episode

In this week’s episode of The Envelope podcast, “The Pitt’s” Noah Wyle reflects on 25 Emmy nominations for the series, responds to criticism of casting decisions, and previews Season 3 of the HBO Max medical drama, now in production.

Kelvin Washington: Hello, and welcome back to The Envelope. It’s been a little while. Kelvin Washington alongside Yvonne Villarreal. We also have Mark Olsen. Good to see you. This is one of my favorite things, because I learn so much from you two. And by the way, I got a big shout-out from somebody at the other job that I do —

Yvonne Villarreal: You have another job?

Washington: Which one do you want to talk about? I have 17 of them. But she was saying how she was listening to something and then she said, “I want to hear more about it.” So she Googled, we came up and she was blown away to see it, and we did such great jobs. So she’s a big fan of you two. Shout out to Larissa if she watches again. But let’s get into, of course, Emmy nominations. You have surprises, you have ones you kind of expected, snubs, the whole nine. Let’s start with you, Yvonne. Anything jump out?

Villarreal: Leading the pack was “The Pitt,” which I think everyone expected, and coming in close second was “Hacks.” But I think the third most-nominated show that was thrilling to see have a big showing was “Widow’s Bay.” It was this latecomer to the race, and it’s just this show that has taken people by storm. The word of mouth has really grown. And I know, Mark, you got Matthew [Rhys] in an upcoming episode here. It’s just nice to see how that show’s performed.

I was a little bummed that we didn’t get a [big] showing of “The Comeback,” the third season. That was maybe my snub mark.

Mark Olsen: Not that it’s a causal thing, but I was excited to see a guest from the [podcast], Riz Ahmed, was nominated for the show “Bait,” [which is] kind of like a meta-psycho-emotional biography of an actor caught in conflict between his community and his career. And then also, I have to say, Meg Stalter from “Hacks,” I thought was exciting. For no other reason than to have her on that red carpet, to maybe get a little time on the telecast and the chaos that that just promises.

Villarreal: I want to know who she’s going to come dressed as. She always stuns on the red carpet with who she is sort of making fun of.

Washington: You need a little bit of that, a little chaos. That’s what makes those things interesting. For me, I was just thinking about, again, how we’ve had so many folks who were known for films now all of a sudden becoming television stars. Seems a little weird to say it, but Jason Bateman being one of them, nominated for a couple of shows. So it’s just been incredible to see some people’s transition into that, where 15, 20 years ago, it‘d almost be the downfall of your career to do so much TV. Now it’s a cool addition to your career. Let’s get into it. You mentioned “The Pitt,” Yvonne. And Noah Wyle, you had a chance to have a chat with him. Tell me a little bit more about it.

Villarreal: They got the big news about their 25 nominations while on set. They’re in production on Season 3. And when we caught up with Noah, he had just wrapped filming the episode that he wrote and directed this season, Episode 3. And it was really fun to catch up with him, especially considering how much he’s shouldered in portraying Dr. Michael Rabinovitch, a.k.a. Dr. Robby. You know, this is a character that’s had a really deep mental health journey the past two seasons. Season 2 picked up with him on the eve of a three-month sabbatical, and we think he’s finally going to get this break that he needs to deal with some of the things he’s been going through. But as the season progresses, we see him really confronting just how much of a mental breakdown he’s at right now. And we talked about that. He shared a lot about what’s coming up in Season 3. And we also get into some of the advocacy efforts he’s been involved with.

Washington: You know what I find interesting about that is, when you look at the folks from “Law & Order: SVU” and some other shows, [they’re] just a character, but all of a sudden folks really look at you as this advocate and they’ve turned around and become very passionate about those things, and I can see how that would be the case [here] as well. All right, let’s get into it. Yvonne and Noah, here’s their conversation.

Wyle on the Warner Bros. lot in Burbank in June.

(Christina House / Los Angeles Times)

Yvonne Villarreal: Noah, thanks so much for taking the time. We’re on the Warner Bros. lot inside an office space because you are deep in the throes of production on Season 3 while navigating the awards circuit. Tell me what that’s like. What is your headspace right now? Have you learned anything from last year?

Noah Wyle: It feels like we’ve just come back, even though today we started shooting Episode 4 already, which is amazing that we’re almost a third of the way through the season. It feels really good to be back. It’s odd that this is Season 3. It still feels like a new show. Everybody’s still energetic and excited to be there. The awards stuff hasn’t really kicked into overdrive yet, so it hasn’t been too much of a distraction. It’s just been really exciting, especially for our cast and crew who are so well represented in the nominations.

Villarreal: It was really staggering. Is there a moment from the last award season that stands out? An interaction or an experience going through that?

Wyle: The first one that comes to mind was an impromptu meeting I had with Stephen Graham after the Emmys where we bumped into each other on the street and he said some lovely things to me, and I said some lovely things to him. It was the first time I’d ever met him, then Keith David walked by, who was an old friend. It was a very collegiate moment. That was the time I actually took a breath that night and was like, “Hey, look at this — oh, my God, look at all of this.”

Villarreal: Where are the trophies?

Wyle: They’re on the mantle at the moment, at home.

Villarreal: Next to the Golden Globe made by your daughter?

Wyle: Yep, it’s right there in the center.

Villarreal: I want to review the show’s chart. “The Pitt” leads this year’s Emmy nominees with 25 nominations overall. You are nominated in the lead actor category, as well as directing. Do you feel like you’re better equipped or prepared to deal with the spotlight and attention that the show’s receiving now versus when you were doing “ER” at the height of its moment?

Wyle: Oh, I thought you were going to compare it to last year. Comparing it to 30 years ago, yes, I’m way better equipped.

Villarreal: Tell me.

Wyle: Just older, wiser. You’ve been to the dance before, know it for what it is. There’s nothing that’s going to be shocking about the process. Also, I have enough life perspective to just be extremely grateful and present for it and just be really excited about it.

Villarreal: How aware are you that the spotlight is on you? What does that feel like?

Wyle: I’m not that aware of it because I feel mostly cloistered once we start production on Soundstages 21 and 22. Occasionally the tours go by and I see [people] get all excited. But for the most part, I live a pretty hermetic life when we’re working. So except for when I Instagram scroll or one of my kids brings me news from out there, I don’t really get out much.

