When Good Shows Go Bad

Article first published as When Good Shows Go Bad on Blogcritics.


NBC's The Office was once one of the most praised, funniest sitcoms on network television. Community, on the same channel, was a brilliant, creative, original show that broke all the traditional bounds of what sitcoms were capable of. FOX's House was an intelligent character study wrapped in a medical procedural. What do these all have in common? They were great shows that fell apart in the end.

Although I list House, which I still enjoyed through to the end, even if I admit I see the point many make about the creative sagging of the final couple of years, this is usually more of a sitcom problem. A show that is funny and beloved will frequently age and tarnish. I think it's something about a certain type of comedy that just begins to wear thin over time. Jokes are only good for so long, and then they stop getting a laugh out of us. If a comedy series doesn't adapt and grow with its audience, rather than deliver the same thing over and over again, it begins to wither and die.

This isn't a new phenomenon. Many criticized Friends as it approached its end, frustrated with an unrealistic Joey / Rachel romance. The Seinfeld series finale is renowned for how much it disappointed fans. But it's also not going away, as The Office and Community prove. A show that once delighted can go sour.

Perhaps it's a lack of passion. A new show runner may feel edgy and their creative juices may flow, but they can get tired after awhile of working with the same characters and premises. Or new writing staffs may come in and just not understand what makes the characters tick.

The latter is definitely true for Community. Abed used to be the linchpin that made the series work. Even in the installments that could be considered filler, his keen eye and specific viewpoint always made things rise above what seemed to be happening on the surface. Now in its fourth year, with series creator Dan Harmon ousted from the project, Abed is easily the worst character in the ensemble, and the show suffers mightily for it. It may go off the air for good this week, with no fanfare and a very unsatisfying ending.


The Office, on the other hand, is taking its victory lap. It struggled to find its way after losing the star of the show, Steve Carell, and his wonderful Michael Scott. After over a year of floundering, the team threw in the towel and began gearing up to send the characters grandly off into the sunset. It's made the show seem a little better, with the players having some direction and the plot getting movement. But it's curtain call, which, while well deserved, should have come much earlier.

A series can pull itself out of a creative rut. After several strong initial seasons, CBS's How I Met Your Mother spiraled into unfunny drivel for a few years. It clawed its way back to being good by adding emotional heft. This was present in the beginning of the show, of course, before disappearing, but now it's the bread and butter of every installment, with the drama being of a far better quality than the comedy. Even as the final push begins, as next season will be its last, all the major stories are based on pathos, not gags.

But reinvention isn't always possible. Sometimes it's better just to end things, whether the show's story gets tied up or not. NBC pulled Heroes after a fourth season cliffhanger, and ABC didn't give Brothers & Sisters its due five years in. But neither of these series were worth watching anymore, and the networks decided to cut their losses and move on. This outraged fans, but most soon forgot about it.

Maybe we'll never know exactly why our favorite shows can't remain our favorite shows forever. For every Lost and Battlestar Galactica, which maintained quality through the finish line, even with polarizing swan songs, there are plenty like The X-Files or Veronica Mars, which just never recaptured what once made them so special. I'm sorry Veronica Mars fans, I've donated to the Kickstarted campaign and am greatly looking forward to the film, but it's true that each of the three seasons was weaker than the one before it. Storytelling is a tricky thing.


I do think series tend to be better if they maintain one creative vision. Gilmore Girls and The West Wing faltered after losing their guiding person (though the latter eventually found its stride again). A single voice having control allows better consistency than a production team; ask George R.R. Martin. However, if The Walking Dead can continue to thrive, even though it is now on its fourth show runner, this can't adequately explain away the phenomenon.

Taste is not only varied, it is fickle. Catching lightening in the bottle takes a high degree of skill and luck, but to cultivate that lightening and to not let it burn out for one hundred and fifty or two hundred episodes is a very rare feat. Maybe this could be solved with shorter seasons, like the cable channels tend to do, as you'll notice I've mainly talked about programs on the broadcast networks. But systems are slow to change, and there doesn't seem to be movement on that front.

Awesome television that doesn't age well will always be a part of life, sadly. For now, I guess we just enjoy what's good while it lasts.

House - "Born Again" (Season 9 Premiere Review)

So FOX's House returned this week for its ninth season. In the episode, "Born Again," little snippets are revealed about what happened between seasons, and there is some serious emotional depth. Sure, a few obstacles have to be overcome to return things to the status quo, but as usual, House manages to do so without leaning too far out of the realm of believability.

First, the tease. It's heartbreaking to watch Wilson (Robert Sean Leonard) dying in that house on the beach. The beautiful scenery contrasting with his deathly pallor makes a real impact, and House's (Hugh Laurie) silent, stoic expression is perfect. Yes, maybe I would have liked to have seen House's reaction after Wilson breathes that last breath, but the scene is so artistic, teasing us without being explicit, and panning away before we become eerie voyeurs onto such a private moment, that one can't be upset. It is exactly how it should be done.

