
Early shows also tended to be white unless a specific point about integration was to be
made. Later, the black
middle class
would appear in
Julia
(NBC, 1968–71), showcasing
an
African
American
nurse, as well as the long-running
Cosby Show
(NBC, 1984–92).
Bill
Cosby’s
character of the wise, warm Dr Clifford Huxtable, however, drew on
another tradition of medical representation—the kindly family practitioner epitomized by
Robert Young in the long-running
Marcus Welby, M.D.,
(ABC, 1969–76). Young was
already known to many viewers as the
sitcom
father in
Father Knows Best
(CBS, NBS,
ABC, 1954–63); working with a younger sidekick and
Hispanic
nurse, he covered not
only a catalog of American diseases, but also topics such as sex-change operations. Like
his precursors, he rarely lost a patient or faced existential or political crises.
The medical format has also been adapted to different contexts and programming
stressing youth, age, gender (a few nursing shows as well as the doctor hunk) and
intersecting with other formats.
Quincy, M.E.
(NBC, 1976–83)
and Diagnosis Murde
(CBA, 1993–) blended doctor and crime stories, while
Dr Quinn, Medicine Woman
(CBS, 1993–9) brought the respectable female physician to the Old
West
.
The ensemble cast of
St. Elsewhere
(NBC, 1982–8), with its fallible physicians,
provided a precursor to both the action-driven
ER
(where hunk male doctors still
outnumber females) and its sometimes more surreal rival
Chicago Hope
(CBS, 1994–).
Together, these shows have broached medical issues ranging from
AIDS
to healthcare
cutbacks, interwoven with
yuppie
personal dilemmas of job versus work, gender and
racial discrimination and dealing with older parents. Malfeasance and malpractice
became issues as well in all these shows.
Medical comedies have been less compelling overall. Yet
M*A*S*H used
bloody
medical
humor
to examine the premises of war (albeit a distant Korea) and to become
one of America’s mostwatched series. Bob Newhart also brought clinical
psychology
into a sitcom.
Doctor/medical shows intersect with changing attitudes and issues in American health,
although almost all have taken for granted the social transformation of American
medicine, in which the doctor has become wealthy, glamorous and powerful in
association with his/her control of life and death. Moreover, these roles are reinforced by
medical reporting on television, especially in local reports and information shows, and by
the apparent roles of physicians in television advertising over decades. While these shows
may educate audiences about disease, the need to entertain, resolve and attract transforms
the image of the physician healer and expectations for medicine itself.
Further reading
Stark, S. (1997)
Glued to the Set,
New York: The Free Press.
Starr, P. (1982)
The Social Transformation of American Medicine,
New York: Basic.
GARY McDONOGH
CINDY WONG
Encyclopedia of Contemporary American Culture 718