I’ve been watching VH1′s Celebrity Rehab show optimistically, hoping that more structure was in place behind the scenes than was immediately evident to a bystander like me.
Supporting my optimism, in the season 3 premier, a patient asks Dr. Drew Pinsky for permission not to divulge a highly personal matter with cameras present. Pinsky agrees, not to sending the cameras away, but to letting her write the secret on a piece of paper, not visible to cameras recording from a distance. His voice-over explains that honoring the patient’s personal boundary was no problem (at the same time it reveals the salacious details, because the patient had done so previously to the media).
My optimistic assumption was that Dr. Pinsky was concerned about distinguishing between his roles as an executive producer of the show and physician to his fellow cast members. In the context of his dual roles, it just made sense to me that he would put up some sort of firewall between himself and the production crew during the 21 days of filming, wearing the physician hat while treating his patients, and the producer hat while monitoring the editing process afterward.
An article in the NYTimes Magazine, alternately titled “Hitting Bottom” and “Is Dr. Drew Pinsky’s Show Therapy or Tabloid Voyeurism?” pokes holes in my optimism about the physician/producer boundaries:
- Pinsky and Perez, the show’s supervising producer, are collaborating actively through the day.
- Perez gets concerned about patients who are too sick to make good TV, and Pinsky intervenes in camera-friendly form.
- Perez alerts the nearest camera person to be there.
- Pinsky, Perez, and another producer (Irwin) confer “like three members of a rehab team.”
- Pinsky reports on a patient’s progress and Perez responds approvingly.
- Pinsky next reports on an unfilmed, one-on-one exchange with a patient.
- In the group session that follows, Pinsky gently presses the patient to divulge, and Perez speaks into the camera person’s earpiece about when to zoom in.
The author of the article, Chris Norris, exposes all of the details above factually, judgment-free, and also exposes the empathetic/charismatic pull he feels:
Late one sunny afternoon, Pinsky picked me up in his black Lexus to drive to the “Larry King Live” studios in Hollywood. [...] He wore a navy blazer and silver tie that harmonized spectacularly with his hair.
[...]
As we drove, I was struck by Pinsky’s disarming conversation style, which involved frequent nods, appreciative laughs, affect mirroring and gentle knee pats — all of which had me sharing intimate details about my childhood before we reached the Hollywood border. Apparently, this comes with the territory…
To his credit, Norris is writing/reporting creatively for the NYT magazine, not reporting news for the NYTimes, and yet doing so with keen sensitivity about what is objective vs. subjective.
He gives us a picture of the conflagration between Dr. Pinsky and Executive Producer Pinsky on the set of Celebrity Rehab. And, a sense of the professional Pinsky versus the personal magnetism of Pinsky who is available to ferry a magazine writer to his gig on Larry King and draw out the writer’s personal secrets along the way.
Is this a little convoluted? A lot?
To be continued…