The "real" opening of "Born Again," after the tease, is brilliant. Having House just walk into his old office and pretend everything is the same is the right way to handle things, and letting his fellows shake their heads in disbelief is a great way to address the audience's own confusion. House has that swagger, that confidence, that lets him get away with more than most people. It's good to see that that hasn't disappeared in the time since we last saw him.

Of course, what we are all thinking is, "What is House doing there?" When last we see him, he is riding off into the sunset with Wilson, and then we see Wilson die in the opening. What come back now? It's pretty obvious that Wilson died months ago, so what prompts his return to the old halls?

The police business can't be brushed under the rug. It's not unpredictable that the patient of the week turns out to have some major pull and is able to get House a pardon, but after seeing how much softer and more attentive House is towards the POW, especially in contrast to the almost cold way that he stood all the way across the room from poor Wilson in the beginning, it works. Who wouldn't want to help that guy, especially after House saves his life?

And House being as nonchalant as ever, knowing he is going to get that pardon, but not telling a frantic Foreman (Omar Epps), who is doing his best to hold off the law, is just classic House. Managing to keep Foreman in the dark about House's role in even bringing the patient to the hospital, whom House must have met sometime after the opening tease, is quite an accomplishment. Thank goodness Foreman is so happy to have House back that he lets it go in the end without getting too upset.

Will House's softer side last? I can't imagine that it will, even with the episode title. One has to believe that he is playing the judge in the hospital to get off of the charges against him. But, at the same time, there are hints that he might also be trying to make up for how he treated Wilson. Did House really pull away from Wilson? Not holding his hand in the end almost seems cruel, but without knowing how he acted in the moments leading up to that bit, it's impossible to say for sure if he stayed a good friend 'til the end. This is a changed House, surely, as one cannot watch their best friend perish and remain the same. But how deep the change goes, or the true motivation behind it, dance, as always, in the glimmer of House's eye, rather than being revealed to the viewers.

Yes, "Born Again" may not even refer to House himself. It probably has more to do with the judge, who is struggling with his own religious beliefs. But even if House isn't sincere, seeing him humor this POTW in talks of god, and not just dismissing it as he may have done in the past when the judge gets too sentimental, is unarguably a change.

Quick side note, Stephen Fry (Bones, QI), who plays the judge in this episode, previously did a sketch comedy series with House star Hugh Laurie. So awesome to see them reunited, even if only for an hour!

It makes sense that Chase (Jesse Spencer) is no longer in the cast. He has a decent enough send off last season, and Spencer is starring in Chicago Fire now, anyway. But I am slightly disappointed that Dr. Adams (Odette Annable) didn't return, as I felt her character could have been explored a bit more fully. I guess a short run is the curse of many pretty girls on House.

That being said, it's cool that Taub (Peter Jacobson) and Park (Charlyne Yi) stayed. Their various reactions to seeing House, whom they believed to be dead until he suddenly walks in the door, is funny. Taub screaming like a girl and Park getting angry is wonderfully in line with their characters, and creates fantastic comedy in an emotionally heavy episode.

The poor replacement for House just doesn't stand a chance at keeping his job, right from the start. I really like the actor they have playing the new head of diagnostics, having seen him in other shows, even though I didn't expect him to join a series like House. Even though it would be hard for anyone to balance a character who is genius enough to be Park and Taub's boss, but is humble enough to agree to stay on with a demotion when House is offered the job back, I think this guy can handle it. I definitely sense his role will not just be milked for a laugh in the coming year.

That still leaves an opening in the cast. I think that House will probably just keep a team of three, but who will take Wilson's office? It's sweet that Foreman has left it empty all this time, and the scenes where each of the docs go in there are heart-wrenching. It's a loss felt on screen and off. But that's prime real estate in a busy facility. I don't know that I want Wilson's Chief of Oncology replacement, Dr. Jerry (Peter MacNicol, Numb3rs, 24), to move in, as I kind of am hoping that it will be a person that House can befriend, and I'm not sure Dr. Jerry is that person. But he could be an amusing side trip for awhile.

And finally we get to the final scene: Cuddy (Lisa Edelstein) standing in the door of House's office. The camera cuts before either House or Cuddy say anything, but that brief bit is so ripe with the unspoken, it's going to drive viewers crazy for an entire week until the next installment! Does she know what House did for Wilson? She has to, right? Why else would she return? Will his selfless actions be enough to earn her forgiveness? What will she do if she learns that House killed Wilson, if he did indeed do so, which is hinted at in the conversation where Park accuses House of it, but is never confirmed? Would that change her mind, or make her see him as even more noble?

Rumor is that Edelstein has agreed to return full-time, even though it hasn't been confirmed by the network yet and her name is absent from this week's opening credits, but what will her role be? Foreman isn't going anywhere, and she can't just go to work on House's team. Could she take over Wilson's office, and in what capacity? Would the woman who became an administrator so young want to go back into endocrinology at this stage of her career? Or is she there simply as a love interest again?

Truly excellent start. Some may think that House has run out of stream after eight years and its almost cancellation last spring. But if future episodes hold up as well as "Born Again," we should all be grateful for the suspended sentence that both the series and the titular character have earned.

House airs Mondays at 9 p.m. ET on FOX.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! First posted on TheTVKing

Is there any hope for Saving Hope?