Villarreal: Your mom is a nurse. What does she think of this moment? Does it feel any different than during your “ER” days?

Wyle: Yes. I think back then it was just a novelty that she was working in a hospital and her son was on this extraordinarily popular medical drama at the same time. Now we’ve had an opportunity, especially the last couple years, through the [medical apparel] company Figs, to go to Washington and do some lobbying together, which allows her career, my career, to sort of work hand in hand. And for me to have a different perspective on who she was as a woman while she was a nurse working, because I only really saw her as Mom through those years. To answer your question, how was her perspective different? I think she’s, dare I say it, maybe a little more proud of me than she used to be. She’s said as much. I think in the old days she was proud of me being successful in having my dream of becoming an actor come true. Now she’s proud of me because she feels that I’ve used that platform to do some humanitarian good works outside of personal aggrandizement.

Villarreal: How many times is she visiting the set?

Wyle: Oh, I don’t let anybody visit this. By design, we keep a very closed set. In fact, if you come as a visitor, you have to put on scrubs so you fit in — and you feel really uncomfortable and you can’t wait to leave. That’s how we roll.

Villarreal: I want to dig into Season 2. When we pick up with Robby, it’s the eve of his three-month sabbatical, and we think maybe it’s this much-needed break. But as hour by hour goes by, it becomes clear that he’s maybe viewing this as a death sentence. What intrigued you, what worried you, about what he was facing in Season 2?

Wyle: Once we decided that we wanted to put, at the center of this medical drama that was an exposé and sharp look at the medical world, in 2026, a mental health journey of one particular person and have as part of that mental health journey be suicidal ideation, which speaks to a lot of the prevalence of that in this profession, once we committed to that idea, it was really exciting to walk it through. And to play the first half of the season as a guy going on vacation to get his head clear and play the second half of a season as a man buttoning up every aspect of his life in the event that this was a one-way trip. And leaving that almost to the Fates to decide as the day unfolded, looking for signs and signals to determine which way that should go. And increasingly as the day goes on, to be met with both the increasing desire to make it a one-way trip and the community that desperately don’t want him to, and ultimately keep him on this side of that edge.

Villarreal: You wrote two episodes in Season 2, and in “8 p.m.” we really see Robby’s mental health journey come to a head. What was that like, to put dialogue to what he was feeling internally, for you as the actor playing him?

Wyle: That particular dialogue was gifted to me by a doctor who shared with me that that was exactly what he said to his wife one morning when he was going through something very similar. And the way that it resonated with me when he said it, the way it went straight to my heart, I knew if I spoke it as simply, it would speak to other people. And rather profoundly, I got a letter by a young man who said that exact dialogue was so reminiscent of what was going inside his own head that it kept him from harming himself and was the catalyst for having him reach out to get help. Because it was so truthful, because it came from such a truthful place, it had a multiplier effect when we put it on TV. So to get to voice it to the world, that was extremely significant to me. It was the masks just really starting to fall to the point where you can no longer keep it in. And the Duke character [played by guest actor nominee Jeff Kober] is the only person who he felt he could share it with, because it’s enough objectivity, away from the hospital, without any kind of preconceived history. And it’s obviously somebody who’s been down a very bumpy road himself and won’t judge the decision one way or the other. He’ll just sit there, almost Buddha-like, and absorb it.

Villarreal: I know during the pandemic — this was sort of what was the impetus for the show — you were getting a lot of messages during that time, people messaging you about “ER” and what that did for them. How do you shoulder those types of interactions?

Wyle: That one made me cry. My hands started shaking. … You always want your work to have impact, you want it to have meaning, you want people to glean something from it that’s relevant to their own lives. And I’ve been very fortunate in my career. I remember back in the “ER” days, when Carter got sober, people would write me and say, “You helped me deal with my drug addiction.” When I was on “Falling Skies” and played the grievous loss of a spouse, people reached out to me. I’ve been a lightning rod for pain a couple of times in my career. And you asked me, how do I shoulder it? I think I sort of see it as a gift. When you have that connection to somebody, when they respond that way, it’s the ultimate compliment. And you’ve built a bridge where there didn’t exist one before. It’s even better if you build them between two strangers that don’t know each other, that now have commonality that has nothing to do with you.

Villarreal: Not to compare the two professions, but does it make you see the work you do as an actor a form of public service? We see how, when people are at their lowest moments in the hospital, they’re watching TV, they’re connecting with characters, with their family members, in these rooms. And then also what you just described, the interactions that you’ve had with these people [who were] inspired to become healthcare workers, shows you how they connect with the characters.

Wyle: As you’re saying that, that’s what birthed “The Pitt.” I was getting letters from people telling me that my work had meaning to them at the very moment when I didn’t feel like my work had meaning at all, because it had no relevance, because we were in the middle of a pandemic. Who wants to see a guy jump around in a costume while people are out there really being sick? And suddenly, I felt like I didn’t have a skill that actually could hurt or help anybody. It was only sort of a frivolous skill. Then those letters turned into the DNA that the show became.

Villarreal: Seeing what Robby is facing, how do you establish boundaries for yourself in terms of taking it in — dealing with the burnout, and overwhelming emotion of it?

Wyle: It’s a process. I am engaged in several modes of therapy to offload this and be able to surf it from both an artistic curiosity perspective and a need for balance. It’s interesting work, this work, and I do it with the full support of a loving wife and family who understand that this is different than what most people do for a living.

Villarreal: You seem to be giving yourself a lot of work these days in addition to acting in this hit show. As the No. 1, you’re writing and your directing. Do you like stress, Noah?

Wyle: I know it sounds odd, but my brain works really fast and it works nonstop. I don’t know what to do with myself most of the time. But when I’m engaged in [creative work], especially directing, it is a full-course meal for me. I feel totally alive and in my happy place. This last week, getting to direct a piece that I wrote, was even more fun because I’d pictured it already in my mind when I was writing it, which is a form of prep. But then you get to give it to everybody else to see what they want to do with it and what you’re creating communally suddenly becomes the third version of it, which I think is really great.

Villarreal: We like a tease here. Is there a note from this recent episode that you wrote and directed that was interesting to give that won’t make sense to us until we watch it?

Wyle: A directorial note? More glitter!

