The Actors of ‘The Pitt’ Own the Emmy Acting Categories with 13 Nominated Cast Members

Katherine LaNasa plays Nurse Dana on “The Pitt.” (Getty Images)
Katherine LaNasa plays Nurse Dana on “The Pitt.” (Getty Images)
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The Actors of ‘The Pitt’ Own the Emmy Acting Categories with 13 Nominated Cast Members

Katherine LaNasa plays Nurse Dana on “The Pitt.” (Getty Images)
Katherine LaNasa plays Nurse Dana on “The Pitt.” (Getty Images)

With its ensemble of doctors, nurses, interns and patients squeezed together into a small emergency department with scripts that play out in real time, “The Pitt” feels like a lab made to grow great performances. The Emmys rewarded it accordingly Wednesday.

Thirteen of the 25 nominations for HBO Max's drama about a Pittsburgh ER went to its actors in one of the great achievements for a cast in Emmy history.

In its rookie season last year, “The Pitt” got just three acting nominations but it won all three: best actor in a drama for star Noah Wyle, best supporting actress for Katherine LaNasa and best guest actor for Shawn Hatosy. The trio was nominated again, but this time had a ton of company.

“It feels really exciting to have more of my colleagues up on the board,” LaNasa told The Associated Press on Wednesday during a break in the shooting of Season 3. “You’re happy when you get acknowledged, but you kind of know that you’re only there because of everybody else. So the more people that are getting acknowledged, the better it feels.”

She said that like her character, Nurse Dana, she has a “motherly feeling” toward her colleagues, who are nearly all first-time nominees.

“I’m very wanting them to have this experience as well," she said.

LaNasa was joined in the supporting actress category by doctor-portrayers Taylor Dearden, Fiona Dourif and Sepideh Moafi, who played a new attending physician reckoning with a seizure disorder that is returning in the stress of the ER.

Hatosy, whose night-shift leader Dr. Jack Abbott won a big fan base and was the object of many crushes in Season 2, was bumped up from the guest actor category to supporting actor, where he's joined by Gerran Howell and Patrick Ball.

The 13 nominees will be competing against one another so much that there are only five acting Emmys they can win. That's one for every drama category except best actress, where it didn't submit anyone. The show makes only Wyle a lead.

In the guest acting categories, Brittany Allen and Jeff Kober both pulled off the coup of getting nominations from self-submissions of their portrayal of patients with heartbreaking arcs. Ernest Harden Jr. got a guest nod for playing the ER's constant presence and struggling alcoholic Louie Cloverfield.

And Tal Anderson, an autistic actor who has been an advocate for neurodivergent performers and portrayals, got her first Emmy nomination for playing Becca King, the younger sister of Dearden’s Dr. Mel King who is striving to be treated as an adult.

“Besides the fact that I get to have a small role in this giant, amazing show with so many talented people in the cast and on the crew, it means so much to me to be able to help this character, Becca, be seen and to have a voice,” Anderson told the AP. “As a disabled person myself, it’s such an honor to be able to, through this role, call attention to issues that are so important to the disabled community. It’s everything to have the opportunity to do that.”

LaNasa's Nurse Dana was already among TV's most beloved characters, but went even deeper on the drama in Season 2, in which she gives a rape kit and emotional counseling to a sexual assault victim.

Nurse Dana went meme-able with her loud pronouncements about the ER's “Baby Jane Doe.” The child also provided a pivotal and heart-wrenching scene for Wyle's Dr. Michael “Robby” Robinavitch that may well win him a second best actor trophy at the September ceremony.

With the numbers “The Pitt” pulled in, it was almost surprising to find the many babies that played Baby Jane Doe didn't get nominated.



‘The Pitt’ Leads With 25 Emmy Nominations and ‘Hacks’ Is Top Among Comedies with 24

This image released by Max shows Noah Wyle in a scene from "The Pitt." (Warrick Page/MAX via AP)
This image released by Max shows Noah Wyle in a scene from "The Pitt." (Warrick Page/MAX via AP)
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‘The Pitt’ Leads With 25 Emmy Nominations and ‘Hacks’ Is Top Among Comedies with 24

This image released by Max shows Noah Wyle in a scene from "The Pitt." (Warrick Page/MAX via AP)
This image released by Max shows Noah Wyle in a scene from "The Pitt." (Warrick Page/MAX via AP)

“The Pitt” led all nominees with 25 in a dominant sophomore season, while “Hacks” led all comedies with 24 for its final season as the Emmy nominations were announced Wednesday.