On this week's Saving Hope, "Out of Sight," Dr. Alex Reid (Erica Durance, Smallville) is almost shut out of an important surgery, a double hand replacement, because she falls asleep during a meeting. Her new boss, Dr. Kinney (Wendy Crewson, 24, ReGenesis), thinks Alex has lost her edge, grieving over fiance Charlie (Michael Shanks, Smallville, Stargate SG-1) in a coma, and assumes Alex is close to a total crash and burn. But Alex has Joel (Daniel Gillies, The Vampire Diaries) to look out for her, and with his help, she is able to prove herself again.

Saving Hope isn't very good. It's also not bad. It's one of those medical shows that hangs out in the middle ground of watchable, but not appointment television. This is probably a death sentence, especially combined with the fact that it's airing on NBC in the summer and has lost ratings almost every week. It's hard to be sad about the impending demise.

On the face of it, it seems like a series worthy of taking a chance on. Staffed with a cast of sci-fi and CW actors, an intriguing move, the show's conceit is that Alex mourns Charlie, while Charlie hangs out as a ghost. But Charlie isn't helping Alex solve cases, which has so been done before. Rather, the best parts of the show involve Charlie trying to figure out how he might wake up by talking to other dead people and coma patients, and Alex struggling to hold on to herself while missing him.

In "Out of Sight," these plots seems to come to a head. Charlie meets someone who has been asleep for about thirty years, and this patient encourages Charlie to move on with his "life," as it is. Charlie, instead, decides to do the opposite, redoubling his efforts. At the same time, Alex is also told to move on, but the second she forgets about Charlie for a moment, she is overcome with grief and returns to his side.

The problem here is that such strong co-dependence is not attractive. Yes, everyone wants to be inspired by true love. And viewers are expected to continue to root for the pair because we see them both on screen every week. However, with the stories taken separately, they both really should begin to find a way to live without one another. It's folly to hold out this false hope, and put one's life on hold for an indefinite member of team. At least, until Charlie wakes out of his coma or finds a way to communicate with Alex, and then the series may take on a different tone. I'm not anxious for this day simply because it may fall into that helping each other solve medical cases formula, which is not at all fresh.

Saving Hope also relies relatively heavily on the patients. They are not the entire story, as there are some romantic triangles and hooking ups going on. Which is like early Grey's Anatomy with a cast of characters that just aren't as interesting. There is no sense copying something if you can't rise to the level of the original. Saving Hope fails to do so.

Even worse, in "Out of Sight" Dr. Tolliver (Glenda Braganza, Men With Brooms) admonishes Maggie (Julia Taylor Ross, Silent House) by telling her to "Look for horses, not zebras." This phrase instantly calls to mind the recently ended show, House, which is another medical show superior than Raising Hope. If you are a young series, still struggling to define your identity and build your fan base, you do yourself no favors by making viewers think of shows similar and better than yourself.

In summary, Saving Hope is not terrible. But it's not great either, and many of the choices being made for the series are not doing it any favors. It it is going to last or earn any type of support, it needs to figure out what it wants to be, what will set it apart from its peers, and commit to it fast.

Saving Hope airs Thursdays at 9 p.m. ET on NBC.

Check out my new website, JeromeWetzel.com. If you like my reviews, please follow me on Twitter! Article first published as Is there any hope for Saving Hope? on TheTVKing.com

Monroe Series 1 on DVD tomorrow

Already missing FOX's House? Well, then I have the series for you! Monroe, a British show about a genius, flawed, ego-driven neurosurgeon who goes by the same name as the series, comes to DVD in the United States tomorrow. Six episodes long, a second series has already been commissioned.

Monroe (James Nesbitt, Murphy's Law, Cold Feet) is a complex character. He is described by ITV as "a brilliant and unusual neurosurgeon – a flawed genius who never lets anyone forget his flaws or his genius." It's an accurate description. The man who works on brains is awfully proud of his own, but that doesn't mean that he completely understands it. He clashes with others constantly, not one to abide by the rules everyone else must follow, and has a very hard time being a good father and husband. Surely, someone as smart as Monroe realizes personal relationships are just as important as the work that he does.

Nesbitt brings a fantastic, nuanced talent to the part. In the title role, he really captures what it is that makes the lead character tick, even if it isn't always obvious to himself. A show like Monroe needs a strong actor to head it, and this one has such a man in spades. If nothing else, watch Monroe for the great performance given by Nesbitt.

Humorous and dramatic, with a fair amount of warmth as well, Monroe ventures deeper into the personal lives of those involved than most medical shows. It's clear that a career in such a demanding, competitive field would have an effect at home, as well as at work. Now, we get to see those consequences.

Susan Lynch (From Hell, Bodies) plays Monroe's wife, Anna, while Perry Millward (Perfume: The Story of a Murderer) is son Nick. These two really help give a more rounded view of the doctor, showcasing what life is like for his loved ones. Unlike House, whom Monroe will be endlessly compared to, Monroe isn't a loner, exactly. He has a family. Just what kind of family man will someone like this be? Not a good one, of course, but you'll have to watch the DVD to find out the specifics!