Villarreal: The episode you directed in Season 2, you had the interesting job of dealing with vomit.

Wyle: Yes. Vomit is hard. We’ve been making movies for a long time and we still haven’t come up with a decent vomit rig. I’m not selling Rob Nary, our special effects supervisor, down the drain here with this comment, but it is really hard to come up with a piece that doesn’t look like it’s on the side of a guy’s mouth when he’s throwing up. And you can put stuff in a guy’s mouth and have him spit it out, but to really get a good projectile vomit, you need to have some sort of cannon apparatus. And it has to come from a place that looks localized to the mouth, and it has to be the same diameter of the actor’s mouth. We went through, I don’t know, five designs on that thing and still ended up with something I thought was passable but not impressive — not “Pitt”- level impressive.

Villarreal: Interesting. Do you feel like you’ve upped the ante —

Wyle: I feel like I’ve put a challenge out there to somebody to come up with a decent vomit [effect]. It’s not as easy as it sounds.

Villarreal: It was also the episode where we get the passing of Louie [guest actor nominee Ernest Harden Jr.], and it was such a heartfelt moment and a reminder of the people that are there day-to-day or frequently, and the humanity that you still want to show them.

Wyle: Valerie Chu wrote a hell of a script. Valerie is a wonderful writer, and that episode just dramaturgically was a little different than the other ones because it did put more of an emphasis on the nursing staff than it did the doctors. Usually, we walk into a room and walk out of a room with a doctor. This time, we walked into rooms and out of rooms with the nurses, and we really tried to highlight the whole range of services that nurses give — pushing medications, double-checking doctor’s orders, holding hands, bringing blankets, wiping asses; all of the dirty work that goes into palliative care and treatment. That was the thesis. How do we exemplify those actions? Then, of course, at the center of it was Louie’s passing and the conferring of dignity to somebody after they’ve died was the theme I wanted to focus on. In the beginning, he’s a bloody mess, almost unrecognizable, and certainly not dignified. Then, through the cleaning and the preparation and then eventually the service — that’s on a clock because we’ve got other Louies to treat — we confer him his dignity. We fill in the backstory of his narrative. We give context to his life and honor the man. That was the lens progression we were going for and heart progression we were looking for.

Villarreal: What did it say to you that Robby committed those life details to memory from those interactions?

Wyle: To me, that is what you carry with you. It’s odd, the things you remember about somebody. It’s odd, the things that land with you. Usually, they resonate with something that you’re vulnerable to or have experienced. But with Robby, who never had a family and always seemingly wanted one but never allowed himself, the idea of somebody who had one and lost one is particularly profound. And as we get into subsequent episodes that we’re dealing with now, we see that Robby’s sense of loss predates Louie and his mentor, Adamson, and it goes back to almost an original sin.

Villarreal: A lot of people wanted you to take home Baby Jane Doe to heal and deal with some of your stuff.

Wyle: I don’t think you should throw a drowning man a baby. It doesn’t seem like a good, logical thing to do for either one of them. I think Robby went home and wished that he had the capacity to be someone who could have taken that baby home for a little while. And that was probably one of the things that nagged at him along that trip. If you wish you were better, then why wouldn’t you come back and try? And as we watch him begin to try to evolve and work through some of the things that have been stumbling blocks for him in becoming a fully evolved human, that’ll be one of them, hopefully.

Villarreal: I want to return to an earlier point, which is, you’ve done a lot of advocacy work. Even before “The Pitt,” you were arrested in 2012 in Washington, D.C., alongside 100 activists from the disability rights group ADAPT during a demonstration urging Congress not to cut Medicaid. Recently, you joined healthcare workers along with your mom at a rally on Capitol Hill. You also spoke at a congressional hearing focused on declining entertainment jobs in L.A. and the push for federal production tax incentives. How has using this spotlight and your voice for causes that are important to you deepened your experience with “The Pitt”?

Wyle: Well, that’s a very apropos question because I wrote into Episode 3 [of Season 3] a character based on a guy I was with when I was arrested with back then. A really wonderful guy, sort of a self-advocate and kind of a grump, total badass activist who has muscular dystrophy and has a tracheotomy. And so I thought, why don’t we put that character on the show and put him as a patient? And then I thought, “Well, who the hell is going to play that guy?” I called this guy and said, “Hey, I got a part for you, man. I need you to do it for me.” And we flew him out with his aide. And he came in, shot two days last week. He was phenomenal. The representation that we are going to give people in that community is going to be unprecedented, but it comes from a 30-year friendship I’ve had with this guy from some of the wars we fought together through the years, so it all dovetails together. I’m using one to feed the other at the moment and seeing where it’s applicable and where I think it could do the most good.

It’s just an amazing confluence of events. I’m an Angeleno who thinks there should be work here. I have an opportunity to bring a show here and employ 300 people nine months a year and be an advocate for other shows to follow a similar economic model to try and take full advantage of the generational talent that’s here. That’s just an alignment of my values and opportunities that seems almost blessed at the moment, but it’s not effortful. When you read it like that, it makes it sound like Mr. Smith.

Villarreal: Well, so many choose not to put their voice out there in those ways, but you’ve decided to do it

Wyle: I’ll speak up for my city.

Villarreal: What’s so great about a show like “The Pitt” is we get to watch regular, decent people doing competent work. Some call it competency porn. What do you think is our attraction to that?

Wyle: I think it’s twofold. I think on one hand, it’s wish fulfillment. You want to believe that there’s really competent, smart people in those jobs, so that, God forbid, if anything happens to you, that’s what you’re gonna encounter. And then I just read an article, I forget who wrote it, I wish I could cite it, that talked about this other aspect of watching people do work that has meaning, that actually makes a difference, touches a vacuum that we feel we don’t have in our lives and it’s a different kind of wish fulfillment. It’s almost like, “I want to be doing something more with my life that has absolute physical and tangible connection to another human being that makes a difference, that has a net positive.” And I think that’s interesting.

Villarreal: Sort of what you were feeling during the pandemic.

Wyle: It’s exactly what I was feeling during the pandemic: “How can I make more of this time on Earth and serve more than myself?”

Villarreal: I want to talk about “The Pitt” fandom because they are passionate and vocal. Has anything surprised you about their response to the show?

