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Dr. 90210’s Plastic Surgeons Are Facing Some Crazy Cases in New Sneak Peek!

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Related: “Dr. 90210” Has All-Female Doctors This September on E!

Dr. 90210 is back and coming to E! this September.

In this all-new trailer for the new Dr. 90210, viewers learn the highly anticipated premiere date for the medical docu-series, which is Monday, Sept. 28. However, the new footage also gives a taste of what’s to come for the new series.

As we previously reported, the new iteration of Dr. 90210 will be led by all-female surgeons, including Dr. Cat Begovic, Dr. Kelly Killeen, Dr. Michelle Lee and Dr. Suzanne Quardt. And, since “Beverly Hills is the Mecca of plastic surgery,” these surgeons are a cut above the rest.

Case in point: Dr. Begovic declares, “Plastic surgery is my destiny.”

This seems to be the case for Dr. Killeen, Dr. Lee and Dr. Quardt as well. Per the footage above, “this is where Rodeo meets drive.”

“Male doctors assume that I want bigger boobs,” one patient relays to Dr. Killeen.

“I just want to punch those doctors,” the redheaded plastic surgeons retorts.

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Celebs Who’ve Admitted to Getting Plastic Surgery

Being stand-out surgeons, these doctors aren’t afraid to tackle challenging cases. In the new season, patients facing non-stop growing breasts, a massive face growth and more turn to the Dr. 90210 medical experts.

“I want a lady to make me look good,” another patient states.

Related: “Dr. 90210” Has All Women Plastic Surgeons Coming to E!

These surgeons certainly know how to leave an impression as they walk-the-walk and talk-the-talk.

“That’s what a plastic surgeon should look like,” Dr. Killeen concludes.

Be sure to watch the action-packed trailer above!

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Who Said It? Stars’ Plastic Surgery Quotes

For more information on the Dr. 90210 surgeons, scroll through their impressive bios below.

Dr. Cat BegovicDr. Cat’s passion for Plastic Surgery and for women’s transformation through procedures she performs while sharing it through social media has positioned her as a top medical influencer with a large loyal 1.2 million followers of women who are enthralled with watching her live surgeries and meticulous technique that leaves minimal bruising, nearly invisible scars, and allows for a short recovery time. Although she is well versed in all areas of plastic surgery, she is known for her signature “natural looking tummy tuck” and for being a pioneer in vaginal cosmetic surgery and rejuvenation. Most of all she is known for being an unapologetic perfectionist who demands only the best possible results for herself and an unparalleled patient experience.
Dr. Cat’s never-ending ambition and belief in herself took her all the way from Harvard to California where she went to UCLA for medical school and then completed not one, but two competitive surgery residencies at UCLA – one in Head and Neck Cancer and Reconstructive Surgery and a second in Plastic Surgery.
What makes Dr. Cat unique in what she does? She cares, she listens, she’s transparent and she delivers results. It is for that reason that she is one of the world’s most successful plastic surgeons and her patients fly into Beverly Hills for surgery with her from all over the world.
Dr. Kelly KilleenDr. Kelly Killeen is one of the best double board-certified plastic surgeons in Beverly Hills. Board certified by both the American Board of Surgery and the American Board of Plastic Surgery, she is known for stellar patient care and excellent surgical results with a commitment to detail, and to putting her patients’ needs above all else.
Dr. Killeen received her medical degree from Loma Linda University School of Medicine and completed her residency in plastic surgery at the Oregon Health & Science University Hospital, where she served as Chief Resident. She completed her residency in general surgery at Cedars-Sinai Medical Center in Los Angeles under the direction of Dr. Lisa Cassileth, where she was recognized for her outstanding academic achievement in surgery, leadership and clinical performance.
After launching her career with a successful practice in Kansas, Dr. Killeen moved back to Los Angeles in 2015 to join Cassileth Plastic Surgery.
Dr. Michelle LeeDr. Michelle Lee is a board-certified and Ivy-league trained plastic surgeon behind some of the most natural-appearing results. She created PERK plastic surgery because life is too short to settle for anything less than the most extraordinary version of yourself.
As a scientist, Dr. Lee is dedicated to pushing back the boundaries of what’s possible in the world of beauty and cosmetics without compromising patient safety. She is the first surgeon in the state of Illinois to use AirXpanders, an innovative technology designed to enable tissue expansion with breast reconstructive procedures.
Dr. Lee currently serves on the editorial board for Aesthetic Plastic Surgery Journal, a publication of the International Society of Aesthetic Plastic Surgery. She is an active member of both the American Society of Plastic Surgeons and the American Society for Aesthetic Plastic Surgery as well.
Always striving to keep up with cutting-edge developments, Dr. Lee is among some of the best plastic surgeons in Beverly Hills to offer the newest innovations to her patients, whether it be the latest laser technology or newly approved nipple-sparing techniques for reconstructive breast surgery.
Dr. Lee was educated at some of the world’s top universities and trained by pioneers in aesthetic breast surgery, facial rejuvenation and migraine surgery. She obtained her medical degree from the University of Pennsylvania on a merit scholarship. Dr. Lee then completed a six-year integrative plastic surgery residency at Case Western Reserve University. After residency, Dr. Lee was fellowship-trained in aesthetic and reconstructive breast surgery at Harvard Medical School’s Beth Israel Deaconess Medical Center in Boston.
Dr. Suzanne QuardtDr. Suzanne Marie Quardt, referred to affectionately as “Dr. Q (TM)” by her many patients, is Board-Certified by the American Board of Plastic Surgery. She received a bachelor’s degree from Rutgers University in biology and then continued her education at the University of Medicine & Dentistry of New Jersey-NJ Medical School campus in Newark. She graduated with honors, earning her Medical Degree (M.D.) as well as the Faculty Organization Award for Most Outstanding Research Project. Dr. Q (TM) performed a Sub-Internship at the prestigious Columbia University and received a letter of recommendation from the now very famous Dr. Oz.
She was accepted at the University of Southern California in Los Angeles, one of the most competitive, as well as challenging, surgical training programs in the country. She did her General Surgery Residency, Plastic Surgery Residency, as well as, Research years at the LA County/USC Medical Center.
Dr. Q (TM) then went on to complete a Specialty post-graduate Fellowship training program in Complex Plastic Reconstructive and Burn Reconstructive Surgery at Rancho Los Amigos National Rehabilitation Center in Downey, CA. She served as the Chief of Plastic Surgery at the prestigious Eisenhower Medical Center in Rancho Mirage from 2009 to 2011 and has served on several Hospital Committees there.
Dr Q (TM) performs all aspects of Plastic Surgery, including cosmetic surgery of the face and body, as well as, challenging cases including reconstructions after breast, skin and other cancers, trauma, and other medical conditions.
Dr. Q (TM) is a member of numerous national medical societies including the American Society of Aesthetic Plastic Surgeons, American Society of Plastic Surgeons, the California Society of Plastic Surgeons, Diplomat of The American Board of Plastic Surgery and the American Society for Laser Medicine and Surgery.