Monroe is also surrounded by a slew of others at the hospital, too, played by some very talented actors. Of particular note is Dr. Jenny Bremner (Sarah Parish, Hatfields & McCoys, Mistresses), a heart surgeon that is a frequent subject of discord with Monroe. Not that Bremner has it all together, either. Dr. Daniel Springer (Luke Allen-Gale, The Promise) is a wonderful source of laughs, especially when battling theater nurses or losing patients, literally. Tom Riley (I Want Candy, Lost in Austen), Manjinder Virk (The Arbor), Christina Chong (Johnny English Reborn), Thomas Morrison (Brideshead Revisited), Michelle Asante (London Boulevard), and Liz Hume Dawson (4 O'Clock Club) fill out the cast, each appearing in all six episodes.

Of course, with any doctor, there are going to be patients. It won't be hard to guess that Monroe isn't exactly an easy communicator with the people who need his help. Each episode brings various guest stars across his path, with differing results. Monroe isn't heartless, but he isn't in tune with feelings, either. So the result is a complex interaction, which makes for better entertainment, and feels more realistic. The lead character is not a stereotype, but rather, a great character study of a specific type of man.

Monroe Series 1 is presented on two discs, in 16:9 widescreen ratio, with stereo sound. Considering that the show aired just last year, it's a shame that there isn't more done to pump up the visual and auditory aspects of the series. Is this the way it aired in Britain? If so, it's regrettable. There are also no bonus features, which is a real shame. It's lucky that the episodes are good and not readily available any other way in the States, because that is all the DVD has to go on. Perhaps this isn't unusual for our friends across the pond, but for an American buyer, this release feels stripped down and empty.

Still, as I said, the show is good, so check it out. Monroe Series 1 goes on sale tomorrow from Acorn Media.

If you like my reviews, please follow me on Twitter! Article first published as Monroe Series 1 on DVD tomorrow on TheTVKing.com.

"Everybody Dies" in House series finale

As "Everybody Dies," the series finale of FOX's House opens, Dr. House (Hugh Laurie) is lying next to the dead body of his patient of the week (or, POtW) in a burning building. Throughout most of the hour, House converses with hallucinations of some important people in his life, as he tries to decide whether he should live or die.

"Everybody Dies" is dark. There is no denying that. It's obvious when the first image House sees is Dr. Lawrence Kutner (Kal Penn), a fellow who killed himself. Strangely, though, Kutner is trying to talk House out of suicide, while House is the one arguing that life is pointless.

Then Amber (Anne Dudek) appears. Her death is more tragic, but she still argues for life. Stacy (Sela Ward) wants House to try to find happiness again, but he continues to resist. Finally, though, Cameron (Jennifer Morrison) tells him to just lie down, letting the choice be taken from him. This House does, before thinking better of it.

These people are House's subconscious, and as such, he appears to be waging a war within himself. It's thrilling to see these former characters reappear, but besides being a gift to viewers, who they are isn't so important as what they say. House knows that death is the easy way out. He is not going to be able to enjoy the sort of life he has been enjoying much longer, even though his life hasn't been all that fun. Soon, his best friend will be dead, and even sooner, House will be back in jail, wasting Wilson's (Robert Sean Leonard) final moments on earth. So why not end it all?

Even in this darkest of moments, though, House fights on, as he always has. By making the people from his past appear to him, he talks himself out of such a deed. It's telling that he starts with the most tragic figure, and builds to the ones that love him the most. The trajectory is an upswing, and in retrospect, House moves closer to life with each passing moment. But viewers are tricked into missing this by the POW scenes, which are of a more depressing nature.

While House is battling his inner demons in an extremely slowly burning building, he is not left to die alone. The two people he leans on most, who enable all of his crap, are desperately searching from him. Wilson and Foreman (Omar Epps) know that House is missing, and giving the desperateness of the situation, fear the worst. They even interrupt Dr. Nolan's (Andre Braugher) group therapy session to ask for advice. Eventually, they are able to put the pieces together and get to the building where House is.

But they arrive too late. House has decided to live, and is heading towards the front door, visible through the window to Foreman and Wilson, when the ceiling collapses. Gone in a rush of flame, a body identified as House is pulled from the wreckage. It's a tragic ending.

Or is it? House's wife Dominika (Karolina Wydra) and former colleagues, including Thirteen (Olivia Wilde), Taub (Peter Jacobson), Adams (Odette Annable), Masters (Amber Tamblyn), and Park (Charlyne Yi), wax poetic about him at his funeral. But Wilson alone lashes out in anger, instead, calling House a selfish idiot, which, of course, he is. Then Wilson is interrupted by a text message. He doesn't tell the others, but he goes and finds House, who has faked his death so that he can spend Wilson's final five months doing whatever Wilson wants to do. They ride off into the sunset together on motorcycles, great music playing, the ultimate happy ending.

Is this House's plan all along? Or is this something he comes up with at the last minute? It seems a little unrealistic that he is able to escape from the collapsing building, but at the same time, it's hard to complain about the perfect build up of suspense and twist. Not to mention, the metaphors of purgatory and hell are thrown in to make things even more surreal. "Everybody Dies" is a brilliant piece of art, and any inauthenticities can be chalked up to artistic license, not fretted about needlessly.