Wyle: Only everything. The embracement, the passion, the creativity, the advocacy, the identification, the continued support. It’s really been incredibly gratifying. It’s exactly what you hope, you know, that your work will do, spark a conversation and maybe a bit of change. But you certainly, you never anticipate reaching the levels that this one has where people are just gaga for it.

Villarreal: Recent cast departures have obviously drawn some criticism. As the No. 1 on the show and an executive producer, how do you navigate fan response when it’s negative? What are you learning about how to take that in?

Wyle: It’s nuanced. It’s new for me, new for all of us in a way. You try to put it in perspective, and it’s relatively small in relation to the overall [response], in terms of the more vocal critics. But at the same time, this is who’s watching. This is why you’re telling a story. If it’s touching a nerve that’s unintended, address it. Figure out a way to do it more sensitively, to come at it from a different point of view. We’re certainly doing the best that we can in there, but it’s impossible to anticipate what’s going to resonate and why. And I can’t tell you how many times I was surprised at what people thought was funny or what people thought was horrific or offensive. And it’s an interesting barometer of where we are as a country. It’s an interesting cross section of where the population’s at. But in terms of how it affects the creative work, it becomes a slippery slope if that’s the tail that wags the dog. So every year, we come in and we sort of have to gut-check ourselves and do a postmortem on the season. What worked well, what didn’t work well. And what is going to be part of this narrative as we go forward? Cast changes are gonna be part of that. That’s inevitable.

Villarreal: How about in relation to your character? Some of the discussion about what’s playing out onscreen, it’s been interesting to see how people look at Robby and maybe some of his flaws that come out. What do you see as his blind spot?

Wyle: Well, can we start with [we’re] watching a guy who’s going to kill himself? The guy is going to kill himself today, most likely. He’s going to leave and not come back. And as that reality gets increasingly clear to him, he acts continually beneath his grace. He doesn’t necessarily want people to miss him. He doesn’t necessarily want [them] to overidealize him because he doesn’t want them to mythologize him. So some people he was really tender with, and some people he was really harsh with, and some he will carry regret with, and some he probably wishes he had gone further. But all of that pathology was on display as a cry for help for anybody that was really looking to see it, more than I felt it was indicative of how he felt in a normal frame of mind in those relationships. I think he pushed Abbot [Shawn Hatosy] so far away. He pushed Dana [Katherine LaNasa] so far away. He was overly harsh with Mohan [Supriya Ganesh]. He was almost paternal with Javadi [Shabana Azeez]. He had a different vibe and energy with everybody. But ultimately, it was to sort of say goodbye in a way that he felt would be most appropriate. And I’m glad people felt that it wasn’t appropriate, because it was a man setting fire.

I did say in casting, I was like, “Can we cast some guys that are like my size that I could yell at that so people feel like it’s a good, fair fight?”

Villarreal: And you were vetoed?

Wyle: No, no, we’re going to sort of figure that out because it’s nice to show volatility in character, but if it’s a character that’s surrounded by women, it’s very difficult thing to depict without it seeming disproportionate in power. So it’s something I was conscious of when I came back this year. I was like, “It‘s difficult to show this character’s rage when it would be super inappropriate to express it with every single person in this room.” So, bring somebody in that can handle it and match it a little bit. And for my money, that’s what Al-Hashimi [Sepideh Moafi] was. She gave as good as she got, and those scenes between us were terrific.

Villarreal: Season 3 will be taking place on Nov.r 12, 2026, right? A lot of that had to do with the anticipation of and preparation for the ramifications of the Big Beautiful Bill on people’s lives. Tell me about that.

Wyle: It’s Thursday, November 12th, which means that tomorrow is Friday the 13th. And there was something fun about playing with the eve of a day that is usually fraught with peril. But this day is fraught with peril for all sorts of reasons. And it isn’t Friday the 13th. It also is coming into the holidays and it’s getting colder. A lot of the social issues that Pittsburgh and a lot [of places] with colder climates deal with are going to come up. People are turning on their heaters for the first time, if they can afford to turn on their heaters; people that don’t have access to housing are gonna be feeling the pinch even more than that. All of that goes into our narrative. And then, as I think you were alluding to, this is in preparation for what’s gonna take place in January [2027] with [provisions of] the Big Beautiful Bill [going into effect], which is gonna throw a lot of people off the rolls in a lot of states and cause a whole ripple effect through the healthcare industry. In anticipation of that happening, people are gonna have to make some very hard choices. They’re going to probably want to hoard medication if they can. They’re gonna try and load up on as many treatments as possible, put as many things into place as they can for that eventuality. And we wanted to highlight what some of those struggles are gonna be because I don’t know that they’re gonna be reported in January.

Villarreal: How fast, when that decision came through, were you getting outreach from healthcare professionals wanting to meet with you, with the writers room, about how can they can help you think about what’s going to happen?

Wyle: We have a great organization that’s an adjunct to the Norman Lear Foundation called Hollywood Health. And they broker all sorts of meetings for us in the writers room with experts from every aspect of the healthcare spectrum you can imagine. And so we really were curious to find out from those experts what the statistics were going to be. And they run models on best-case scenario to worst-case scenario and tell us pretty much with a high degree of certainty what the bandwidth is gonna be. And then we take that data and try to figure out the storyline that would be most effective to tell it. But it starts with trying to get it as accurate as possible in our crystal ball, looking forward to where we’re gonna be.

Villarreal: If you could give one word to Dr. Robby’s mental state in Season 3, what would that word be? Or what would the song he’d be listening to at that moment, walking back into work?

Wyle: I don’t want to tip the bit on a song that we might use and the ones that are in my head are so corny and cheesy that I don’t want anybody to suddenly start cutting memes to it. [Looks at camera.] Because you know you will.

Villarreal: Come on, Noah. Give us a ’90s throwback.

Wyle: “Scar Tissue” [by the Red Hot Chili Peppers].

Villarreal: Oh, that’s a good one. OK, before I let you go, is there any PSA you want to give folks right now about whether they should be consuming lettuce? Is Dr. Robby consuming lettuce?

Wyle: Oh, my God, don’t ask me. My wife and I have huge fights about produce every night. I don’t know what the hell’s going on.

Villarreal: I’m always like: What would Dr. Robby do?

