The following reveals major plot points from tonight’s Chicago Fire Season 15 premiere.

NBC‘s Chicago Fire returned tonight with its fifteenth-season premiere, picking up after an intense Season 14 finale that left most of 51’s best with their lives on the line. While the team survived mostly unscathed, the series is looking different as showrunner Victor Teran takes the helm.

At the end of July, we confirmed the news that Dermot Mulroney would be leaving the hit series after two seasons playing Battalion Chief Dominic “Dom” Pascal. While Dom’s arrival was a bit rocky for 51, the evolution of the character really won the hearts of fans and show characters alike.

I can confirm Mulroney’s final episode was tonight’s premiere, however, the creators and writers of the show do like to surprise us now and then with appearances every now and again. Like Eamonn Walker, who portrayed Wallace Boden across the show’s first 12 seasons, made a guest appearance in Season 13.

Teran spoke to Deadline recently about the new season, and saying goodbye to Mulroney.

“We only have the one episode with him I’m sad to report. It’s just the premiere. But he plays a very critical role. We had a very hard task when when Boden left. Filling his shoes was going to be an impossible task. Dermot came in and did this incredible job, and provided a bridge to what the future is going to be,” Teran shared.

He continued, “For the first time in 15 seasons, there’s not going to be a Chief in the house. Severide [Taylor Kinney] is really going to be leading things, and that’s a new thing. We’ve been thinking about that for a while, and so we needed to close out Dermot to to give space for that.”

In the premiere of Season 15, it was also confirmed that Severide had chosen the job of Chief of Firehouse 51 over the inspector job that was also offered. However, he continues to wear his fire inspector hat, albeit privately, while trying to help Joe (Joe Minoso) prove his innocence following accusations he played a role in the Season 14 finale fire. In Dom’s last moments on the show, he gives Severide advice about treading lightly between his two passions or risk facing major consequences.

Following the news that Mulroney would be leaving Chicago Fire, he shared a statement.

“Loved every minute of it. Became friends with this incredible crew of people,” Mulroney said at a fan convention.

Mulroney also acknowledged the “incredible cast” he worked with and noted that they gave him “incredibly challenging scenes” throughout his time on the show.

Further, the actor said “they write the character off,” adding, “We gave it our all for two seasons.”

Mulroney was also a series regular on the Netflix drama series The Hunting Wives, playing Jed Banks. Mulroney revealed in May that production had concluded on the show’s second season, and yesterday, The Hunting Wives was renewed for a third season yesterday ahead of the Season 2 premiere. He also recently booked roles in two films: Moon People and the action pic Streets.

Bob Persichetti, a director of Spider-Man: Beyond the Spider-Verse, concedes that the audience bar is rising ahead of the third outing in the Oscar-decorated blockbuster franchise.

“Expectations are kind of limitless and we have to try to meet them,” he told Sony Pictures Animation President Kristine Belson with a grin during a panel discussion at the Crunchyroll Anime Future Forum.

Even though the chat took place at the Javits Center, where New York Comic Con will be held over the next few days, the point of the session was not plot teases or fan service. (Persichetti did show attendees the same work-in-progress footage from the film that screened at Cinema Con in April but Sony is holding back for now on an official teaser for the June 2027 release.)

The discussion instead focused on process and also, in keeping with the theme across other Crunchyroll sessions, about creating an animated work that draws on a multitude of influences but retains its originality.

Belson asked Persichetti, who directs the films with Justin K. Thompson, about how things have changed since the first installment in 2018.

“There were all these questions of, like, ‘Wait, who is it really for?!’” he recalled. “Because it’s not an outright comedy. There’s going to be action in it and Spider-Man guys – what are you doing?! And I think it was at that moment when we were in the room together and we screened it. It was made very clear to us that, ‘Oh, we have been underestimating the general audience for a long time in terms of what the sophistication of an animated film can be.’”

