure it out… let me know.”
That line matters.
Because in that moment, they’re in the same place emotionally:
– both stuck
– both dealing with fear
– both disconnected from their original path
So Why Is That Gone?
What I don’t understand is why that dynamic was completely dropped.
Not just romantically — again, that’s not the point.
But as a human connection.
Because fast forward to Season 9, and May is dealing with the exact same internal conflict again:
– law school
– questioning her path
– feeling lost
And yet… she doesn’t reconnect with the one person who already shared that moment with her.
That’s not just a missed opportunity.
It feels unrealistic.
Bigger Issue: May Feels Isolated
And it’s not just Eddie.
If we’re being honest?
May barely interacts with anyone.
Take away Harry and Ravi, and she’s almost completely disconnected from the rest of the core cast.
Buck, Eddie, Chimney — they might as well be background noise in her storyline.
And that doesn’t make sense for a character who:
– worked at dispatch
– shared emotional moments with multiple people
– is deeply connected to this world
Second Thought: Has May Ever Chosen Her Own Path?
This is where it gets more interesting.
Because rewatching Season 5 made me realize something:
May has never really followed a path that was fully hers.
The Athena Pattern
Let’s break it down.
We find out Athena originally studied law.
Then she became a cop.
Now look at May:
– She goes into law → just like Athena
– She questions it → just like Athena did
– She pivots → again, mirroring that journey
At first, it feels like a natural influence.
But the more you look at it, the more it feels like imitation, not choice.
Season 9 Confirms It
In Season 9, May literally says:
“Maybe this isn’t what I want.”
After finishing law school.
And it hits you:
Wait… did she ever actually want it?
Or was she just following a path that felt expected?
The Maddie Parallel (And Why It Matters)
This is where it gets really interesting narratively.
Because May’s arc mirrors Maddie’s — but in reverse:
– Maddie: nurse → dispatch
– May: dispatch → possibly nurse
They’re almost like complementary archetypes.
Two sides of the same journey.
Which makes May’s confusion even more intentional — even more designed.
The Umbilical Cord Problem
So here’s my actual theory.
May is still, narratively, tied to Athena.
Not in a bad way. Not in a toxic way.
But in a way that prevents her from becoming fully independent.
She’s orbiting her mother’s identity instead of building her own.
And if the show wants her to become a fully realized character?
That connection needs to evolve.
Or, metaphorically speaking:
It needs to be cut.
Why Season 10 Could Change Everything
Here’s where the Theory Time kicks in.
There are a few real-world factors that might actually impact this:
– Harry has been heavily developed in Season 9
– Corinne Massiah (May) has already graduated
– Elijah M. Cooper (Harry) mentioned focusing on studies
– Angela Bassett will also be working on American Horror Story
So what does that mean?
It’s possible Season 10 will shift focus.
Less Harry.
More May.
Final Thought
This whole reflection started from a rewatch.
But it turned into something bigger.
Because May is one of those characters who has everything to be incredible:
– strong foundation
– emotional depth
– narrative potential
And yet, right now?
She still feels… unfinished.
Your Turn 👀
Again — no ships.
Just character and story.
Do you think May’s arc has been inconsistent?
Do you see the Athena parallel too?
And most importantly:
What would you want to see for her in Season 10? 🔥
I’m sure that this has been said already, but one of the most unexpected bits of Heated Rivalry viewership that I am absolutely marvelling at is the sheer amount of critical engagement.
I’m scrolling on TikTok and seeing think pieces or bits of music analysis and copious beautiful edits. I’m on Tumblr reading psychoanalysis pieces, character deep-dives and endless gif sets. I’m on Instagram seeing people deconstruct stills for their cinematography, composition and Mise-en-scene. HR has fostered such an engaged, thoughtful audience, and it truly is a testament to what happens when a cast and crew come together to create something (that would have otherwise been dismissed) with so much love and respect.
And the engagement is so vast. Especially in the current wave of anti-intellectualism and conservatism, to see people pour over an unabashed queer television show that speaks to so much is beautiful.
Criminal Minds is not about violence, its about empathy
I don't believe Criminal Minds is about violence at all.
There is a very superficial way to describe Criminal Minds, and it is not technically wrong.
It is a procedural about serial killers. It is violent. It is dark. It is full of abductions, family annihilators, ritualistic murders, spree killings, sadists, grief, fear, blood, and the kind of psychological horror that network television learned to package into forty-two minute increments. If you were explaining it badly to someone who had never seen it, you would probably say exactly that. It is the FBI. It is profiling. It is catching monsters.
And yet I think that description misses the thing almost entirely.
Because the longer I spend with Criminal Minds, the more convinced I become that it is not really a show about violence at all.
It is a show about empathy.
Not in the soft or decorative sense. Not in the sense of a few compassionate speeches pasted over brutality to make the whole thing feel more respectable. I mean structurally. Morally. Emotionally. In terms of the show’s deepest organising principle. Criminal Minds is interested in violence, yes, but mostly as the thing that tests, distorts, necessitates, and reveals empathy. The violence is not the point. The violence is the pressure under which the show studies what it means to remain human.
