Finding Baby Jane Doe: How ‘The Pitt’ and Other Shows Cast (and Pay!) Their Infant Stars

When filming “The Pitt,” a number of things must go exactly right; the medical drama’s 360-degree hospital set and painstakingly produced prosthetics leave little room for error. So for Season 2, creator R. Scott Gemmill upped the ante by introducing the most unpredictable element of all: a baby.

More than 12 adorably swaddled infants played the abandoned newborn Baby Jane Doe over the seven-month shoot, including 4-month-old twins Luca and Luna; Luca can be spotted nestled on the shoulder of Dr. Robby (Noah Wyle) in the finale’s concluding scene, an overdue moment of catharsis for the anguished attending physician. “They really needed a sleeping baby,” says their mom, Desanka Pinder. “Lucky for him, he just happened to be tired.” 

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Safe to say, Luca has bragging rights for life — how many babies can say they’ve shared the screen with an Emmy-winning star? More than you’d think: Amid a slowdown of on-screen jobs for tots, infant actors are back in the spotlight on TV shows like “9-1-1,” “Shrinking” and “Margo’s Got Money Troubles.” And while it might seem like an unusual gig, agents and parents insist it’s not all that different from any other extracurricular — except, Pinder says, “our kids also get paid.” 

Luna (who made her TV debut on Season 22 of “Grey’s Anatomy”) and Luca’s careers began in utero. Once their parents learned they were expecting twins (an advantage in the industry, since it promises a matching backup on set), they contacted a few agencies before signing with Julie Cruz, who heads Paloma Model & Talent’s baby division. (With newborns, “it almost doesn’t even matter what they look like,” says Cruz, given most parents are understandably uneager to head to set postpartum.) “I was literally in the hospital when I emailed her,” recalls Pinder. “I was like, ‘They’re here!’” 

For babies recruited post-birth, the submission process typically entails sending off a selection of photos via email. (castings also typically happen off shots alone). But more important than cuteness is affect: easygoing equals bookable. Stranger anxiety is an early disqualifier. “You can’t rationalize and argue with the baby,” explains casting agent Katie Taylor. “You know, ‘Angelina Jolie’s going to hold you for two minutes!’” Often, there isn’t much time for familiarization; when 6-month-old River Cabrera-Kelley (also repped by Cruz) was called back for her “Margo’s Got Money Troubles” screen test, she was handed over to Elle Fanning immediately — and without fuss. She was booked the next day.

Alternating with Graham Hendrix, another baby actor, River filmed for nearly four months. Fanning even attended her first birthday party. It’s rare to hear of anyone having a bad time, says Kathy Bolde, Zuri Agency’s young talent division lead, due in part to evolved work requirements. In California, babies between 15 days and 6 months can only work for 20 minutes at a time and spend two hours on set per day; also mandatory is a nurse, a guardian and a studio teacher, who ensures the baby’s wellbeing is looked after. “It’s very easy for babies,” says Taylor. “They have such limited hours; they have such great protections.”

The paycheck, of course, is also enticing. Rates can range from a few hundred to a thousand dollars a day (regardless of whether the baby even films). For parents looking to set their child up for financial success, this is one method — just don’t expect to secure a college fund. There’s no guarantee a baby will book anything, especially as the industry continues to contract. Compared with 20 years ago, there are “very few jobs for babies now,” says Anne Henry, co-founder of entertainment education nonprofit BizParentz. “It’s almost like they’re writing them out.” Henry attributes this to their infamous unreliability: “Baby’s gonna do what a baby does,” she laughs. In fact, productions are increasingly using AI or fake babies, which are easier to manage and less expensive. 

Still, there’s something unbeatable about the real thing. “You can’t replicate the emotions that a baby brings,” says Bolde. Dr. Robby’s soliloquy would have been just a little less moving had Baby Jane Doe been a doll.