House has gone to dark places before, but the titular character has always emerged triumphantly. He argues that no one changes, but his growth over the years proves otherwise. Perhaps there have been backslides, as he is self-destructive. But in the end, the goodness within him wins out. This could be because of Wilson. The person House cares about most, the one who sticks by him through it all, needs him, and House wants to be there.

What will happen in five months when Wilson dies? House will not be able to just return to his former life. He gives that up for Wilson. Will he he hide out in a foreign land and practice medicine? Return and take his punishment so that he can honestly go back to his job? Who knows? Who cares? "Everybody Dies" is very satisfying and uplifting.

Before the credits roll, viewers are reminded of the positive impact House has had in the lives of his fellows, too. Cameron is married with a baby. Chase (Jesse Spencer) has taken over House's department, with Adams and Park staying on under him. Taub enjoys spending time with his daughters. These may not all be House's doing, but he has certainly played a role in who they are. Freeing them from himself by his death actually helps them to move on from his crap, and so it is a favor to them, too. Though he deserves credit for teaching them to how to live.

Well, everyone but Cuddy (Lisa Edelstein). It makes sense that she doesn't appear, seeing as how House caused her more pain than anyone, and she has the least reason to still care about him. But to bake anything, there will always be a few broken eggs, and she qualifies as this.

The only person besides Wilson who learns of House's survival is Foreman. Foreman is the only one this information would make a positive impact on. Gone from the team, Foreman has already found his happy career. He might blame himself for not controlling House better if he is allowed to continue to believe the lie. By sending him a signal, as House does, Foreman can go on, knowing that he has nothing to feel guilty for. Plus, of all the fellows, Foreman is the one least likely to tell on House.

Thank you to the cast and crew of House for eight mostly amazing years. It is a series that will not soon be forgotten, and one that has, at times, touched viewers just as much as House himself touches the other characters. House reminds us that a procedural doesn't have to just be a procedural, and there is plenty of mystery still to be found when examining the human spirit. We appreciate the lesson!

I highly recommend you read Barbara Barnett's review of "Everybody Dies" when it posts, and also pick up a copy of her book about House, Chasing Zebras. She has been a brilliant House expert over the years, and who has spoken with wonderful insight and wisdom. Going by her past work, and her thoughts during her live online chat party last night, her article will definitely be something worth reading for every House fan.

One last bit of trivia. The POW in "Everybody Dies" is played by James LeGros. LeGros starred in the short lived medical drama Mercy, and, besides guest starring in the House finale, he also appears in this year's season finale of Grey's Anatomy, which aired last week. Talk about success in the fictional medical community!

If you like my reviews, please follow me on Twitter! To purchase House DVDs and streaming episodes, please click here. Article first published as TV Review: House - "Everybody Dies" on Blogcritics.

The House is heating up

FOX's House presented "We Need the Eggs" last night. Romance and soul mates were the focus, as a patient named Henry (Kevin Christy), who keeps an expensive, customized sex doll for a girlfriend, checks in. As the docs treat him, House (Hugh Laurie) calls out each of his fellows on the obstacles standing in the way to their true loves. They turn this back on him, as House tries his best to sabotage the relationship of his long-time regular hooker, Emily (Noelle Bellinghausen), after she quits on him. 

House is nearing the end of the series, and many shows finish with happy romantic pairings for their central characters. Romance has always been a part of House, but rarely the central theme. Still, it's hard not to want to see the people viewers have grown so invested in over the years, and even the newer docs, find fulfillment in their lives. And despite trends away from marriage, most Americans still view finding a stable, long-term relationship as one of the necessary steps towards total satisfaction.

Does anyone on House have a chance at achieving that goal in the last few episodes? "We Need the Eggs" reminds us that none of them are close. They are all drawn towards House, and he to them, because of damage in their lives. This little group is messed up, and because it's their version of normal, surrounded by peers who are the same, they've been content to let it stay that way. "We Need the Eggs" introduces understanding of this arrangement, and just about everyone seeks to break the old patterns, with varying degress of success. Which is essential to move on and find serenity.

House might just be the one closest to real romance. Not with Emily, who lies about the relationship, but is quitting House anyway. No, House has grown close Dominika (Karolina Wydra). She helps him with his scheme against Emily this week, and Emily is the one that points out to our titular doctor that there seems to be something real between them. A couple of scenes between House and Dominika, one on one, really paint the picture of this possibility, and it looks beautiful.

While discussing House with House expert and co-executive editor of BlogCritics.org Barbara Barnett on The Good, The Bad, and the Geeky podcast a couple of weeks ago, Barbara mused how interesting it would be if House found love with Dominika, a marriage of convenience. She has a point. After fighting with Stacy, flirting with Cameron, and crash and burning with Cuddy, wouldn't it be fun if House's real gal just sort of falls into his lap? They have great chemistry, and she seems like a nice girl who genuinely enjoys his personality. Why not?