That is why it lands the way it does.
And I think that is also why people who love this show do not just casually enjoy it. They attach to it. They return to it compulsively. They develop deep emotional loyalty to characters who, on paper, spend most of their time moving through scenes of horror. The fandom is not built purely on suspense, or crime, or shock, because if that were all the show had to offer it would not have endured in people’s inner lives the way it has. Plenty of procedurals are dark. Plenty of crime shows are clever. Plenty of television is violent.
Very little of it feels like this.
What Criminal Minds understands, in a way I think many people feel before they can articulate, is that the real subject of violence is not violence.
It is what violence does to tenderness.
To trust.
To attachment.
To the nervous system.
To families.
To children.
To memory.
To the people left behind.
To the people trying to stop it.
To the people trying, against all evidence, to keep believing that human beings are worth saving.
That is an empathy question.
The BAU are profilers, and profiling in the world of the show is not simply deduction. It is not Sherlock-style brilliance detached from feeling. It is not a cold puzzle solved by superior intellect. It is, at its core, an act of radical imaginative entry. To profile someone is to ask: what does the world look like from inside their mind? What wound, belief, humiliation, compulsion, fantasy, grievance, terror, or history would make this behaviour cohere? What sequence of experiences made this person possible?
That does not mean excusing them. The show is not naive about evil, and I think people who reduce it to “the unsub had a bad childhood” miss how often Criminal Minds explicitly refuses that simplification. Lots of people suffer and do not become violent. Lots of people are wounded and do not externalise that wound onto others. The show knows that. It knows causation is not absolution.
But it also refuses the easier, flatter comfort of monstrosity.
It does not really believe in monsters in the fairy-tale sense, because monsters are narratively convenient. Monsters require no understanding. Monsters let everyone else feel safely unlike them. Monsters preserve moral distance.
Criminal Minds, at its best, is much more unsettling than that.
It insists, again and again, on the unbearable nearness of everyone. On the fact that even the worst person is still a person. On the fact that catastrophe often grows out of recognisable human material: loneliness, shame, rage, abandonment, humiliation, obsession, grief, untreated illness, thwarted attachment, the inability to metabolise pain without exporting it. The show looks at the worst actions imaginable and still asks what emotional logic produced them.
That is not a violent instinct. That is an empathic one.
And I think that is why the show’s violence often feels so different from the violence in other procedurals. In many crime shows, violence is spectacle. It exists to thrill, disgust, or raise the stakes. It is stylised into entertainment. But Criminal Minds is usually doing something more psychologically invasive than that. It makes violence matter by surrounding it with subjectivity. It makes you sit not only with what happened, but with fear before it, grief after it, and the human meaning around it.
The victims rarely feel incidental.
That matters.
The families matter. The missing matter. The children matter. The people waiting at home matter. The mother who cannot stop blaming herself matters. The father who did not notice in time matters. The sibling who survives matters. The community left trying to understand what has been done to it matters. Even when the show is compressed by its format, even when it cannot give every victim a full life on screen, it still tends to frame violence as rupture rather than event. As something that tears through relational worlds.
Again: empathy.
Not just empathy for the victims, either. Empathy as atmosphere. Empathy as method. Empathy as burden.
Because what is the BAU, really, except a group of people whose jobs require them to enter the most unbearable forms of human experience over and over and over again without fully hardening into indifference?
That is the real fantasy of Criminal Minds, I think. Not that geniuses exist. Not that crimes get solved in neat emotional arcs. Not even that evil can always be understood. The fantasy is that there are people who will keep looking directly at horror and still care. That there are people who will not turn away from the missing girl, the traumatised child, the grieving parent, the violated body, the devastated town. That somebody will stay. Somebody will notice. Somebody will try to understand enough to stop it happening again.
That is why the team matters so much emotionally.
People talk a lot about favourite characters in this show, and obviously that makes sense. But what many viewers are attached to is not just an individual character; it is a moral ecosystem. The BAU functions as a kind of imagined container for unbearable knowledge. Each of them holds some different relationship to empathy, and the balance between those relationships is part of what makes the show feel so psychologically rich.
Hotch is controlled empathy, disciplined into function. He feels deeply, but often in the form of containment. He is what empathy looks like when translated into steadiness, responsibility, and self-erasure.
Morgan is protective empathy. Physical, immediate, relational. He is often the one most visibly animated by the need to get someone home, save the child, break through the fear.
JJ is empathic translation. She mediates between horror and families, between bureaucracy and pain, between the machinery of the case and the people living inside it.
Emily has that extraordinary combination of sharpness and feeling that makes her seem both deeply competent and quietly permeable. She is not sentimental, but she is profoundly humane.
Garcia is the most obvious emotional node in the system, of course. She is the refusal to let the work become spiritually sterile. She insists on colour, on feeling, on visible care.
And Reid—
Reid is maybe the clearest expression of the show’s central thesis that intelligence without empathy is not what matters. Plenty of television can imagine a genius. What makes Reid beloved is that his mind does not remove him from human pain; if anything, it seems to expose him more fully to it. He does not feel like a machine for solutions. He feels like someone condemned to understand too much and remain tender anyway.
