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Paul McCartney sauntered onto the stage of the Fonda Theatre, took in the 1,200 faces before him — “I can see the whites of your eyes,” he said — then offered up a brief history lesson about where we’d gathered Friday night.

The Fonda, he told us, opened 100 years ago; back then, he added, it was called the Music Box.

“Cool little place, innit?”

At 83, McCartney is well into his cool-little-place era.

Last year the rock legend played a string of concerts at New York’s tiny Bowery Ballroom while in town for “Saturday Night Live’s” 50th anniversary; a few months after that, he hit the Santa Barbara Bowl as a kind of warm-up for the latest leg of his Got Back world tour.

Paul McCartney and his band during sound check for Friday’s show.

(MJ Kim)

Friday’s underplay — the first of two instant sell-outs at the Fonda — came as McCartney is drumming up interest in a new studio album he’ll release in May. Outside the venue, a double-decker bus was parked with signage advertising the LP, which is called “The Boys of Dungeon Lane” after a road in his Liverpool hometown.

But that hardly seemed like the purpose of the show itself, which lasted about an hour and 40 minutes and didn’t even include a performance of the album’s lead single. The truth is that Sir Paul genuinely appears to get a kick out of these intimate gigs — out of standing right in front of a crowd and doing the magic trick that is a song like “Get Back” or “Jet” or “Got to Get You Into My Life.”

And why wouldn’t he?

If a Paul McCartney concert in an arena or a stadium is a finely honed spectacle of boomer nostalgia and industrial-strength charm, one of his shows in a club or a theater is a chance to play music, which after six and a half decades still clearly turns his wheels.

You wouldn’t say the shows remind McCartney that he’s a regular guy. (Those six and a half decades have made him anything but.) What they might do, though, is remind him why he became so widely adored — valuable self-knowledge for an artist whose great subject has always been the transformative power of love.

Here, as in Santa Barbara, he and his seven-piece band (which featured three horn players) did a pared-down version of the most recent Got Back set, opening with a killer one-two punch — “Help!” into “Coming Up” — that alone said plenty about McCartney’s range and endurance.

“Let Me Roll It” had a funky swagger, while “Getting Better” chugged with cheerful insistence; “I’ve Just Seen a Face” showed off the group’s crisp harmonies and “Lady Madonna” its tight rhythmic interplay. After “Let ’Em In,” McCartney asked his band member Brian Ray to show off the song’s all-important bass line: a single note plucked over and over and over again.

Friday’s show was the first of two at the Fonda.

(MJ Kim)

He did a few other comic bits, including a memory of Tony Bennett singing without a microphone as a way to demonstrate the excellent acoustics of a concert hall — the punch line was that he later saw Bennett do the same thing at the Beverly Hilton — and some gentle ribbing of the folks sitting up in the “posh seats” of the Fonda’s balcony. Among them, McCartney pointed out, was Morgan Neville, director of the recent “Man on the Run” documentary about McCartney’s life in the aftermath of the Beatles’ breakup.

He also noted that his wife, Nancy Shevell, was in the house and dedicated “My Valentine” to her; truth be told, that one was a bit dreary, as was “Now and Then,” the so-called last Beatles song released in 2023 using machine learning to complete a scratchy demo left behind by John Lennon.

“Thank you, John, for writing that lovely song,” McCartney said afterward, which made it a little harder not to like.

In any event, there were more classics to come, not least a buoyant “Ob-La-Di, Ob-La-Da” and a “Let It Be”/“Hey Jude” twofer that inspired such a lusty singalong that McCartney probably could’ve gotten away with lip-syncing if he’d wanted to.

But of course he didn’t want to — that was kind of the whole point.

With hit medical drama The Pitt finally available to watch in the UK on HBO Max, leading man Noah Wyle has shared some tantalising insight into its future beyond season two

The Pitt’s Noah Wyle has delivered an exciting update on the third season of HBO’s smash-hit medical drama.

He also teased his hopes for the future of the drama, hinting it could run “forever” if audiences are still tuning in.

Wyle portrays Dr Michael ‘Robby’ Robinavitch, a senior attending physician working in a crowded and underfunded emergency room in Pittsburgh.

Throughout each season, Dr Robby, along with a team of doctors, nurses, and medical students, experience a single 15-hour shift, with the second instalment taking place during a busy 4th of July.

The former ER star was in London this week for the UK launch of the series where he spilled two important rules that every episode of the hit series must follow.

Speaking to HBO Max Chairman Casey Bloys, Wyle was asked how soon the cast and crew will be ready to start up production on season three.

“Very soon, boss, very soon,” Wyle joked. “We are in the process of writing character arcs for season three for everybody.”

He went on to explain how the series’ unique storytelling format presents a compelling challenge for the writers, which includes himself and creator R. Scott Gemmill.

“It’s a very interesting show to break because, unlike a lot of shows that are 22 episodes that may play over a calendar year, this is 15 hours of one day,” he continued. “So you’re painting with a much finer brush.

“The character’s arc is not really enough to go through the courtship of a romance, but it’s enough to get your head turned.

“It’s maybe enough to lose faith, maybe enough to find faith, but these are really small arcs that happen over the course of the day but can be really satisfying if you’re engaged with that character.”

Thankfully, The Pitt quickly found a devoted audience in the States, with the second season premiere amassing an impressive 7.2 million US viewers within its first week of release.

“We have these characters who seem to be resonating on a one-to-one with audiences,” Wyle added.

“Everyone’s feeling, ‘I’m a little Javadi (played by Shabana Azeez), I’m a little Samira (Supriya Ganesh), and I have a little Langdon (Patrick Ball) in me, or I know a Whitaker (Gerran Howell)’, and that makes it really exciting to see where they’re going to go next, and to write for where they’re going to go next.”

Hinting at the third season’s narrative, Bloys and Wyle revealed that the upcoming instalment is also building to an explosive and potentially life-changing event in much the same way as the first two seasons.

“We’ve built a pressure cooker where every hour we turn up the temperature, we add more ingredients, then just when it’s about to explode we drop a piano on it,” Wyle revealed.

“You’ve done that successfully for season two and now you’re thinking about it for season three?” Bloys clarified, and Wyle confirmed “Yes”.

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“One of the gratifying things about season two is that we realised we don’t need a big ‘deus ex machina’ plot device to keep this engaging,” he said. “There’s something really satisfying about watching everyday people trying to get through the course of the day, beset by all the trials and tribulations that come over the course of that day.

“If that is satisfying television then this show could run forever, because we don’t need a helicopter to come down in the ambulance bay, we don’t need to jump the shark.”

The Pitt is available to stream on HBO Max with new episodes on Thursdays.