Lifestyle
In a collection of 40+ interviews, author Adam Moss tries to find the key to creation
Adam Moss allowed NPR into a space only two other people have seen: his painting studio.
Adam Moss
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Adam Moss
Adam Moss allowed NPR into a space only two other people have seen: his painting studio.
Adam Moss
In a small brick building in the Lower East Side of Manhattan, you can find Adam Moss’s “den of torture.”
Prior to this interview, almost no one has been allowed in.
“Just my husband and my teacher. That’s it.” Moss said. “Two people in my entire life and I’ve had this thing for five years. So welcome.”
This space is less menacing than most dens of torture; there aren’t any medieval instruments of pain after all. Instead, the small, light-filled room overflows with brushes and palettes, and paintings of various sizes and stages of completion rest on every surface.
Adam Moss’ so-called “den of torture.” Instead of Medieval instruments of torture, he has paintbrushes and palettes.
Adam Moss
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Adam Moss
When Adam Moss gave up his job as editor-in-chief of New York Magazine five years ago, he started painting. He loved it, but it was agonizing.
“I really wanted to be good, and it made the act of making art so frustrating for me,” said Moss. “This [studio] is where I come many days and wrestle with trying to make something.”
Trying to make something is exactly the subject of Adam Moss’s new book, The Work of Art: How Something Comes from Nothing.
“The book is called The Work of Art,” says Moss. “And that is kind of what it’s about.”
It’s about the work.
Adam Moss’ The Work of Art: How Something Comes from Nothing features interviews with more than 40 creatives about their process, from blank page to final product.
Penguin Press
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Penguin Press
The book has 43 chapters, each one dedicated to a single artist, and their process of creating a single work. They come from a wide range of disciplines. There are poets, painters, chefs, sand castle sculptors and crossword puzzle makers.
And through this collection of interviews, the book tries to answer the questions: How does a sketch become a painting? How does a scribbled lyric become a song? How does an inspiration become a masterpiece?
The book is a visual feast, full of drafts, sketches, and scribbled notebook pages.
A sample of pages from chapter 9 of the book, which profiles poet and essayist Louise Glück.
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Penguin Press
A sample of pages from chapter 9 of the book, which profiles poet and essayist Louise Glück.
Penguin Press
Every page shows how an idea becomes a finished design.
In one chapter, Moss speaks with Amy Sillman, an abstract painter who Moss admires for her unique use of color and shape.
“Amy was also a dream subject for this project,” Moss writes. “Because to reach the finish line of most of her paintings, she paints dozens of paintings, or even more, each usually pretty wonderful.”
The chapter contains 39 images, demonstrating the full evolution from first draft to finished product of her work, Miss Gleason.
Each image is accompanied by a quote from Sillman, explaining what step that particular draft represented in her process.
In another chapter, Moss speaks with the musician Rostam, who describes the process of writing the song “In a River.”
Musician Rostam Batmanglij, pictured here performing in 2017, shared his songwriting process with Adam Moss.
Emma McIntyre/Getty Images
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Emma McIntyre/Getty Images
Musician Rostam Batmanglij, pictured here performing in 2017, shared his songwriting process with Adam Moss.
Emma McIntyre/Getty Images
For Rostam, the creative process occurred in large part on his iPhone, in a collection of draft lyrics written in the notes app, and melodies in recorded as voice memos.
Voice memo draft of Rostam’s “In a River”
Eventually, those notes and recording on his phone evolved into a completed song.
Rostam’s animation video for his song “In a River.”
YouTube
So, what is the key to creating a masterpiece? Moss did not find an answer. All of artists featured across the book are unique, and so are their creative processes.
However, Moss did point to some frequently shared traits.
One commonality Moss found was that many artists describe themselves as having ADHD.
“Whether they have ADHD or not, [they have] the elements that we associate with ADHD,” Moss said, describing a balance of distractedness and focus.
“You need to be distracted enough for your mind, for your imagination to go fishing, and you need to be focused enough to know what to do with it.”
Moss also found that his subjects consistently found ways not to let the fear of failure or mistakes prevent them from starting.
“They tried to get through that as quickly as possible and with as little thought as possible,” Moss said. “Many of them write in longhand, giving themselves explicit permission to fail.”
However, there was one trait between Moss’s subjects that was truly ubiquitous.
“They all have a compulsion, an obsession to make something. It gets into their system and they can’t let go of it,” Moss said, explaining that the vision or the final product is secondary to the process.
“The end product is not the point,” Moss said. “what they were consumed by, why they did what they did is because they were consumed by the work. “
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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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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