Wyle: I don’t know that Dr. Robby eats a lot of vegetables. I think all of your canned vegetables are safe, says Dr. Robby.

EXCLUSIVE: The series will end after the 11th run and a plan to go out with a funeral got vetoed, despite many attempts to make it work

Grantchester’s producers planned to kill off Robson Green’s character in a tear-jerking series finale of the TV drama. But in the end they got cold feet and decided viewers would prefer a happier ending.

The final series of the ITV smash – starring Robson and Rishi Nair as crime fighting duo Det Geordie Keating and The Rev Alphy Kottaram – will air in the UK next year.

But viewers in the US have already the eleventh and last-ever series and got a shock when Keating was shot and left fighting for his life. Now screenwriter Daisy Coulam has revealed how she wrestled with the idea of killing him off altogether.

She confessed: “I mean the amount of times we tried to be like, ‘He should die. He should definitely die’. I mean he died probably about four times in the story meeting and we just couldn’t do it. It would just be too big.

“You’re like ‘No, because you need that moment at the end’. You need hope and you need joy because it’s a (platonic) love story and you need your two lovers alive at the end, I think.”

Instead fans will see Keating survive the shooting and decide to retire from the force. But he hands ‘the baton’ over to fellow officer Larry Peters (played by Bradley Hall) to carry on sleuthing with the help of The Rev for future cases.

And in a touching moment, Keating leaves his protégé his hat – which he has kept with him since the start.

Daisy added: “The hat moment … it was randomly filmed the day James Norton came to set for a little visit. We were sitting and we said to Robson ‘What kind of thing would you like to do? You know, what scene do you want?’

“And he said ‘I think you should give Larry the hat’. We were like ‘Yes’ because Emma and I are obsessed with Indiana Jones and it’s basically Indiana Jones, isn’t it? It’s ‘the putting the hat on’. So we were very happy and I just think Bradley acted his socks off and he doesn’t say anything but you really, really feel his pride. It’s so sweet.”

During filming of his final scenes on a hospital trolley Robson, 61, decided to lighten the mood. He sneaked in a sign which read ‘Available for panto’ – as the cast knew they needed to start looking for new projects now Grantchester is ending.

When the hospital porters wheeled him in and the cameras started rolling he held up the sign and made everyone burst out laughing.

Afterwards he told The Masterpiece Studio podcast: “I’m going to miss that feeling of when you look at a schedule, you’re going to a certain location. And in this case, it was Grantchester. I’d always look at the schedule and go, ‘When are we going to Grantchester?’ Because it’s like going on holiday with lots and lots of friends. That’s what I’ll miss.”

Plotlines for the final series will see The Rev Alphy question his faith in God and new fashion boutique owners Cathy Keating and Mrs C (Kacey Ainsworth and Tess Peake-Jones) get caught up in a murder.

Grantchester launched back in 2014 and has run for 11 series. It has had three vicars helping Keating along the way including James Norton as The Rev Sidney Chambers and Tom Brittney as The Rev Will Davenport.

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Ann Droid made a comeback tonight with another twist in Sue and Linda’s story.

BBC fans rushed to say the same thing about Diane Morgan and Sue Johnston’s new sitcom Ann Droid tonight.

The fourth episode of Ann Droid aired this evening, Friday, August 7, at 9.30pm, on BBC One, with Sue (played by Sue Johnston) welcoming her son Michael (Paul Ready) and his wife Renee (Andrea Valls) for what was meant to be a happy family dinner.

Of course, this didn’t go quite according to plan as they announced they were trying to get pregnant, much to Sue’s frustration, before asking her to give them money for a new house.

But as the episode continued to play out with carer droid Linda (Diane Morgan) not sure when it is appropriate to celebrate their news, fans soon had their say.

Many viewers flocked to X share the same praise with some labelling Ann Droid as “absolutely brilliant”.

The same fan continued: “lots of real laugh out loud moments both Sue and Diane are fantastic!” A second wrote: “Love Ann Droid, so funny”, with another writing: “So funny!

“I absolutely love this series! I wish robots were really so advanced – I’d definitely buy one!”

A fellow viewer said: “Time for the best part of the week” at the start of the episode with someone else remarking: “It’s a terrible idea – but somehow it does work.”

Meanwhile, a user who had already binge-watched the entire six episodes, commented: “Just finished Ann Droid and my sides are splitting. That was f*****g hilarious.”

By the end of this evening’s episode, Phyllis (Margot Leicester) visited Sue in tears, sharing that no one turned up to her birthday party.

After sharing a few glasses of wine with Diane playing party music in the background, the pair shared stories of their “terrible families”.

But realising that she didn’t want to miss out on being a potential grandmother, Sue left her son Michael a voicemail saying she would downsize to free up money for him and Renee.

A tipsy Sue and Phyllis continued to dance and celebrate as Linda tried to tell her that it would lead to “financial ruin” but is she right?

Ann Droid continues every Friday on BBC One and BBC iPlayer.

Perez Hilton’s family has revealed that his children were home when his mental health crisis began to unfold, and now they’re asking the media for space so the family can safely return home.

In a statement published on the celebrity blogger’s website on Thursday, Hilton’s family said the events of the last several days had been “nearly unbearable.”

“Just minutes before the public livestream incident, Perez’s children, niece, and sister were inside the home,” the statement read. “When it became clear that Perez was experiencing a severe mental health crisis and harming himself, they immediately fled to protect the children from witnessing any further trauma.”

On Tuesday night, Miami police responded to an influx of calls after a disturbing video was livestreamed on TikTok in which a bloodied Hilton harmed himself repeatedly with a box cutter and knife. Frightened fans and moderators from the social platform were among those who called authorities.

After surrounding Hilton’s Miami residence, the Miami-Dade Sheriff’s Office said around 9 p.m. that he had been “safely recovered and transported by Miami-Dade Fire Rescue to a local hospital, where he is receiving medical attention.”

In the family’s statement on Thursday, they said that their highest priority right now was helping Hilton’s three children and niece “begin to heal from what they experienced.”

“An important part of that process is allowing them to safely return home and begin rebuilding a sense of security and normalcy,” the statement continued. “For the children’s safety, privacy, and well-being, we respectfully ask members of the media, paparazzi, content creators, and the public to leave the area surrounding the family’s home and not return. Please allow his children the privacy and space they need during this unimaginably difficult time.”