That is why viewers do not simply admire him. They ache for him.
And honestly, that aching is important to what I am trying to say here. Because Criminal Minds does something fascinating with the audience: it trains us into empathy as well. Not just for victims, not just for the team, sometimes not even just for the unsubs in their most tragic episodes. It makes the viewer inhabit a state of constant emotional reaching. We are always being asked, explicitly or implicitly: can you bear to understand this? Can you stay psychologically present to pain without converting it into abstraction? Can you keep caring?
That is a much more demanding task than merely being shocked.
Shock is easy. Empathy is expensive.
And I think Criminal Minds knows that. It knows that empathy is not only beautiful. It is exhausting. It is dangerous. It can become over-identification, hypervigilance, collapse, self-neglect. This is one of the reasons the show works so well as a long-form character study of the team: it repeatedly asks what it costs to stay open in the face of accumulated horror.
Who dissociates?
Who overfunctions?
Who intellectualises?
Who carries it home?
Who compartmentalises?
Who cannot?
Who becomes more protective?
Who becomes more brittle?
Who becomes more watchful?
Who still believes people can be saved?
Who needs to believe that in order to survive the work?
These are not secondary questions in Criminal Minds. They are the text.
Even the structure of the show reflects this. The case may provide the plot, but the emotional engine is almost always relational. The episode is rarely only about what the unsub is doing. It is about who is endangered, who is grieving, who is trying to reach whom, who failed to protect, who could not get there in time, who is left holding the aftermath. So many episodes are really about broken attachment. About what happens when the systems meant to keep us safe fail, and what kinds of people emerge to try to answer that failure.
Which is why the show can be so devastating, even beyond the gore or suspense.
Its saddest episodes are not just sad because someone dies. They are sad because Criminal Minds understands that terror is relational. The most unbearable scenes are so often scenes of failed protection: a parent unable to save a child, a child unable to understand what is happening, a partner arriving too late, a team member unable to shield the people they love from the consequences of the work. The emotional architecture is almost always built around attachment, not simply danger.
This is also why the show’s most affecting moments are often very small.
A child’s line.
A look across a hospital bed.
Someone waiting in silence.
A hand on a shoulder.
The team standing in somebody’s house after the worst thing has happened.
Garcia answering the phone.
Hotch saying very little because feeling too much would destroy function.
Reid understanding something no one should have to understand.
Emily’s face when she realises what something will cost somebody.
Morgan’s voice softening with a victim.
JJ kneeling to speak at eye level.
The extraordinary tenderness with which the show sometimes treats the newly traumatised.
That tenderness is the point.
I think that is why people who do not really love Criminal Minds often misunderstand why its fans love it. They assume the appeal is darkness. They assume it is morbidity, thrill, fear, the satisfaction of resolution. And yes, of course, all of that is part of the genre pleasure. But for many people, I suspect, the deeper appeal is almost the opposite.
It is the reassurance that even in the bleakest possible circumstances, there are people trying to understand rather than merely dominate.
People trying to protect.
People trying to witness.
People trying to make meaning out of violence without romanticising it.
People trying to preserve some shard of humanity in a world that keeps producing evidence against it.
That is an empathic fantasy, not a violent one.
And maybe that is why the show has lasted.
Because twenty-one years is too long for a series to survive on novelty. The gore cannot be the reason. The shock cannot be the reason. Those things dull. Audiences habituate. What remains, if anything remains, has to be something more durable.
What remains is care.
Care as labour.
Care as burden.
Care as discipline.
Care as identity.
Care as the thing that hurts you and the thing that makes you worth trusting.
Care as the one force the show keeps trying to pit against brutality, not because care always wins, but because the refusal to care would mean surrendering the last meaningful human defence against horror.
I think that is what the best episodes understand. Not simply that people suffer, but that suffering creates a moral demand in those who witness it. Not everyone answers that demand well. Some people answer it by becoming crueler. Some by becoming colder. Some by becoming voyeuristic. Some by becoming numb. But the BAU, in the show’s idealised imagination of them, answer by trying to understand enough to intervene.
And understanding, here, is a form of love.
Not soft love. Not easy love. Not romantic love. But a fierce and disciplined kind of human regard that says: I will try to see this clearly. I will not look away from the pain just because it is ugly. I will not let fear flatten everyone into types. I will try to understand the victim, the family, the terrified child, the damaged offender, the colleague at breaking point, the town in shock, the person nobody reached in time. I will keep trying to understand, even when understanding hurts.
That is what Criminal Minds is about to me.
Not murder.
Empathy under siege.
Empathy as skill.
Empathy as wound.
Empathy as risk.
Empathy as the only reason any of these people are still recognisably human.
The show is full of violence, yes. But violence is the weather system, not the soul.
The soul of Criminal Minds is the much stranger and more difficult question underneath it all:
What does it take to keep feeling for people in a world that gives you endless reasons to stop?