HBO Max’s emergency room series “The Pitt” was a rookie upstart last year with big wins including best drama series, best actor for Noah Wyle and best supporting actress for Katherine LaNasa.

Already a beloved veteran show, it owned this year’s acting categories. Wyle was nominated again, as was LaNasa. Taylor Dearden, Fiona Dourif and Sepideh Moafi also got nominations, with “The Pitt” taking four of the seven supporting actress spots.

Three of their castmates were nominated for best supporting actor: Patrick Ball, Shawn Hatosy and Gerran Howell.

Emmy voters love a departing show, and have loved “Hacks” since its first season. Those two colliding phenomena let it rake in nominations for its fifth and final season.

“Hacks” star Jean Smart has won best actress in a comedy for all four previous seasons. It would be stunning if she didn’t claim a fifth in September.

Her sidekick throughout the series Hannah Einbinder, who last year broke through and won supporting actress in a comedy in her fourth nomination, got a fifth nomination Wednesday, as did her castmate, the show’s co-creator Paul W. Downs.

Recent winners Liza Colón-Zayas and Jeff Hiller announced the nominees at the Television Academy in Los Angeles. The 78th Primetime Emmy Awards, airing on NBC, will be held Sept. 14 at the Peacock Theater, the longtime Emmys home that will soon also be home to the Oscars. Mariska Hargitay, who for decades has been one of NBC’s standard-bearers as the star of “Law & Order: Special Victims Unit,” will host.

Two new shows from AppleTV+, the one-woman-against-the-hivemind drama “Pluribus” and the horror comedy “Widow’s Bay,” both scored big in their first seasons.

“Pluribus,” from “Breaking Bad” and “Better Call Saul” creator Vince Gilligan, got 18 nods. They included best actress in a drama for its only lead cast member Rhee Seahorn, who is considered the favorite to win the category.

“Widow’s Bay” got 19, second only to “Hacks” among comedies, including a best actor nod for star Matthew Rhys. Two other Apple shows got best comedy nods, “Margo’s Got Money Troubles,” whose stars Elle Fanning and Michelle Pfeiffer also got acting nominations, and “Shrinking.”

The nominations for “Shrinking” included a best supporting actor in a comedy nod for Harrison Ford. The buzz is strong for Ford, with prognosticators picking him to finally win an EGOT-tier award after a storied career. His castmate Jason Segel got a lead actor nomination for the show about therapists crossing boundaries.

Netflix’s “Beef” was tops in the limited or anthology series categories with 16 nominations. “Beef” had a dominant first season in 2023, and the anthology’s all-new grudge holders, Carey Mulligan, Oscar Isaac and Charles Melton, all got nominations.


Movie Review: The Live-Action ‘Moana’ Is a Lifeless Carbon Copy of an Animated Classic

 Cast member Catherine Laga’aia attends the world premiere for the film Moana at the Hollywood Bowl in Los Angeles, California, US, July 7, 2026. (Reuters)
Cast member Catherine Laga’aia attends the world premiere for the film Moana at the Hollywood Bowl in Los Angeles, California, US, July 7, 2026. (Reuters)
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Movie Review: The Live-Action ‘Moana’ Is a Lifeless Carbon Copy of an Animated Classic

 Cast member Catherine Laga’aia attends the world premiere for the film Moana at the Hollywood Bowl in Los Angeles, California, US, July 7, 2026. (Reuters)
Cast member Catherine Laga’aia attends the world premiere for the film Moana at the Hollywood Bowl in Los Angeles, California, US, July 7, 2026. (Reuters)

Say what you will about them, but the Disney live-action remakes have at least given us a choice. Which would you rather see? A spirited, soaring, animated “Moana,” or a purposeless remake featuring Dwayne Johnson with Fabio hair?

The sea is wide, my friends. Yet Moana, the Polynesian wayfaring princess, has seemingly been stuck swimming laps since she first emerged on our screens 10 years ago. She’s one of Disney’s greatest heroes. The original movie, computer animated by hand-drawn masters Ron Clements and John Musker and buoyed by Lin-Manuel Miranda’s energetic songs, represents the height of Disney animation this century.

But since then, the waters have been rough. “Moana 2,” originally planned as a streaming series, did little to expand the tale. And the new live-action remake does even less. Few of the live-action remakes, regardless of box-office receipts, are covered in glory. But “Moana,” directed by “Hamilton” veteran Thomas Kail, feels especially off course, offering little more than a lamentable swap of cartoon imagination for live-action do-over. The lifeless result veers perilously close to “Saturday Night Live” parody or one of those joke parallel universes in the “Spider-Verse” movies.