Hilton’s family also shared that, although very little information on Perez’s condition has been provided to them, they had been able to confirm that he “is able to communicate,” which they say has given them hope during “this heartbreaking time.”

Earlier Thursday, conservative political commentator Sean Hannity released an episode featuring Hilton that was recorded in recent weeks. During the “Hang Out” podcast episode, Hilton expressed regret over disparaging attacks he made on the celebrities he covered over the course of his career.

“I have a lot of regrets,” he told Hannity. “Attention is like a drug, and I was definitely an attention addict back then. I mean, I still am, but I think now I do a better job of keeping it in check. And when you’re an addict, you don’t care if you’re hurting people.”

The “OG influencer” said that he attempted to make amends with some of the celebrities he targeted, including Britney Spears and Khloé Kardashian, whom he said were receptive to his apologies. He also privately approached Neil Patrick Harris to apologize for aggressively trying to out him as a gay man in 2006, before the actor had spoken about his sexuality publicly. Harris also accepted the mea culpa.

Hilton said that he had changed his ways. “I realized what I was doing was wrong — that I could still be fun — but I don’t have to be so cheap, and I don’t have to be so cruel. It was cruel, and it’s something that I carry with me.

“It’s like my scarlet letter, and it’s very heavy baggage.”

In March, Hilton was hospitalized for severe sepsis for 21 days. During the ordeal, he said that God presented himself to him. Perez claimed that he’d changed dramatically since the health scare. In recent months, he’s posted about the Bible, launched a religious merch line and spoken about his religious awakening on the podcast circuit.

A soap icon known for Coronation Street and a comedian join the cast as guest stars in the latest instalment of the Channel 5 drama

Benidorm is Murder is Channel 5‘s brand new detective drama.

Described as a “cosy crime” thriller, the murder mystery series comes from Death in Paradise writer Ian Jarvis and started last week on the channel.

The series has a star-studded cast list, including John Hannah, who plays burned-out ex-police officer Dennis, and newcomer Carolina Bécquer, you can find out more about the rising star here, who takes on the role of his unlikely sidekick Rosa.

Other permanent players include Ariadna Cabrol who stars as DS María Hernandez, Brian Bovell who plays Archie, Damian Schedler Cruz who takes on the role of PC Jesús Ballesteros, and Eva van der Gucht in the role of Jackie. You can see the cast list and where you recognise them from in full here.

But Benidorm is Murder also has an incredible roster of guest actors, two of whom will join for the second episode. Channel 5 has confirmed Coronation Steet star turned Loose Women Denise Welch will play Ziggy, the owner of Benidorm Palace, while comedian and actor Alistair McGowan will step into the shoes of faded 90s game-show star Vince Starky.

Denise Welch plays Ziggy

Denise plays Ziggy, owner of Benidorm Palace.

Writer and creator Ian Jarvis said of Denise in the role of Ziggy: “Denise Welch is amazing. We felt like we had TV royalty when we got Denise. She is brilliant in the role. She didn’t need much steering about this character. Ziggy is this low-rent showbiz queen, an agent in the stand-up comedy world. Denise is also just loads of fun to be around. She loves a chat. We spent a lot of time chatting about everything.”

Denise is best known for playing Natalie Barnes in the ITV soap opera Coronation Street, in which she appeared in over 400 episodes.

She also starred as Steph Haydock in Waterloo Road, and Trish Minniver in Hollyoaks. Viewers might also recognise Denise from Spender, Soldier Soldier and Down to Earth. She is also a regular panellist on the ITV chat show Loose Women.

Alistair McGowan plays Vince Starky

Alistair McGowan plays faded 90s game-show star Vince Starky. His character appears in the Laughter Lounge alongside his younger wife, Vienna.

Alistair is a comic, actor, pianist, poet, and writer. He provided voices for eight series of Spitting Image and earned a BAFTA for his BBC One television series The Big Impression, with Ronni Ancona.

He is also known for All Quiet on the Preston Front and has been a regular on Radio 4 dramas and comedies, including Elvenquest and Whatever Happened to Baby Jane Austen? He took the lead role in BBC One’s detective series Mayo, and has appeared in many stage roles over the years.

What is Die Laughing about?

A synopsis for the instalment reads: “At the Laughter Lounge, veteran comic Frank Mann is emceeing when his old friend, faded 90s game show star Vince Starky, blows in with younger wife Vienna. Vince’s comeback dates are tanking and owner Ziggy, drowning in debt, needs them to work…

“But the next morning, doorman Paco finds a dead body on the club roof. Maria begrudgingly asks Dennis to look at the scene, where he notes the head wound, scuff marks round the access door and, below, a fire extinguisher buried in a car windscreen.“As Rosa helps retrace the movements of everyone connected to the club, old grudges, financial pressures and buried secrets come bubbling to the surface. Has the killer been hiding in plain sight all along? And can Dennis convince Maria to reopen a case she’s so eager to keep closed?”

Benidorm is Murder continues on Thursday at 9pm on Channel 5.

Another harrowing episode is set to air tonight at 9pm on BBC One

True crime fans have been left stunned after watching harrowing episodes of the “best” BBC series – and another airs tonight.

Murder 24/7 has returned to screens for its third run, once again plunging viewers into real-life murder investigations in the UK. Following West Mercia Police, viewers have so far witnessed chilling murders as detectives work against the clock in their pursuit of justice.

Last night (August 4), the first of a two-part special aired on BBC One at 9pm delving into the murder investigation of Jamie Gawler. Jamie was found dead by police in an armchair in a flat, with a towel draped over his face.

Officers were stunned to hear the horrific post-mortem results as their investigation led them miles away in South Wales and a potential suspect.

The second episode will air tonight (August 5) on BBC One at 9pm, with episodes also available to stream on BBC iPlayer. However, viewers have been left sickened by the latest instalments.

Taking to TikTok, one true crime fan admitted their “jaw was on the floor watching this show”. In the video, they added: “Wow. Absolutely brutal…. I couldn’t believe them episodes, they were brutal.”

One person commented: “Omg I’m addicted to this one bet my leccy bill sky high.” Another replied: “It was horrific”, as a third said: “It was a hard watch.”