The roadblock to their happy ending could lie in a mistake House makes in "We Need the Eggs." He sees that Dominika has been approved for permanent citizenship, and tosses the letter in the trash. Admittedly, they are not at the point yet where she would likely stay with him if he doesn't do this. But by lying and deceiving her, House leaves himself open to a backlash that could ruin what they have together. Unless she just knows him well enough to not be surprised and hurt by this action, or is later grateful to him for giving them the time they need to find out if they are right for each other. If anyone could see past this, she could. This is certainly a "wait and see" situation.

The other character that is in a good place is Chase (Jesse Spencer). He has stopped his series of meaningless one night stands, and even passes up a chance to sleep with Adams (Odette Annable), knowing it is not a healthy situation to get into. He does a similar thing when Park (Charlyne Yi) comes to stay with him in the previous episode. Chase is learning from his past mistakes, and the growth that he exhibits in "We Need the Eggs" sets him up to be ready for something meaningful. If he doesn't already secretly have a dating partner going on. Which, given the tropes of television, is a distinct possibility.

Adams is not at all ready for romance. She is still deeply hurt by her husband's cheating, and her charity work is just an escape. She has not accepted herself, nor found out who she wants to be. Until she does these things, she has no chance at landing a great guy, her good lucks aside. While people can find other people in the process of fixing themselves, and life remains a fluid process, it seems unlikely that Adams will be in that sort of place by the end of the series.

Park is a possibility. Her character has a knack for analyzing a situation, and taking risks to remove herself from her status quo. She is willing to go outside of the box. This week, she engages in a little duet with a guitar player, which may have been a bit too intimate for casual friends. Is there something between them? Who knows? What's important is that Park is proactive in changing her life, and that is a good first step.

And then there's Taub (Peter Jacobson). In "We Need the Eggs" he meets a cute girl named Wendy (Alexis Raben) in the grocery store. But he can't stop himself from lying to her. And just when he brings himself to confess one lie, he tells another. Now, viewers are not shown how things turn out between them, but it seems like she should run as fast as she can. Hopefully, her character's credited last name on imdb of Jacobson, the same one that actor playing Taub has, is not a signal she is staying. Because Taub is not at all ready for a real relationship.

Foreman (Omar Epps) has been absent these past couple of weeks, and it's hard to know what's going on in his life. Though he seems to be doing well in his new position, his romantic side has not been addressed recently. Wilson (Robert Sean Leonard) gets to tackle family intimacy last week, albeit as part of one of House's manipulations, and it doesn't go well, so he's probably done in this arena as well.

So, short answer, no, not everyone will end up with the romantic partner they desire. But some might. And, since love is not the main theme of House, this issue is likely to not be the sole focus of the characters' endings. Better to get a huge chunk of it out of the way in "We Need the Eggs" and move on from there.


Watch the final episodes of House Mondays at 9 p.m. ET on FOX.

If you like my reviews, please follow me on Twitter! To purchase House DVDs and streaming episodes, please click here. Article first published as TV Review: House - "We Need the Eggs" on Blogcritics.

Bringing down the House

FOX's House last night delves into a case gone wrong. Dr. Walter Cofield (Jeffrey Wright, Quantum of Solace) interviews each member of House's (Hugh Laurie) team to determine who is at fault for a horrible accident. The doctors rally around House, being honest, but also trying to leave things out that they know will make their boss look bad. Cofield pushes, getting to the heart of the matter, as the case unfolds in flashback. Cofield looks like he is about to rule against House, which will send the titular doctor back to jail. But then the patient's wife (Audrey Marie Anderson, The Unit) interrupts the verdict to thank House for saving her husband, and Cofield has a change of heart. He decides that it's "Nobody's Fault." 

House is known for special episodes that are very high quality in drama, writing, and acting, and that verge from the typical formula. "Nobody's Fault" is the latest in this line, and is as fantastic as the others. Seeing things in pieces, watching how the doctors talk about House behind his back, both positively and negatively, is great. No one wants House to go away. He is not just the other characters' key to staying in a unique job, but also brilliant in the way that few people are. His team (and fans of the show) realize that, and want to protect him.

"Nobody's Fault" really examines House's process. It's messy, granted, but it is also effective, as Cofield comes to see. House pushes the boundaries of what should be done, but if he didn't, patients would never be cured. House creates a very competitive environment for his staff, and that fighting, along with his pranks, and his efforts to keep everyone on their toes, leads to the wonderful results that they get. If House were to back off, it would be safer for everyone except the person the doctors are there to help. Thus, House's techniques are justified.

The case of the week is relatively common. A science teacher (David Anders, Alias, The Vampire Diaries) collapses, and it is revealed that he is also in a chemical accident at school earlier. This combination leads to varying symptoms that have the characters guessing wildly. The team, of course, disagrees over what is wrong and how to treat him. Chase (Jesse Spencer) disobeys House's decision because he thinks that Adams (Odette Annable) might be right.

But things take a turn for the worse when Chase, who is glaringly not part of the interview process framework story up to this point, is stabbed by the patient during a mental break. The scalpel goes into Chase's heart. His life is saved, narrowly, but he comes through the surgery paralyzed. Thanks to another genius leap beyond the expected, House is able to tell the others how to fix Chase. It will take therapy, but Chase will be able to walk again.

