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ER in its present, 2003 form is a schizophrenic mess. For every one intelligent, caring episode comes four or five exercises in downbeat, melodramatic soap opera which sap all the energy out of the show's still-present technical mastery. This four-disc set is a welcome flashback to the show's humble beginnings, when it wasn't supposed to be the most heart-pounding show on television, and succeeded on will, not on hype.

The central characters in the first season are Chief Resident Dr. Mark Greene (Anthony Edwards), ER Residents Susan Lewis (Sherry Stringfield) and pediatrician Doug Ross (George Clooney), Head Nurse Carol Hathaway (Julianna Marguiles), Surgical Resident Dr. Peter Benton (Eriq la Salle) and his protégé, third-year med student John Carter (Noah Wyle, the only actor to remain on the show through the entire run). They brought a fresh edge to the oft-repeated world of medical drama, helped greatly by the first television show, in my estimation, to ever put actual intelligence into the presentation. On ER, the cameras move, the people move, the consistent hustle and bustle of an actual environment is palpable, and not simply a setpiece. It's interesting to note that although the show was never broadcast in widescreen until 2001, in the middle of it's seventh season, these first episodes are all presented in the wider format. At first it might seem like hubris, but most of them fit the frame very well, with shots composed and staged for the wider picture - it's not `cinematic' just for its own sake.

Standout episodes from the season include the exposition-heavy `Pilot' which still found time for drama; `Blizzard' which was a tour-de-force of film, editing, and cutting edge medical realism; `Hit & Run' & `Sleepless in Chicago' which dealt with the heavy burden of juggling personal & professional medical care, as well as Carter's development as a doctor; and `Love's Labor Lost', an absolute masterpiece from every angle: drama, directing, scripting, staging, scoring, every cosmic tumbler clicked into place for this episode centered around Greene's tragic triumph in the case of a pregnancy gone bad.

The show took a few (deserved) knocks for being shamelessly convenient in its storylines and ignoring the realities of daily hospital structure in favor of sensationalism. This is exaggerated a little, but still a valid point; rarely an episode goes by without something in the line of an unexpected pregnancy, a suicide attempt, a violent skirmish between doctor and patient, or (in one outrageous case) a 12-year old gang member brining his Glock into a trauma room to try and finish another 12-year old off. Still, the show displayed remarkable resilience in almost always rising to become greater than the sum of its parts. Naturally, that ability has waned and virtually disappeared, but these episodes are no less enjoyable as a result of that.

This show is without a doubt, the best one on television. The one thing that I like most about this show is the atmosphere and setting. Has anyone ever admired the detail put into County General? I think it's great that there is at least one intelligent show on the air.

Not only is the hospital well set up, but so is the cast. All of the characters do a superb job of portraying doctors with the exception of Michael Michele's character. (Sorry if this offends any fans.) The scripts are so well written and I can't imagine writing one every week. Thanks to the writers, producers, etc. for giving us a high-paced dramatic show.

The one thing that I find very unique is that each week new patients comes in with new injuries. With all the episodes they've done over the years, you would think that they would repeat some of their cases, but they don't.

From the scrubs to the trauma, I love everything about the show. With ER topping the ratings chart each week, I will continue to watch and be amazed. I am going to hate to see this show go off the air.

Some TV shows have a structure such that you can tell almost from the beginning how long the show has to live. As much as I loved "Scrubs", that show was built around a few core characters, and once their stories were played out, that was pretty much be the end of that show. "Cheers" basically had a double length of life due to the fact it was actually two shows instead of one - the first 5 seasons with Diane and the last 6 seasons with Rebecca as the female lead. "ER" is different. It has a large cast of constantly revolving characters, and the story lines will always be there as long as there is controversy in medicine to merge with the personal drama. Early in ER's history, things were different. George Clooney's character, Doug Ross, was really the star of the show, although they did spread the stories around so that there was quite a bit of focus on the other characters too. This was a successful formula, but once Clooney became a star and a heartthrob he quickly tired of television and longed for the big screen. Thus, starting in season four, he is absent more and more as he goes off to make action films and the show began to look like it was going to suffer from "Welcome Back Kotter" syndrome, where John Travolta's success on the silver screen killed that show. After Clooney actually did formally exit stage left, the show changed the formula to its current one of spreading the action around with nobody in particular having the spotlight. I guess my point with all of this is, this is how ER managed to go on a total of 15 seasons, with even one extremely unlikeable character being written in as interesting, even if that one character in particular came to an end worthy of Wiley Coyote.

Highly recommended.

This show has been a remarkable, long-lasting hospital drama. The acting has been superb, and the story lines intelligent, and played out very well. The show has come down a bit in recent years. It can still be compelling, but it seems some of the acting is not quite up to what it used to be.

I still remember an episode (I believe it was in the second season), where Dr. Greene (Anthony Edwards) ended up misdiagnosing a pregnant woman. She went into labor in the parking lot, and ended up back in the ER, eventually dying after a horribly bloody delivery (Bradley Whitford from "West Wing" played the husband). I will never forget that episode as long as I live. That was truly one of the finest, and most heart-wrenching television episodes I had ever seen. The nightmare just wouldn't seem to end. Anthony Edwards was just remarkable. I felt emotionally drawn and worn-out after watching it. That just doesn't happen with television anymore.

This show can still be compelling, and it doesn't shy away from sensitive subjects. Like Doctors and Nurses in emergency rooms, it doesn't dwell on, and overdramatize things, but tries to portray them realistically, and then moves on. Although these doctors and nurses can be understandably prone to self-pity, the show doesn't dwell on it. These people have to pick up and carry on, and the show does also.

All in all, very intelligent and thoughtfully done, for the most part.

In the UK we have the home grown medical dramas Casualty and its sister show Holby City. Putting these against ER is like comparing two Ladas to a Rolls Royce. The Brit shows look leaden, and have far too many hammy and wooden actors.

ER has set a very high standard of modern TV drama for 10 years. True, there have been the occasional duff episodes, but the urgency of the drama, combined with what looks like hand held camera work usually delivers punchy tension filled drama, with first rate performances.

Another contributor mentioned the only serious rival to ER, Chicago Hope, a show that was cheeky enough to have a character say "I was hoping to watch ER tonight", and had a hilarious scene which culminated in the death of a heart transplant patient! Unfortunately, that show suffered with the loss of Mandy Patinkin, and began taking itself too seriously. ER may have lost most of its mainstays, especially Anthony Edwards, but it still is a far better option than any other medical drama. I realise however, that it may struggle once Noah Wyle leaves.