The first film wound up winning the Academy Award for Best Animated Feature en route to a global box office haul of $395 million. The follow-up, Across the Spider-Verse, took in $690.5 million in 2023 and was nominated for Best Animated Feature, losing out to The Boy and the Heron.

Since the franchise left its unique mark, Persichetti said, “The animation industry is going, ‘Oh, you can make choices that seem unorthodox and still make money and still succeed.’”

In the sequel, he said, “we piled on like five different looks and wondered if it was working and people said, ‘not only is it working, but we want more,’” the director said. “What we learned is that the audience is fine with the image changing every shot. … That’s ultimately how we were able to do so many things in one movie. The narrative throughline was creating this incredible visual extravagance.”

Technology has evolved dramatically since a decade ago when the franchise began. The filmmakers and crew are “seeing more creative choices” at a preliminary stage of the process, Persichetti said. “We’re able to think about a movie, holistically, creatively, much earlier.”

The collaborative way of making the film revolves around keeping an open mind, with writer/producers Phil Lord and Christopher Miller in the mix and material taken from real-life experiences. For all of its visual energy, Persichetti said, the original film “was really a movie, in my eyes, that was about Miles and his family. It was also sort of a love letter to New York. It’s also a love letter to hip-hop music and, ultimately, a love letter to Spider-Man.”

The filmmakers have “never said no to an idea,” the director continued. “If it’s an idea we’re doing in the movie, it will be stress-tested repeatedly, and then maybe the real idea ends up being not that thing but pieces of the stuff, pieces of that idea might fall into place on something else.”

The breakthrough of the first film earned the directors considerable leeway, Perischetti said. “We are very fortunate because we’re now on our third movie. The first two movies were successful, and the studio trusts us to make these movies. So we get to explore, probably way more than others do. But I will say, even on that first movie, we were exploring things that nobody believed in, and at first we weren’t even sure worked.”

Channing Dungey has officially added some new responsibilities and reports to her dance card.

Deadline revealed over the weekend that Dungey, who was formerly Chairman and CEO, Warner Bros. Television Group and US Networks, will now also oversee the Paramount cable networks such as MTV, Comedy Central, Nickelodeon and BET.

Dungey, who took on oversight of the WBD networks such as Discovery Channel, TLC, HGTV and Food Network at the start of 2025, said it was time to “turn the page and begin a new chapter”.

She now reports to George Cheeks, Co-Chair and Chief Content Officer, Skydance TV and JB Perrette, Co-Chair and Chief Business Officer, Skydance TV.

In a memo to staff yesterday, Dungey highlighted the studio’s current run that has seen it secure 13 new series orders and 13 renewals since the start of the year, meaning that its slate now includes more than 80 titles for over 20 platforms. This includes Apple’s Ted Lasso, HBO Max’s The Pitt and Netflix’s Running Point as well as HBO Max’s Lanterns, which she said ranks among the top five series launches in the streamer’s history.

Dungey also said she was looking forward to working with “talented studio heads” Matt Thunell, who is President of Paramount Television Studios, and David Stapf, President of CBS Studios.

But she admitted there was uncertainty across the company, given the savings that Co-CEOs David Ellison and Ynon Kreiz have discussed.

“I imagine many of you are arriving at this milestone with mixed emotions: pride in what your teams have accomplished, genuine excitement about the possibilities ahead, and understandably, some uncertainty about what comes next. I don’t have all the answers today — some things will come into focus quickly, while others will take more time to figure out — but I am committed to keeping you as informed as I can as we move forward,” she said. “I’m sure you are wondering what all these changes mean for each of you individually. I don’t have further details at the moment, other than to assure you that our new leadership respects and appreciates how special our amazing, industry-leading team is, and I will be working closely with them on the strategy for our future success.”

She concluded, “As we embark on this next chapter in the company’s storied history, my hope is we can work together to make this transition as smooth and positive as possible for all involved, and to build a future for the studios that’s bigger and better than ever.”