Don’t forget to mark your calendars for the Sept. 28 premiere!

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Netflix is developing a live action ‘Assassin’s Creed’ show

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Netflix announced this morning that it’s partnering with Ubisoft to adapt the game publisher’s “Assassin’s Creed” franchise into a live action series.

The franchise jumps around in history, telling the story of a secret society of assassins with “genetic memory” and their centuries-long battle the knights templar. It has sold 155 million games worldwide and was also turned into a nearly incomprehensible 2016 film starring Michael Fassbender and Marion Cotillard, which underperformed at the box office.

The companies say that they’re currently looking for a showrunner. Jason Altman and Danielle Kreinik of Ubisoft’s film and television division will serve as executive producers. (In addition to working on adaptations of Ubisoft’s intellectual property, the publisher is also involved in the Apple TV+ industry comedy “Mythic Quest.”)

“We’re excited to partner with Ubisoft and bring to life the rich, multilayered storytelling that Assassin’s Creed is beloved for,” said Netflix’s vice president of original series Peter Friedlander in a statement. “From its breathtaking historical worlds and massive global appeal as one of the best selling video game franchises of all time, we are committed to carefully crafting epic and thrilling entertainment based on this distinct IP and provide a deeper dive for fans and our members around the world to enjoy.”

It sounds like there could be follow-up shows as well, with the announcement saying that Netflix and Ubisoft will “tap into the iconic video game’s trove of dynamic stories with global mass appeal for adaptations of live action, animated, and anime series.”

Netflix recently placed an eight-episode order for “Resident Evil,” another video game franchise that was previously adapted for the big screen. And it also had a big hit with its adaptation of “The Witcher,” which is based on a fantasy book series that was popularized via video games.

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Original Content podcast: ‘Lovecraft Country’ is gloriously bonkers

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As we tried to recap the first season of HBO’s “Lovecraft Country,” one thing became clear: The show is pretty nuts.

The story begins by sending Atticus “Tic” Freeman (Jonathan Majors), his friend Leti Lewis (Jurnee Smolett) and his uncle George (Courtney B. Vance) on a road trip across mid-’50s America in search of Tic’s missing father. You might assume that the search will occupy the entire season, or take even longer than that; instead, the initial storyline is wrapped up quickly.

And while there’s a story running through the whole season, most of the episodes are relatively self-contained, offering their own versions on various horror and science fiction tropes. There’s a haunted house episode, an Indiana Jones episode, a time travel episode and more.