Which means that the question of the episode is, who is at fault for Chase getting hurt? No one comes out and blames House, even though it's the negative environment that House creates, as well as the risky methods of diagnosis he uses, that lead to the circumstances that cause the patient to freak out on Chase. Cofield questions this, yet even House and Chase say that they would do the same things again. It's the way that the team works. Chase getting stabbed is unfortunate, to be sure, but it is an accident. The way things are being done is sound, in that it leads to a way to help the patient. There is no reason to change that because of one unexpected occurrence. As House says multiple times this week, "Good things usually happen; Bad things sometimes happen."

What is amazing is that Chase refuses to blame House. He has every right to, because Cofield is correct in thinking that Chase would not be hurt if another doctor led the diagnostics department. However, as Chase understands, their patient would not be cured, either. How Chase manages to hang on to logic and reason through his trauma is impressive. Until one considers that it's emotion that is really driving Chase. He is convinced that, deep down, House cares about him. This certainty is proven when House apologizes. Chase is not going to waste time being mad at House, or getting him in trouble, when the benefits of what House does helps so many people. And gives Chase himself the chance to walk again. House saves Chase as much as any other sick person. Chase is glad to benefit from that.

The fact that House apologizes does show some growth. House's signature attitude is ambivalence. He strives for objectivity by not caring about the patients, thinking it makes him a better doctor. As his fellows say, "He's not wrong." It may not be the way most people want House to be, but it's hard to argue with results. But with Chase, someone that House has worked with for nearly a decade, on the table, House does care. He can't show it, except in a private moment, which Chase responds to gruffly to allow House to save face. But he really does, genuinely, care about what happens to Chase.

Does House feel responsible? Maybe. After all, when Cofield absolves House of the blame because of how House helps his primary patient, House reacts angrily. He calls Cofield a coward and storms out. Clearly, House has guilt. House still insists that he is right, but somehow, right is wrong in this instance. Cofield doesn't understand this because he doesn't know House as well as viewers who have watched him these past eight seasons. The clues are there for one willing to look for them.

The big question going forward is, will House change? He is definitely affected deeply by the Chase incident. Now admitting, at least to himself, that he cares, he may be less willing to risk the lives of his team. This could be a disaster for House's reputation and career. He has allowed the same fellows to stay on too long, and now it could end up ruining him. If House can't act like he does, and he can't diagnose, then he has nothing. How much will the events of "Nobody's Fault" color the forthcoming episodes? The last effects will be something to highly anticipate!

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Please ponder the "Perils of Paranoia" with House

     In the opening hook for the House fall finale on FOX, "Perils of Paranoia," a lawyer (Vincent Spano) collapses. Upon searching the patient's dwelling, Park (Charlyne Yi) and Adams (Odette Annable) discover a secret closet arsenal that the man's wife (Amanda Foreman, Parenthood, Private Practice) knows nothing about. This gets everyone thinking about paranoia, especially after the lawyer insists his collection is just a safety net for the very real possibility of the U.S. government collapsing. It also spurs House (Hugh Laurie) to play on Park's own manifestation of that titular emotion in how she is treated by her co-workers.

     How can one judge paranoia? Everyone is afraid of something, and everyone has a different justification into how much fear they allow into their lives, or in how they choose to cope with that fear. Is it silly to plan for the worst, when the chance of the worst happening seems remote to most people? Should the government actually collapse, this man will be hailed as a hero for having the foresight to predict and prepare. Maybe he is more aware than most. It's hard to decide where the line between paranoia and caution exists sometimes, and "Perils of Paranoia" plays up a threat that many Americans today feel is very real. Which just makes the definition of paranoia all the more elusive.

     House, of course, does not feel confused. He loves to poke fun at inferior people, and he considers everyone inferior. This patient provides an excellent opportunity for House, though he is too busy messing with his employees to take much advantage of it. In fact, House has been letting much slide lately. Did prison change him forever? Certainly not, as he still engages in plenty of shenanigans, including a delightful contest of wills with Wilson (Robert Sean Leonard) in this week's episode. But House is more mellow, and doesn't use every single weapon in his cruel arsenal anymore, and there might be something more there than meets the eye.

     An important clue to what House is going through this season on House might be the subject of the game he plays with Wilson. Wilson insists that House is exactly the type of person to own a gun, but House denies possessing one. Wilson doesn't believe him, and both lay traps for each other. In the end, Wilson does find a weapon in House's closet, though House is able to lie and claim it's only a prop. Instead, viewers see that it belonged to John House, House's deceased adopted father, and is a keepsake, not a source of protection. Might House be dwelling on his parentage, and thus, not have time to needle everyone quite as much as usual? And how can Wilson be so off base, because even though a gun is in House's apartment, he is totally wrong about his theory?

     The other victim of House's half-hearted torment this week is Park, whom House tries to make feel alienated on the team. He is successful, though it doesn't take much. Adams clearly doesn't like her, nor do Taub (Peter Jacobson) or Chase (Jesse Spencer) take a particular interest. Adams suggests that maybe they just don't know her, and her offer of a date towards Chase, as well as shooting down his initial excuses, intrigues him enough to accept. Through Chase, viewers now stand a chance of learning a little more about Park. Though when Chase inevitably dumps Park for Adams, as obvious sparks fly between the good looking docs, it could be a source of yet more tension on the team.

