Categories: Entertainment

Tamera Mowry-Housley Explains Why ‘The Real’ Was Unhealthy For Her

Housley left the show in 2020.

Tamera Mowry-Housley explained why she left her co-hosting gig at The Real during an interview on Nov. 17. Housley said the constant criticism was unhealthy, and after seven seasons, she’d had enough.

Housley co-starred on The Real from 2013 to 2020. She thanked her co-stars Loni Love, Adrienne Bailon Haughton and Jeannie Mai in an Instagram post announcing her departure with a caption.

“I had NO intention to talk about this today, especially in light of the news of my dear friend Naya, but now some reports are coming out and I’d rather you hear it from me first.

The Sister, Sister actress, said she was proud of her time on the show

, but it was time to move on. She also noted she was looking forward to new opportunities and spending more time with her family.

In an interview with Lewis Howes, Housley elaborated on her reasons for leaving the talk show. She said the criticism as a celebrity, in addition to the negative attention on social media, became overwhelming.

The 43-year-old said the constant negative attention for seven seasons was unhealthy for her mental state. She discussed being misquoted constantly and explained that working on a talk show is not a safe place.

“They will take what you say, put it out of context of who they think you are and that is what happened for years on that show,” she said. “I will tell you this,” she continued. “Being on a talk show and you can take it or leave it, it is not a safe space. It’s not. It’s not a safe place. I wish someone would have told me that because then I would have been prepared. I was not. I learned. Think of going to battle but you don’t know you’re going to battle.”

The actress also recently posted pictures of her family on Thanksgiving and earlier in November on Instagram.

Mowrey-Housley is married to journalist Adam Housley, and the couple shares two children, 10-year-old Aden and six-year-old Ariah Housley.

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Published by
Niko Mann

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