Dr. T & The Women is a 2000 American romantic comedy film directed by Robert Altman, featuring an ensemble cast including Richard Gere as wealthy gynecologist Dr. Sullivan Travis ("Dr. T") and Helen Hunt, Farrah Fawcett, Laura Dern, Shelley Long, Tara Reid, Kate Hudson, and Liv Tyler as the various women that he encounters in his everyday life.

Dr. Sullivan 'Sully' Travis (aka "Dr. T."), a wealthy Dallas gynecologist for some of the wealthiest ladies in Texas, finds his life beginning to fall apart starting when his wife, Kate, suffers from "Hestia Complex", a rare type of stigmatization syndrome of wealthy women; after she disrobes in a shopping mall fountain while shopping for their daughter's wedding registry at Tiffany's, she is committed to the state mental hospital.

Dr. T's loyal secretary Carolyn has romantic feelings for him, which are not mutual: in a farcical scene at the workday end, she locks the office door and gives him a shoulder massage from behind his chair, secretly disrobing while emphasizing his need for a loving wife.

Dr. T. asks if she is with Harlan, one of his golfing/hunting buddies, and she replies: “I’m not with anybody.” Distraught, Dr. T. drives off into the storm and into a tornado as it crosses his path and is lifted into the air, tumbling in debris.

Galvanized by the sight, he immediately washes his hands, drops his wedding ring into the basin, takes charge, and delivers the baby, holding it and rejoicing “It’s a boy!”

In typical Altman style, it features some great ensemble acting, including a wonderful performance by Richard Gere.

[5] CinemaScore audience polling gave the film an "F."[6][7][8] Coincidentally, it was released the same day as Lost Souls, which also received an "F."[9] Critic Roger Ebert gave the film three stars, stating "When you hear that Dr. T is a gynecologist played by Richard Gere, you assume he is a love machine mowing down his patients.

T and the Women' uses its affluent milieu to good comic effect, but it's mellower and more forgiving than [Altman's earlier works The Player, Tanner '88, and Nashville], and less interested in social criticism than in the celebration of human foible.

"[11] In a moderately favorable review for Variety, Todd McCarthy wrote, "Although marked by a continually enjoyable accretion of detail and vital work by the thesps, storytelling admittedly leans to the slight and leisurely through the first hour or so, until a prolonged sequence devoted to Dr. T’s day from hell.