A fourth wrote: “Just watched them both this afternoon absolutely shocking.” A fifth added: “I love watching this programme but those two were brutal.”

Another branded the latest instalment as “sickening” as one person said: “It was absolutely horrendous.” One viewer echoed: “It was about the worst of that series.”

The second part of the two-parter, titled Natural Born Killer, will return tonight at 9pm as detectives continue to build their case against suspect Matthew Jonathan.

A BBC synopsis reads: “A critical forensic breakthrough comes when analysts match an incomplete, bloody footprint from the scene to Jonathan’s rare boots via a national database. Soon after, investigators recover a series of phone videos that reveal the true extent of the assault.”

A separate case featured also sees a woman fighting for her life after a brutal assault with a meat cleaver as her partner is arrested on suspicion of attempted murder.

Murder 24/7 can be streamed on BBC iPlayer

Fans are keen to watch the rest of Yellowstone creator Taylor Sheridan’s espionage action thriller Lioness.

Lioness fans have been left on the edge of their seats after the season three premiere.

Many viewers are now champing at the bit for the next instalment of the drama led by Oscar-winning Zoe Saldaña.

WARNING: Spoilers below from Lioness season 3, episode 1

The opening instalment of season three debuted recently. Titled The Spider and The Fly, the episode saw Joe McNamara (played by Saldaña) thrown into fresh danger after she was abducted close to her home as she set out to work.

Joe was in a new nine-to-five role; however, she was kidnapped while on the phone with her boss, Kaitlyn Meade (Nicole Kidman).

There was then a flashback six months earlier and a mission in Ukraine, where she was inserted into a team to capture Aleksi Yurimov, the head of Putin’s hybrid warfare Special Services Department.

Creator Taylor Sheridan also made a cameo in the episode as soldier Cody, who headed up the precious mission.

The season three opener ended on quite a note as it looked like Joe’s cover was blown, leaving fans desperate for the rest of the outing.

How many episodes are in Lioness season 3?

There are eight episodes in Lioness season three, just like the previous two runs.

Episodes will air weekly on Sundays on the streaming platform Paramount+.

Season three premiered on Sunday, August 2 and will wrap up on Sunday, September 30.

Here’s the Lioness season 3 release schedule:

• Episode 1 – August 2
• Episode 2 – August 9
• Episode 3 – August 16
• Episode 4 – August 23
• Episode 5 – August 30
• Episode 6 – September 6
• Episode 7 – September 13
• Episode 8 – September 20

Following the season three premiere, many showered the opener in praise on social media.

One person posted on X (formerly Twitter): “Lioness is back for season 3 and that 1st episode was amazing from start to finish. I love Zoe Saldana #Lioness.”

A second wrote: “This is how you start a new season #Lioness episode 1 was so good!”

A third fan said: “Well I’ll be damned Joe! That’s how u feeling this season. U couldn’t ease us into things?! I need the whole season NOW! #Lioness #LionessSeason3.”

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Yet another person wanted more than just one episode: “Now I’m irritated cause they could have released the first 3 episodes of lioness this might be their best season premiere thus far. Incredible! #lioness.”

Paramount+’s synopsis for the new series states: “In Season Three, from creator and writer Taylor Sheridan, hidden networks, foreign operatives, and personal betrayals collide.

“Joe (Zoe Saldaña) walks the line between duty and home as unseen forces circle her world. Patterns appear where they shouldn’t, names vanish, and paths rearrange.

“Guided by Kaitlyn (Nicole Kidman) and Westfield (Michael Kelly), Joe confronts enemies operating in the shadows, leaving her to reckon with a war that now reaches into every part of her life.”

Lioness season 3 airs on Sundays on Paramount+

Coronation Street fans will see Cassie Plummer take extreme action to expose Ross Wilkes on Monday, while there’s good news for the Platts and Sam confides in Idris

After Sunday night’s drama-filled episode of Coronation Street, three spoilers for the next episode tease what happens next.

While the episode drops on ITVX on Monday morning, it’s not airing until 8:30pm on ITV1 that sam evening. But if you want a glimpse of what’s happening int he latest visit to Weatherfield, look no further.

Three key things happen tonight in the fallout to Sunday’s episode, where Cassie Plummer grew tired of people worshiping newcomer Ross Wilkes. We also saw Shona Platt fume at her sister Jodie Ramsay over her lies, kicking her out.

Then there was Sam settling in after returning home from hospital. The drama continues on Monday evening, with some good news for Shona and her husband David Platt.

Shona and David finally bring their baby daughter Harper home, after months in hospital. Before Harper was born, doctors warned Shona and David that there was a mass on the baby’s neck.

Amid discussions over whether to have surgery, Shona went into labour after a car crash during the Corriedale crossover. Harper was very poorly for a while, and has been gradually getting better in hospital over the past few months.

Monday will see Harper brought home, with her family ready to welcome her. But Sam is left upset when he’s not given the chance to hold his baby cousin, with David reluctant.

Jodie also makes a return, with a bombshell for Shona – but will all be forgiven? Speaking of Sam, he’s still getting back on track after he was recently hospitalised, after suffering with his mental health.

He had a breakdown, and after experiencing psychosis he’s been having treatment. On Monday, we see him opening up to Leanne Battersby’s new man Idris Nazir.

Idris shares his own experience with anxiety and how he overcame it as a teen. Sam appreciates the chat with Idris, feeling much better after sharing his worries with him.

The third big spoiler for Monday is Cassie’s plot against Ross. Cassie will drop a bombshell later in the week about Ross, the father of her son Tyrone.

Before that, we know she’s tried to set him up by exposing his past. Monday could be the moment this happens, after the mystery message she got on her phone on Sunday.

Monday’s spoilers reveal that Cassie takes a call from one of Ross’s exes, a woman named Alison. Ross overhears and recognises her name.

Cassie summons Steve, Tyrone, Tracy and Ross to the Rovers and introduces them to Alison Shave, Ross’s ex-girlfriend and reveals how Ross stole money from her and threatened her. How will Ross react, and is he finally exposed?

Coronation Street airs weeknights at 8:30pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok, Snapchat , Instagram , Twitter , Facebook , YouTube and Threads.

Holby City Hospital will see an explosive “high-stales major incident” that will have viewers on the edges of their seat as Casualty gear up for the 40th anniversary episode

Casualty has dropped a first look at its explosive 40th anniversary episodes, with Holby City Hospital thrown into chaos after a devastating blast.

