Everyone ridicules that old TV commercial where a soap actor proclaims, "I'm not a doctor, but I play one on TV," before giving us medical advice on what cough syrup to buy. Now Bravo is bringing us an equally ludicrous line, "I'm not a doctor, but I married one on TV."
That's the premise behind their new show Married to Medicine, an Atlanta-based reality series that tracks a bunch of (mostly African-American) women who are somehow related to the medical industry. My problem isn't with doctor's wives or a show about them — that's no more or less ridiculous than a show about the wives and girlfriends of sports stars, mob bosses, or some other profession that involves a lot of public interest, big personalities, and gigantic amounts of money. No, it's that the cast combines two real actual doctors with medical degrees on their wall with four women who are married to doctors as if it's the same thing.
RELATED: Dear Bravo, It's Time to Make LeAnn Rimes a Real Housewife
I'm sorry, Bravo, but it is not. Dr. Simone Whitmore and Dr. Jacqueline Walters — both of whom are OBGYNs — are women who spent nearly a decade of their lives going through very complicated training, studying hard, and accruing hundreds of thousands of dollars in debt so that they could take a job that is, yes, financially lucrative but also helps people stay safe and healthy and avoid cancer and have healthy babies. The other four women in the cast, well, they're just the lucky broads who managed to land themselves a doctor. To utter them in the same breath makes the world (and especially women) think that they don't have to bother with Biology class as long as they have the right anatomy to attract the right man.
The cast was announced in The Hollywood Reporter and it includes Toya Bush-Harris, who helps run her husband's "medical concierge" business; Mariah Huq, the CEO of Mariah Media Group which is some sort of branding and marketing company; Quad Lunceford-Webb, who appears to be gainfully unemployed; and Kari Wells, a Brit who owns a production company and runs her husbands "medical realty" company.
RELATED: 'Real Housewives of Atlanta' Recap: Kenya Moore Does Not Have Cancer
Wow, they all sound very accomplished. But do you know what they're not? Doctors! They're basically just the same old layabouts as the Real Housewives of Every County, USA. And that's fine. I love a Housewife. But how great would it be to have a show about professional women who are trying to make it as doctors and raise kids and deal with a family and "have it all?" Wouldn't that be a good show? Wouldn't you watch that? I would. Wouldn't that be wonderful and empowering and interesting and say something new about women who worked long and hard in a male dominated field? I think it would. But instead we just get another fighting and screaming show about women lucky enough to have a husband who will buy her furs.
It's even worse that the cast is doctors and women who married doctors, as if the work is equivalent, as if their character is equavalent. It is not. This does a disservice to doctors, wives of doctors, and women in general. One of the cast members says in the show's trailer (which is below), "We take an oath, we want to do no harm." No, you and another doctor took the oath. The rest of these ladies, well, they'll do as much harm as they like.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: Derek Blanks/Bravo]
From Our Partners:
Kate Upton Bares All in Nothing But Body Paint: Video (Celebuzz)
Bradley Cooper Dancing Is Surprisingly Awkward (Vh1)
The Amazing Spider-Man would prefer if you didn't call it the fourth Spider-Man movie. See this ain't the Spider-Man your older brother knew from ten years ago — it's a reboot. The latest adventure to feature the comic book webslinger throws three movies worth of established mythology straight out the window swapping the original cast with an ensemble of fresh faces and resetting the franchise with a spiffy new origin story. "New" in the loosest sense of the word — the highlights of ASM mainly a sleek new design and spunky reinterpretation of Peter Parker (Andrew Garfield) and gal pal Gwen Stacey (Emma Stone) are weighed down by overpowering sense of familiarity. Nearly a beat for beat replica of the 2002 original with some irksome twists of mystery thrown in Amazing Spider-Man fails to evolve its hero or his quarrels. The film has a great sense of cinematic power but little responsibility in making it interesting.
We're first introduced to Peter Parker as a young boy watching as his parents rush out of the house in response to a hidden danger. Mr. and Mrs. Parker leave their son in the care of his Aunt May (Sally Fields) and Uncle Ben (Martin Sheen) who raise him into Andrew Garfield's geeky cool spin on the character. Parker's a science whiz but faces the challenges of every day life — passing classes talking to girls the occasional jock with aggression issues — but all of life's woes are put on hold when the teen discovers a new clue in the mystery behind his parents' disappearance. The discovery of his dad's old briefcase and notes leads Peter to Dr. Curt Connors (Rhys Ifans) a scientist working for mega-conglomerate Oscorp and his Dad's old partner. When they cross paths Connors instantly takes a liking to the wunderkind and loops him into the work he started with his father: replicating the regeneration abilities of lizards in amputee humans (Connors is driven to reform his own missing arm). But when Parker wanders into Oscorp's room full of spiders (a sloppily explained this-needs-to-be-here-for-this-to-happen device) he receives his legendary spider bite that transforms him into the hero we know.
