Lifestyle
New this week: Zadie Smith essays, a Cameron Crowe memoir and a ‘Sandwich’ sequel
It’s a fun fact that Zadie Smith and Susan Straight, two boldface names in literary fiction over the past quarter-century, both live in the neighborhoods where they were raised. Smith returned to northwest London after some sojourns abroad, while Straight has remained in Riverside, Calif.; both are now but a stone’s throw from the scenes of their childhood.
Both authors also have new books out this week. Smith’s essay collection and Straight’s novel lead a batch of publishing highlights that also includes a biography, a memoir, a western of sorts, and another return home in Catherine Newman’s sequel to Sandwich.
Thomas Wolfe, eat your heart out: Turns out you can go home again. Just as long as you’re willing to face what waits for you there.
Tom’s Crossing, by Mark Z. Danielewski
Typically known for his typographical gymnastics, Danielewski plays it comparatively straight with this tale of a horse theft gone wrong. But boy, this western-horror hybrid is still a lot. It feels apt to describe Tom’s Crossing, which is nearly as long as War and Peace, the way Henry James once described Tolstoy’s epic: It’s a “loose, baggy monster.” Or less delicately, it’s a fat bear in early autumn — you know, the one preparing for hibernation? Filled with detail and cowboy affect, a bit ungainly in unaccustomed girth, this book, like that bear, is still capable of unspeakable horrors. Underestimate its sanguinary streak at your own peril.
Wreck, by Catherine Newman
Newman’s third novel in as many years is her first to feature a returning cast: Rocky and her family, whom readers met last year in Sandwich. Maureen Corrigan of Fresh Air described that book, the story of a Cape Cod vacation gone tragicomically sideways, as “my idea of the perfect summer novel: shimmering and substantive.” Wreck finds that family two years after that trip, back at home and approaching something that resembles normality — but of course, don’t expect that kind of stability to last.
Sacrament, by Susan Straight
The bard of Riverside revisits some characters from her previous book, 2022’s Mecca. This time, the city just east of Los Angeles is in the throes of an early COVID-19 surge, and her focus is on a group of nurses who are treating its victims, living separate from their families out of fear of contagion. This isn’t just a COVID novel; it’s also a chance to observe the impact of this singular moment on a community that has become synonymous with Straight, who has described Riverside as “my destiny. It’s what I’m here to write about.”
Dead and Alive: Essays, by Zadie Smith
Smith’s last essay collection was her own COVID-19 book — reflections on the strange new world the pandemic had ushered in, written and published during lockdown in 2020. Since then, she has hardly been dormant. The past five years have seen the prolific Brit produce a novel, a stage adaptation of Chaucer, several children’s books and a review of the film Tar that earned her a Pulitzer Prize nod. That piece, “The Instrumentalist,” is included in her new collection, along with more than two dozen other works of nonfiction from the past decade.
Avid Reader Press / Simon & Schuster
The Uncool: A Memoir, by Cameron Crowe
“I do not feel cool,” Crowe told NPR in 2022. Perhaps that’s a surprising sentiment from a man who has led an objectively glamorous life — first as a teenage music journalist, then as the filmmaker behind a handful of Hollywood dreamboats, in movies such as Say Anything… and Jerry Maguire. But don’t call it false modesty; he’s convinced of that frank self-assessment enough to have adapted it for the title of his new memoir. The book promises to elaborate on the real events that inspired Almost Famous, his semiautobiographical cult classic and its recent Broadway adaptation.
A Dream Deferred, by Abby Philip
In a conversation with NPR’s Weekend Edition, the CNN anchor explained the reason for her new biography: “Because a lot of people think of Rev. Jackson today as a civil rights leader, as an activist, they kind of skip completely over this extraordinary chapter” — his career as a politician. The book takes a wide view, including a glimpse of his troubled family life as a child and reflections on his legacy, but it’s especially concerned with Jackson’s pair of presidential campaigns in the 1980s.
Lifestyle
After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’
Wyle, who spent 11 seasons on ER, returns to the hospital in The Pitt. Now in Season 2, the HBO series has earned praise for its depiction of the medical field. Originally broadcast April 21, 2025.
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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’
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Lifestyle
Doctors says ‘The Pitt’ reflects the gritty realities of medicine today
From left: Noah Wyle plays Dr. Michael “Robby” Robinavitch, the senior attending physician, and Fiona Dourif plays Dr. Cassie McKay, a third-year resident, in a fictional Pittsburgh emergency department in the HBO Max series The Pitt.
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The first five minutes of the new season of The Pitt instantly capture the state of medicine in the mid-2020s: a hectic emergency department waiting room; a sign warning that aggressive behavior will not be tolerated; a memorial plaque for victims of a mass shooting; and a patient with large Ziploc bags filled to the brink with various supplements and homeopathic remedies.
Scenes from the new installment feel almost too recognizable to many doctors.
The return of the critically acclaimed medical drama streaming on HBO Max offers viewers a surprisingly realistic view of how doctors practice medicine in an age of political division, institutional mistrust and the corporatization of health care.
Each season covers one day in the kinetic, understaffed emergency department of a fictional Pittsburgh hospital, with each episode spanning a single hour of a 15-hour shift. That means there’s no time for romantic plots or far-fetched storylines that typically dominate medical dramas.
Instead, the fast-paced show takes viewers into the real world of the ER, complete with a firehose of medical jargon and the day-to-day struggles of those on the frontlines of the American health care system. It’s a microcosm of medicine — and of a fragmented United States.

Many doctors and health professionals praised season one of the series, and ER docs even invited the show’s star Noah Wyle to their annual conference in September.