The show isn’t perfect — the writing can be clunky, the special effects cheesy and cheap-looking. But at its best, it does an impressive job of mixing increasingly outlandish plots, creepy monsters (with plentiful gore) and a healthy dose of politics.

After all, “Lovecraft Country” (adapted form a book by Matt Ruff) is named after notoriously racist horror writer H.P. Lovecraft, but it focuses almost entirely on Black characters, making the case that old genres can be reinvigorated with diverse casts and a rethinking of political assumptions.

In addition to reviewing the show, the latest episode of the Original Content podcast also includes a discussion of Netflix earnings, the new season of “The Bachelorette” and the end of Quibi.

You can listen in the player below, subscribe using Apple Podcasts or find us in your podcast player of choice. If you like the show, please let us know by leaving a review on Apple. You can also follow us on Twitter or send us feedback directly. (Or suggest shows and movies for us to review!)

And if you’d like to skip ahead, here’s how the episode breaks down:
0:00 Intro
0:36 Netflix discussion
3:18 “The Bachelorette”
6:30 Quibi
14:35 “Lovecraft Country” review
31:32 “Lovecraft Country” spoiler discussion

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The short, strange life of Quibi

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“All that is left now is to offer a profound apology for disappointing you and, ultimately, for letting you down,” Jeffrey Katzenberg and Meg Whitman wrote, closing out an open letter posted to Medium. “We cannot thank you enough for being there with us, and for us, every step of the way.”

With that, the founding executives confirmed the rumors and put Quibi to bed, a little more than six months after launching the service.

Starting a business is an impossibly difficult task under nearly any conditions, but even in a world that’s littered with high-profile failures, the streaming service’s swan song was remarkable for both its dramatically brief lifespan and the amount of money the company managed to raise (and spend) during that time.

A month ahead of its commercial launch, Quibi announced that it had raised another $750 million. That second round of funding brought the yet-to-launch streaming service’s funding up to $1.75 billion — roughly the same as the gross domestic product of Belize, give or take $100 million.

“We concluded a very successful second raise which will provide Quibi with a strong cash runway,” CFO Ambereen Toubassy told the press at the time. “This round of $750 million gives us tremendous flexibility and the financial wherewithal to build content and technology that consumers embrace.”

Quibi’s second funding round brought the yet-to-launch streaming service’s funding up to $1.75 billion — roughly the same as the gross domestic product of Belize, give or take $100 million.

From a financial perspective, Quibi had reason to be hopeful. Its fundraising ambitions were matched only by the aggressiveness with which it planned to spend that money. At the beginning of the year, Whitman touted the company’s plans to spend up to $100,000 per minute of programming — $6 million per hour. The executive proudly contrasted the jaw-dropping sum to the estimated $500 to $5,000 an hour spent by YouTube creators.

For Whitman and Katzenberg — best known for their respective reigns at HP and Disney — money was key to success in an already crowded marketplace. $1 billion was a drop in the bucket compared to the $17.3 billion Netflix was expected to spend on original content in 2020, but it was a start.

Following in the footsteps of Apple, who had also recently announced plans to spend $1 billion to launch its own fledgling streaming service, the company was enlisting A-List talent, from Steven Spielberg, Guillermo del Toro and Ridley Scott to Reese Witherspoon, Jennifer Lopez and LeBron James. If your name carried any sort of clout in Hollywood boardrooms, Quibi would happily cut you a check, seemingly regardless of content specifics.

Quibi’s strategy primarily defined itself by itself by its constraints. In hopes of attracting younger millennial and Gen Z, the company’s content would be not just mobile-first, but mobile-only. There would be no smart TV app, no Chromecast or AirPlay compatibility. Pricing, while low compared to the competition, was similarly off-putting. After a 90-day free trial, $4.99 got you an ad-supported subscription. And boy howdy, were there ads. Ads upon ads. Ads all the way down. Paying another $3 a month would make them go away.

Technological constraints and Terms of Service fine print forbade screen shots — a fundamental understanding of how content goes viral in 2020 (though, to be fair, one shared with other competing streaming services). Amusingly, the inability to share content led to videos like this one of director Sam Raimi’s perplexingly earnest “The Golden Arm.”

It features a built-on laugh track from viewers as Emmy winner Rachel Brosnahan lies in a hospital bed after refusing to remove a golden prosthetic. It’s an allegory, surely, but not one intentionally played for laughs. Many of the videos that did ultimately make the rounds on social media were regarded as a curiosity — strange artifacts from a nascent streaming service that made little sense on paper.

Most notable of all, however, were the “quick bites” that gave the service its confusingly pronounced name. Each program would be served in 5-10 minute chunks. The list included films acquired by the service, sliced up into “chapters.” Notably, the service didn’t actually purchase the content outright; instead, rights were set to revert to their creators after seven years. Meanwhile, after two years, content partners were able to “reassemble” the chunks back into a movie for distribution.

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