Director Marc Webb (500 Days of Summer) desperately wants Amazing Spider-Man to work as a high school relationship movie but with the burden of massive amounts of plot and mythology to introduce the movie sags under the sheer volume of stuff. Stone turns Parker's object of affection Gwen Stacey into a three-dimensional character. Whenever they happen upon each other an awkward exchange in the hallway a flirtatious back-and-forth in the Oscorp lab (where Stacey is head…intern) or when the two finally begin a romantic relationship the two stars shine. They're vivid characters chopped to bits in the editing room diluted by boring franchise-building plot threads and routine action sequences. Seriously Amazing Spider-Man another mad scientist villain who uses himself as a test subject only to become a monster? And another bridge rescue scene? Amazing Spider-Man desperately wants to disconnect from the original trilogy but it's trapped in an inescapable shadow and does nothing radical to shake things up. Instead it settles for the same old same old while preparing for inevitable sequels instead of investing in its dynamic duo.
There's a sweet spot where the film really hits his stride. After discovering his spider-abilities Peter hits the streets for the first time. He's superhuman but still a headstrong teen full of obnoxious quips and close calls with shiv-wielding thugs. The action is slick small and playful Webb showing us something new by melding his indie sensibilities with big scale action. If only it lasted — the introduction of Ifans reptilian half The Lizard implodes Amazing Spider-Man into incomprehensible blockbuster chaos. A gargantuan beast wreaking havoc around New York City promises King Kong-like escapades for the friendly neighborhood Spider-Man but the lizard man has other plans: to rule the world! Or something. Whatever it takes to get Lizard and Spider-Man fighting on the top of a skyscraper over a doomsday machine — logic be damned.
Amazing Spider-Man peppers its banal foundation with great talent from Denis Leary as Gwen's wickedly funny dad and the police captain hunting down Spider-Man to Fields and Sheen as two loving adults in Peter's life to Garfield and Stone whose chemistry demands a follow-up for the sake of seeing them reunited. But it's all at the cost of putting on the most expensive recreation of all time with new demands imposed by the success Marvel's other properties (except that franchise teasing worked). Amazing Spider-Man introduces too many ideas that go nowhere undermining the actual threat at hand. No one wants to be unfulfilled but that's the overriding difference between the original movie and the update. You need to pay for the sequel to know what the heck is going on in this one.
Dick Clark shaped the lives of the musicians, personalities and actors who worked with him, pushing many of them from obscurity to stardom. After news spread yesterday, April 18, that the iconic TV producer and host passed away, those same performers paid respect in any form they could — making it apparent that Hollywood had lost one of its greatest icons.
The immediate reactions are a reminder of Clark's influence, but the TV show American Dreams, which debuted on NBC a decade ago, may stand as one of the most fitting tributes to the late Clark. The show examined events and emotions of the '60s through the lens of American Bandstand, with a cast of behind-the-scenes creatives, performers, and dancers. American Dreams broke out actress Brittany Snow, who portrayed the show's lead Meg Pryor, a dancer who gets her own big break on Bandstand. Clark was an executive producer on American Dreams and even found himself as a character on the show, played by actor Paul D. Roberts.
Snow shared a statement about Clark's passing with Hollywood.com:
"I am deeply saddened by the news of Dick Clark's death. He was such an inspiring, intelligent and kind man. I am so honored that I was able to be a part of a television show that recreated such an iconic part of history and be a part of Dick Clark's influential work. I will not only be forever grateful [for] how he changed my life but how he also changed the world. A truly gifted man with the most genuine demeanor, he will be so greatly missed."Continuing the high praise for Clark, Disney Chairman and CEO Robert Iger released a statement lauding the producer's innovative programming:
"For more than half a century, Dick Clark brought the best of American music to audiences across the country, creating careers and countless fans for artists on his iconic shows, American Bandstand and New Year’s Rockin’ Eve. We’re proud that ABC was home to those programs and will always be part of his legacy. On behalf of everyone at Disney and ABC, we send our sincere condolences to Dick’s family, as well as the three generations of fans who will miss him as much as we do."
Chuck Woolery, famed television personality, said in a statement:
"I am shocked and saddened by the news of Dick Clark’s passing yesterday. The first time I came in contact with Dick was in 1968 when I did American Bandstand. Dick also produced the show Greed, with me as host, on Fox. He really was the best to work with. We stayed in touch through the years, and I knew Kari, Dick’s wife, as well as his son RAC. I considered Dick, Kari and RAC close friends. My deepest sympathy goes out to his family. What an honor it is to have known him and worked for him. It is such a shock to know he is gone. Dick’s passing is a great loss to not only his family and friends, but to all those fans he touched through the years. Television will never be the same again. Dick was funny, quick, a true gentleman, and helpful to anyone who asked. What more could you ask a man to be? He could walk with Kings and still maintain a common touch."
Mario Lopez, who co-hosted the daytime talk show The Other Half with Clark said in a statement:
"It was truly an honor to have worked with him, learn from him and to be able to call him a friend. He was a great man and an even better friend. The word legend is thrown around a lot, but it's never more appropriate than when used in describing Mr. Clark. He was a real inspiration & influence in my life. I will dearly miss my friend... Rest well DC."
Find Matt Patches directly on Twitter @misterpatches and remember to follow @Hollywood_com!
Update: Ryan Seacrest Pays Tribute to Dick Clark on 'Idol'
Why There Will Never Be Another Dick Clark
Dick Clark on the Big Screen: See the Icon's Rare Movie Appearances