Lifestyle
Groundbreaking police drama 'Homicide: Life on the Street' is finally streaming
The cast of Homicide: Life on the Street, led by Andre Braugher and Kyle Secor.
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If you were too young to watch NBC’s groundbreaking police drama, Homicide: Life on the Street when it first debuted in 1993, you may wonder why there’s still so much fuss about the show more than three decades later.
That’s because so much of what Homicide presented was stuff you just didn’t see on network television back then: shaky, kinetic camera work; working stiff police detectives cracking jokes at gruesome murder scenes instead of solemnly vowing justice; serialized stories that arced over several episodes; heart-rending killings that never got solved. It was a cop show without gun battles or car chases, with a bracing shot of street-level realism, filmed mostly in Baltimore.
TV fans can step back in time Monday, when NBCUniversal rights a longtime injustice and makes all seven seasons of Homicide: Life on the Street available on its streaming service, Peacock – along with 2000’s Homicide: the Movie. There’s a total 122 episodes, plus the TV movie.
One person glad to see these episodes finally arrive on streaming is Tom Fontana, who served as executive producer and showrunner for Homicide, helping develop its singular storytelling style.
He wasn’t directly involved with bringing the series to Peacock, though Fontana says he and fellow Homicide producers Barry Levinson and Gail Mutrux had been bugging the company to put the show online for years.
“We could never understand why they [didn’t do it sooner],” adds the producer, who created the prison drama Oz, HBO’s first original drama series, and most recently co-created the AMC drama Monsieur Spade. “We kept getting different reasons from different NBC executives.”
In a tweet in June, Homicide producer and writer David Simon – a former Baltimore Sun cops reporter who wrote the book the show was based on, Homicide: A Year on the Killing Streets – hinted that music rights were central to the delay.
Word is that NBC has managed to finally secure the music rights necessary to sell Homicide: Life On The Streets” to a streaming platform. Andre, Richard, Yaphet, Ned, and so many others who labored on that wonderful show on both sides of the camera will soon regain a full share…
— David Simon (@AoDespair) June 17, 2024
In an emailed statement to NPR, NBCUniversal noted that it took “many years” for NBCUniversal Global TV Distribution and Universal TV to secure the rights and clearances needed and to remaster the series for HD and 4K, noting the HD versions will be available Monday with the 4K version to follow. The show’s crossover episodes with another classic NBC police drama, Law & Order, will not be included on Peacock. But the episodes on streaming will include “most” of the original music.
Resurfacing groundbreaking 1990s TV
Watching Homicide episodes reveals a series seriously ahead of its time, created by Paul Attanasio and focused on recreating Simon’s incisive look at the city’s murder police.
Here, viewers were introduced to The Box, the interrogation room where detectives often solved cases by cajoling confessions from suspects, like canny used car dealers pushing wary customers to sign on the dotted line.
Or The Board, a large, dry-erase display with every detective’s name, followed by the case number and last names of the murder victims in the crimes they were working – solved cases written in black, open cases in red. “You look up there, you know exactly where you stand,” says Yaphet Kotto’s world weary, Italian African American squad leader, Al Giardello. “About how many things in life can you say that?”
The Homicide series was where Simon learned to write TV scripts before creating his own groundbreaking shows for HBO, including The Wire. Fontana recalls, “I remember saying to [Simon], on the first day, ‘You know how in a newspaper article, you have to answer who, what, when, where in the first paragraph? TV writing is the opposite; you put off answering those questions as long as you possibly can.’…I think that was probably the only really good advice I gave him.”
Fontana’s notes to Simon may also explain why the structure of Homicide’s episodes were so unusual for network TV. Characters didn’t directly say what was happening every moment, unlike so many police procedurals back then, which seemed to fear confusing audiences. Fontana says they would stick little “easter egg” style moments in episodes – with little regard for whether the audience understood them or not. In one story, for example, a man accused of racism seems to perceive color differently watching a TV set.
Given that viewers couldn’t watch the episodes on demand, or stop and rewind to catch things they might have missed, it was a bold choice. It also meant Homicide emerged as a series perfect for streaming, made long before streaming platforms actually existed.
The cast of Homicide: Life on the Street.
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NBCUniversal
‘A community of detectives’
The new episodes retain the show’s signature look in screeners provided by Peacock; songs by Miles Davis and the band Bleach seem to appear intact. Still, there is one longtime fan of the show who won’t be watching the new episodes on streaming: Fontana himself.
“I’m told the show holds up really well, but I’m not brave enough to watch it again,” he says. “I think the show feels real because we were talking about a community of detectives. And we didn’t want them all to sound like Dick Tracy or whatever. ”
Everyone from Oscar winner Melissa Leo to legendary indie film director and Baltimore institution John Waters appeared on the show. Robin Williams guested in a landmark episode called “Bop Gun,” playing the husband of a woman killed while they were visiting the city, horrified to overhear detectives joking about her murder with the easy familiarity of those who work close to death. (Williams’ appearance, Simon later wrote on his website, likely saved the show and cemented his TV writing career).
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Vincent D’Onofrio also pops up in an episode Fontana cites as one of his favorites, called “Subway,” playing a man pushed onto a subway platform and pinned between the platform and the train. As the episode progresses, he slowly realizes he will die the moment they move the train car away.
Catching up on the work of departed acting legends
Perhaps best of all, fans can now see a long line of powerful actors who have since died – performers who delivered some of their best work on Homicide – including Kotto, Ned Beatty, Jon Polito, Richard Belzer and Andre Braugher.
Braugher shone as Det. Frank Pembleton, a hotshot known for closing cases by pushing suspects to confess in The Box. “What you will be privileged to witness is not an interrogation, but an act of salesmanship – as silver-tongued and thieving as ever moved used cars, Florida swampland or Bibles,” he tells a rookie observer in Homicide’s first episode. “But what I am selling is a long prison term. To a client who has no genuine use for the product. ”
NBCUniversal says fan reaction over the deaths last year of Belzer and Braugher – beloved actors whose later work included Law & Order: SVU and Brooklyn Nine-Nine – “was just another indicator that we should continue on our path” to bring Homicide to streaming now. Fontana notes it doesn’t hurt that Netflix also recently saw success with episodes of older series such as USA Network’s Suits and Showtime’s Your Honor, hinting that NBC’s Peacock might also benefit from elevating a classic series the company already owns.
But ask him why people are still interested in the show, about 25 years after the series ended, and the notoriously modest Fontana comes up short. “I’ve been trying to figure it out,” he says. “It’s unfortunate that the stories we told are still relevant. But it might engage a younger audience, because they can say, ‘Hey, prejudice, and misogyny and inequality are still part of day to day life.’”
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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