The BBC released a teaser trailer ahead of the landmark special, which will air in September, giving fans a glimpse of the high-stakes drama facing the emergency department.

The anniversary story will be told across a two-part special centred on fan favourites including Dr Dylan Keogh and Flynn Byron.

The trailer opens with a huge explosion as emergency medicine consultant Flynn Byron, played by Olly Rix, looks on in shock. As the scenes unfold, a haunting chorus of children singing Happy Birthday Dear Dad plays over the footage while members of the emergency department, including clinical lead Dr Dylan Keogh (William Beck), gather outside the hospital.

Viewers also get a glimpse of familiar faces including paramedic Jan Jenning (Di Botcher) and consultant Stevie Nash (Elinor Lawless).

A map of Holby quickly fills with emergency incident alerts before the hospital is plunged into turmoil. The trailer shows a fight breaking out inside the hospital, while a visibly emotional Dr Keogh is seen in tears.

Elsewhere, ambulances line up outside with blue lights flashing as patients are rushed through the hospital on stretchers. A firefighter is also seen making their way through a room filled with exposed wires as sparks fly around them.

The preview keeps many details under wraps, ending with what appears to be armed police officers approaching Holby City Hospital.

According to the BBC, the anniversary episodes centre on a “high-stakes major incident that throws Holby into chaos”, leaving lives hanging in the balance as the emergency department team are pushed to their limits.

The special will also feature a major rescue operation, while Dr Keogh faces a personal tragedy during what the BBC describes as the team’s “darkest hour”. Stevie Nash and Flynn Byron will also find themselves fighting for survival in a race against time.

The episodes celebrate 40 years of the world’s longest-running medical drama while marking what the BBC has described as an “exciting new chapter” for the series.

First airing in 1986, the BAFTA-winning drama later spawned spin-off series Holby City. Since 2011, Casualty has been filmed at BBC Roath Lock Studios in Cardiff and is expected to move to a new fictional hospital in Wales next year.

The Casualty 40th anniversary episodes air on September 5 on BBC One and BBC iPlayer.

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Celebrity Gogglebox viewers were left less than impressed as the Channel 4 programme began airing on Friday.

Gogglebox viewers have been left furious minutes into the episode airing on Friday, July 24.

The beloved Channel 4 series returned with a repeat episode of the celebrity edition.

The likes of Stephen Mangan and his sister Anita, Martin and Roman Kemp, Vicky Pattison and Pete Wicks, and Jordan Banjo and fellow Diversity dancer Perri Kiely appeared in a ‘best bits’ special.

Channel 4 had teased: “The best moments of series 7 as a rolling cast of famous faces tune in for The 1% Club for Soccer Aid, Coronation Street, Open House: The Great Sex Experiment and Match Me Abroad.”

However, viewers were left fuming as they realised the episode was a repeat, with one writing: “This is boring. #CelebrityGogglebox is always c**p. And this is a repeat. So it’s double c**p.”

Another said: “Having déjà vu on this #gogglebox like I’ve seen it before.”

Someone else wrote: “Why don’t you realise we want to watch current shows not old versions – fuming as could have started a film an hour ago instead of waiting for this.”

“Urghhh a repeat,” another echoed.

The new series of Celebrity Gogglebox aired earlier this year, and featured a fresh batch of famous faces.

Joining the programme were the likes of Love Island star Olivia Attwood with her mum, Strictly’s George Clarke and his podcast co-host Max Balegde, and Gladiators Harry Aikines-Aryeetey and Matt Morsia.

Ahead of their debut on the show, Olivia shared: “It’s not often that we agree on things, which I think the viewers may find entertaining. My family are huge fans of the show so it’s a real honour to be a part of such an iconic British programme.”

Matt, known as Legend on Gladiators, added: “Everyone knows how good I am at being on TV, but turns out I’m even better at watching it. Wow. Absolutely incredible sofa performance.

“I had a great time on the show and I need to say a massive thank you to Gogglebox for literally paying me to watch TV. What a time to be alive.”

Celebrity Gogglebox is available to watch on Channel 4.

The Hairdresser Mysteries made its debut last week and today will air the BBC show’s second episode

Coronation Street fans will be delighted to see a very familiar face on The Hairdresser Mysteries today.

The new Jim Cartwright BBC detective series started last week with episode available to watch in full on BBC iPlayer and they will also air weekly on Fridays at 2pm.

Today, Friday 24 July, sees the second episode of The Hairdresser Mysteries air where a synopsis teases: “When a celebrity weather reporter is found dead, Lily investigates if his zero-star reviews of all the local businesses have driven one of their own to murder.”

Sally Phillips plays main character, Lily Petal, who is forced to turn from hairdresser to amateur detective when crimes keep happening on her doorstep in the sleepy village.

She is helped in her investigations by brilliant analytical hair salon assistant Clary Coombs, played by Charlotte Jordan, and eager PC Adam Watson, played by Ben Castle-Gibb.

On Friday’s episode, viewers were introduced to Gloria Crudd, who is another newcomer to the village hoping to make a fresh start with her ice cream parlour but soon finds her old life catching up with her.

Coronation Street legend Wendi Peters plays Gloria Crudd in the series. Wendi, 58, is best known for playing Cilla Battersby-Brown in Coronation Street from 2003 to 2007, she returned to the cobbles once again in 2014.

On the show, Wendi looks worlds away from Cilla as her character Gloria has a pastel pink copper coloured curly beehive hairdo adorned with jewellery pieces.

However, Wendi isn’t the only Coronation Street star in the new series as she is joined by fellow Weatherfield favourite Charlotte Jordan who is playing Clary Coombs – Lily’s ‘bright and analytical assistant and the Watson to her Shear-lock Holmes’.

Charlotte, 32, is best known for playing Daisy Midgeley on the cobbles from 2020 to 2025, where her character was involved in several huge storylines including the hard-hitting acid attack plot.

Viewers have already shared their praise for the new series as one person said on Twitter, now X: “Watching the first episode of #TheHairdresserMysteries and I absolutely love it! So many talented actors I recognise, such a cosy atmosphere too. And it’s filmed in the beautiful West Midlands! More plans!”