Right

... frantic.

Did, you know, so I think we really think about what are, there is your born family, there is your chosen family.

There, what are the roles that we take, um, whether they are in our own personal lives, the roles that we take in our friendships, the roles we take in our work environments.

And, you know, all of that is, is intentional because I think that as much time as you spend with one another in a workplace, oftentimes you're spending more time there than you are with your own family members.

So you are kind of constructing a different version of a family, and it could be equally dysfunctional [chuckles] or functional based on, you know, who's in, a member of that family.

So I think that, that we get that.

What was the day you pulled the trigger? What happened?

Like when you, when you have the conversation about directing, does that, is that part of it in the initial writer's room or is that, does that happen separate between the showrunner and when directors come on?

I think that was a really symbiotic thing for, you know, because John Wells directed our pilot and as a producer, and he's such an incredible director and storyteller that the visual aesthetic was really important to him and to Scott to keep it as grounded and real as possible.

You know, and Nina Ruscio, who's our incredible production designer, was brought on board before we even really started writing scripts to kind of lay, you know, a little blueprint of what we wanted the ER to look like.

What does it look like in the real world? How can we do it here so that we have, it looks like one giant floor of an, you know, of an emergency room.

So if you come to our, you know, stage, stage 22 at Warner Brothers, you will see when you walk in, you are walking into an emergency department.

It's wild, but in the best way possible.

And because of that, You know, John was able to move really fluidly and map everything out and he wanted to feel very, you know, fluid like a ballet, you know, and I think that the other thing that John did, which was really smart because of the way our show really lives in this real time kind of capacity was.

When you're thinking about the end of each season, Aside from wanting us to watch the following season, how do you map out where the characters land and what do you hope the audience really takes away?