Since the show’s rise during the Great Recession, it has fulfilled a pedagogical role in women’s media. The lesson it imparts is: you better work, bitch.
Save this storyThey gathered twenty miles outside our nation’s capital. Many of the attendees were dressed in the traditional fashions of India: gauzyand bright saris. Other guests wore clothes that represented the diverse dress of the African continent: caftans made from atiku cloth, kufi hats, and braided turbans for women. Bhangra rhythms and African drums played late into the night, as the guests squealed with pleasure, their faces illuminated by the torches of fire eaters.
The early days of “Housewives” were foggy in my memory. It’s been seventeen years since I tuned in to the series première of the first franchise, “The Real Housewives of Orange County.” I vaguely assumed that “housewives” was just a label that had merely outlasted the show’s evolution, the branding equivalent of wisdom teeth, and that the entrepreneurial ethos was a relatively recent development.
But the show also had to conform to the expectations of Bravo’s target audience, which executives called the “Will and Grace” demographic, referring to the popular sitcom about Will, a gay man, and his female roommate, Grace. In other words, producers were looking for shows that would appeal to high-earning gay men and single women living in big cities, the viewers who had given the network their last major hit with the makeover show “Queer Eye for the Straight Guy.
Bethenny quickly became a fan favorite, but her workaholic sensibility and tireless promotional activities were a source of perpetual friction with castmates. In Season 2, she drives to meet her castmate the Countess Luann de Lesseps—whose husband’s family built the Panama and Suez canals—in a Skinnygirl-branded Volkswagen Beetle. “You drive that around town?” Luann laughs. Bethenny, annoyed, says, “If you can wear an Hermès belt, I can [drive] a Skinnygirl car.
There is nothing remarkable about using a spot on a reality-TV show as a vehicle to advertise existing businesses or launch new ones. What makes the “Real Housewives” unique is its relationship to marriage, which allows it to brand the show’s entrepreneurial imperative as a feminist project. The show, with scant exception, presents the institution as so archaic and repressive that you find yourself praying these women sell enough scented candles on Instagram to light it on fire.
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