The new “Moana” is an often shot-for-shot, note-for-note remake of the original, with small pockets of new material. This is understandable, to a certain degree. The songs are still great. Catherine Lagaʻaia, who plays Moana, sings beautifully. The ocean, in digital splendor, is even bluer.

But all inventiveness has gone out to sea. One of the great things about animation is that it can do anything with a snap of the fingers. You can sense imagination at play. The glories of the original “Moana” lied both in its rich Polynesian connections and its cartoony fun: the goofy shape-shifting of the demigod Maui (Johnson), the toe-tapping moves of the giant crab Tamatoa (Jemaine Clement), the way the ocean heaves Moana back aboard the ship.

Making these things physical realities isn’t just an update in format; it saps them of their animated soul. The result comes across more like play acting than genuine artistic creation. There is, I would wager, no one who ever saw the little coconut pirates in the first “Moana” and said to themselves: “I need a more realistic looking Kakamora.”

The greatest benefit of the live-action update comes in the recreation of Moana’s native Motunui. If the original “Moana” was crafted in homage of Polynesia culture, the presence of real people makes that more tangible. John Tui, a New Zealand actor of Tongan descent, is especially good as Moana’s chief father.

But more often than not, the leap from animation to live action comes at a loss. This is especially true of characters destined to be cartoons, like the rooster Heihei. And it’s painfully the case with Tamatoa, whose “So Shiny” tune was once an undeniable highlight but is now perhaps the most awkwardly staged scene of the movie.

None of this is any fault of Lagaʻaia, whose lively performance is the film’s primary source of forward momentum. Maui — boastful, slyly comic, inevitably heroic — is among Johnson’s most perfectly suited roles. So, it’s a surprise how much his performance here struggles to match the verve of the animated Maui. It could be that Johnson, who’s been drawn increasingly to dramatic roles recently, has aged out a character who was a fantasy to begin with, and a wig isn’t enough to cover the discrepancy.

With Christopher Nolan’s “The Odyssey” soon to sail into theaters, it’s an unusually good time for ocean-faring myths about gods and homecomings. No one knows how far this franchise will go — a third animated film is in development. But Moana is in increasingly desperate need of some new waters to explore.


‘Being Heumann,’ About a Disability Rights Activist, to Open Toronto Film Festival

Judith Heumann, special advisor for International Disability Rights at the US Department of State, speaks at the opening session of the China-US Coordination Meeting on Disability in Beijing, April 12, 2016. (AP)
Judith Heumann, special advisor for International Disability Rights at the US Department of State, speaks at the opening session of the China-US Coordination Meeting on Disability in Beijing, April 12, 2016. (AP)
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‘Being Heumann,’ About a Disability Rights Activist, to Open Toronto Film Festival

Judith Heumann, special advisor for International Disability Rights at the US Department of State, speaks at the opening session of the China-US Coordination Meeting on Disability in Beijing, April 12, 2016. (AP)
Judith Heumann, special advisor for International Disability Rights at the US Department of State, speaks at the opening session of the China-US Coordination Meeting on Disability in Beijing, April 12, 2016. (AP)

“Being Heumann,” director Siân Heder's film about the late disability rights activist Judith Heumann, will open the 51st Toronto International Film Festival.

Festival organizers announced Tuesday that “Being Heumann,” starring Ruth Madeley as Heumann, will make its world premiere on the opening night of the Canadian festival Sept. 10. The festival runs through Sept. 20.

Heumann, who died in 2023, has been called the “mother of the disability rights movement” for her longtime advocacy and for lobbying for what eventually led to the federal Americans with Disabilities Act. Heumann, who lost the ability to walk at age 2, was also a central figure in the Oscar-nominated 2020 film “Crip Camp.”

“Being Heumann” is Heder's follow-up to the 2021 film “CODA,” which won best picture at the Academy Awards. The win marked a milestone for the deaf community and signaled the first time a streamer, Apple, won Hollywood's top award. Apple is also releasing “Being Heumann.”

“We’re thrilled to open this year’s Festival with Siân Heder’s inspiring follow-up to her Oscar winning ‘CODA,’” Cameron Bailey, chief executive of TIFF, said in a statement. “'Being Heumann' features an electric performance from Ruth Madeley in the story of Judy Heumann, a world-changing advocate for accessibility.”

The festival, one of the premiere launching pads of fall movies, also announced gala world premieres of Susanna White's legal thriller “Prima Facie,” starring Cynthia Erivo, and of Hur Jin-ho's Korean thriller “The Assassin(s).”