So what do doctors think of the new season? As a medical student myself, I appreciated the dig at the “July effect” — the long-held belief that the quality of care decreases in July when newbie doctors start residency — rebranded “first week in July syndrome” by one of the characters.
That insider wink sets the tone for a season that Dr. Alok Patel, a pediatrician at Stanford Medicine Children’s Health, says is on point. Patel, who co-hosts the show’s companion podcast, watched the first nine episodes of the new installment and spoke to NPR about his first impressions.
To me, as a medical student, the first few scenes of the new season are pretty striking, and they resemble what modern-day emergency medicine looks and sounds like. From your point of view, how accurate is it?
I’ll say off the bat, when it comes to capturing the full essence of practicing health care — the highs, the lows and the frustrations — The Pitt is by far the most medically accurate show that I think has ever been created. And I’m not the only one to share that opinion. I hear that a lot from my colleagues.
OK, but is every shift really that chaotic?
I mean, obviously, it’s television. And I know a lot of ER doctors who watch the show and are like, “Hey, it’s really good, but not every shift is that crazy.” I’m like, “Come on, relax. It’s TV. You’ve got to take a little bit of liberties.”
As in its last season, The Pitt sheds light on the real — sometimes boring — bureaucratic burdens doctors deal with that often get in the way of good medicine. How does that resonate with real doctors?
There are so many topics that affect patient care that are not glorified. And so The Pitt did this really artful job of inserting these topics with the right characters and the right relatable scenarios. I don’t want to give anything away, but there’s a pretty relatable issue in season two with medical bills.
Right. Insurance seems to take center stage at times this season — almost as a character itself — which seems apt for this moment when many Americans are facing a sharp rise in costs. But these mundane — yet heartbreaking — moments don’t usually make their way into medical dramas, right?
I guarantee when people see this, they’re going to nod their head because they know someone who has been affected by a huge hospital bill.
If you’re going to tell a story about an emergency department that is being led by these compassionate health care workers doing everything they can for patients, you’ve got to make sure you insert all of health care into it.
As the characters juggle multiple patients each hour, a familiar motif returns: medical providers grappling with some heavy burdens outside of work.
Yeah, the reality is that if you’re working a busy shift and you have things happening in your personal life, the line between personal life and professional life gets blurred and people have moments.
The Pitt highlights that and it shows that doctors are real people. Nurses are actual human beings. And sometimes things happen, and it spills out into the workplace. It’s time we take a step back and not only recognize it, but also appreciate what people are dealing with.
2025 was another tough year for doctors. Many had to continue to battle misinformation while simultaneously practicing medicine. How does medical misinformation fit into season two?
I wouldn’t say it’s just mistrust of medicine. I mean that theme definitely shows up in The Pitt, but people are also just confused. They don’t know where to get their information from. They don’t know who to trust. They don’t know what the right decision is.
There’s one specific scene in season two that, again, no spoilers here, but involves somebody getting their information from social media. And that again is a very real theme.
In recent years, physical and verbal abuse of healthcare workers has risen, fueling mental health struggles among providers. The Pitt was praised for diving into this reality. Does it return this season?
The new season of The Pitt still has some of that tension between patients and health care professionals — and sometimes it’s completely projected or misdirected. People are frustrated, they get pissed off when they can’t see a doctor in time and they may act out.
The characters who get physically attacked in The Pitt just brush it off. That whole concept of having to suppress this aggression and then the frustration that there’s not enough protection for health care workers, that’s a very real issue.
A new attending physician, Dr. Baran Al-Hashimi, joins the cast this season. Sepideh Moafi plays her, and she works closely with the veteran attending physician, Dr. Michael “Robby” Robinavitch, played by Noah Wyle. What are your — and Robby’s — first impressions of her?
Right off the bat in the first episode, people get to meet this brilliant firecracker. Dr. Al-Hashimi, versus Dr. Robby, almost represents two generations of attending physicians. They’re almost on two sides of this coin, and there’s a little bit of clashing.
Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.
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Part of that clash is her clear-eyed take on artificial intelligence and its role in medicine. And she thinks AI can help doctors document what’s happening with patients — also called charting — right?
Yep, Dr. Al-Hashimi is an advocate for AI tools in the ER because, I swear to God, they make health care workers’ lives more efficient. They make things such as charting faster, which is a theme that shows up in season two.
But then Dr. Robby gives a very interesting rebuttal to the widespread use of AI. The worry is that if we put AI tools everywhere, then all of a sudden, the financial arm of health care would say, “Cool, now you can double how many patients you see. We will not give you any more resources, but with these AI tools, you can generate more money for the system.”
The new installment also continues to touch on the growing corporatization of medicine. In season one we saw how Dr. Robby and his staff were being pushed to see more patients.
Yes, it really helps the audience understand the kind of stressors that people are dealing with while they’re just trying to take care of patients.
In the first season, when Dr. Robby kind of had that back and forth with the hospital administrator, doctors were immediately won over because that is such a big point of frustration — such a massive barrier.
There are so many more themes explored this season. What else should viewers look forward to?
I’m really excited for viewers to dive into the character development. It’s so reflective of how it really goes in residency. So much happens between your first year and second year of residency — not only in terms of your medical skill, but also in terms of your development as a person.
I think what’s also really fascinating is that The Pitt has life lessons buried in every episode. Sometimes you catch it immediately, sometimes it’s at the end, sometimes you catch it when you watch it again.
But it represents so much of humanity because humanity doesn’t get put on hold when you get sick — you just go to the hospital with your full self. And so every episode — every patient scenario — there is a lesson to learn.
Michal Ruprecht is a Stanford Global Health Media Fellow and a fourth-year medical student.
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