     Taub acts a little like House, and also a little like a mother, in trying to find Foreman (Omar Epps) a date. Foreman is bored and frustrated in his job, and isn't taking time to pursue a personal life. Perhaps there is still some lingering bond from living together, so Taub feels like he can, and should, interfere. Unfortunately, instead of accepting Taub's offer of available women, which might benefit him, Foreman falls for a girl who is already married named Anita (Yaya DaCosta, Ugly Betty, All My Children). This cannot and will not end well, so why does Foreman get involved? Especially after being so judgmental about Taub cheating on his wife. Thus, "Perils in Paranoia" features the return of Foreman the Hypocrite.

     Lastly, Blake Anderson (Workaholics) guest stars as a loser clinic patient who is stealing from his employer in "Perils of Paranoia." One expects better guest stars on this series, such as Amanda Foreman, and it baffles why Anderson appears. He basically is the same seemingly stoner persona he uses in his terribly unfunny Comedy Central series, so why even pop up if no range will be shown? Instead, it's a head scratcher, especially as the scene feels slightly out of place in the overall episode.

     Then again, it wouldn't be the first time House treats someone in the clinic that is not connected to the bigger story. In fact, earlier in "Perils of Paranoia," House searches for a beautiful, big-breasted girl (Rachel Sterling, The Man Show) to treat in a throwaway that may only be intended as a joke punch line. Could both the woman and the young man be another symptom of a changing House? Or could the series just be making a couple of bad decisions, as neither is memorable nor necessary?

     House will return in January to finish what may very well be its final season.

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Article first published as TV Review: House - "Perils of Paranoia" on Blogcritics.

House elicitis "The Confession"

     This week's House on FOX, "The Confession," gets things back to normal, as Chase (Jesse Spencer) and Taub (Peter Jacobson) rejoin the team. The patient of the week is Bob (Jamie Bamber, Battlestar Galactica, Law & Order: UK), a beloved hero in his small town. But Bob needs a new liver, and he insists on confessing a bevy of wrongs against everyone who shows up, turning his friends against him. Luckily for Bob, Chase goes above and beyond to figure out that Bob's "confessions" are lies, and a symptom of an illness that the team can heal.

     It is fantastic to have House settle back into the things that make it great. The titular character has his full staff back around him, giving much better balance than just the awkward interaction of two newbies. "The Confession" is mostly a mysterious medical case that holds interest and seems fresh, not to mention features an awesome guest star. Plus, House (Hugh Laurie) is back at his little games, needling a couple members of the staff, and making them feel like things have returned to normal. They haven't quite gotten back to where they are last season, and they probably won't. People move on, and life evolves. But it's still comforting to see that some things never change.

     Bamber is perfect in the role that he plays in "The Confession." He seems sincere, both when being a jerk, and when being a trustworthy man. Viewers know that Bob commits at least one wrongful act, cheating on his wife. Yet, it's hard to fault Bob for sweeping it under the rug, along with the false confessions, when he does so much good for the community. Does being a great man excuse some faults and betrayal? This is a moral quandary, but there are certainly shades of gray that could be explored here.

     Chase had taken a long vacation from medicine while House sat in jail. "The Confession" marks his triumphant return. Adams (Odette Annable) is confused as to why Chase hadn't worked the past year, but he replies that he had faith that House would return along with his job. For Chase, regular medicine just doesn't hold the interest it once did. After working under House, chasing the zebras for so long, nothing else is nearly as exciting. It is no wonder then, given these motivations, Chase is the one that really sinks his teeth into the new case, relishing being back in the job that he loves. Also, after so many bumps in the road, it's good to see Chase so happy.

     Taub is set on by House right off the bat in "The Confession," but he, too, finds this job more rewarding than his old, plastic surgery, which he is practicing again when House calls. This is apparent as Taub investigates the scene of the medical emergency with Park (Charlyne Yi). Of course, House will not let Taub bring his two daughters, both from different mothers, to work, and gives him no time to make other arrangements. So Taub sneaks them into the building, and finds a poor SOB to stick them with. Yep, you guessed it: Wilson (Robert Sean Leonard).

     House sees through this immediately, but one gets the sense that Taub never intends anything other than such. House and Taub have long been engaged in a back and forth, and neither reacts much to the easy bait. It's merely an opening salvo. The real contest is House manipulating Taub into checking the paternity of both babies. The entire goal of this exercise seems to be to prove House can still push Taub's buttons. To his surprise, Taub only temporarily rises to the bait, destroying the results without looking at them. Perhaps fatherhood has made Taub a more centered man.

     Foreman (Omar Epps) has a much bigger struggle than Taub. Promoted to Dean of Medicine, Foreman is waiting for the other shoe to drop in "The Confession," now that House is out of jail and back in the hospital. Foreman wants to keep House from going back behind bars, but likely because it would be an embarrassment to him, rather than any concern for House's well being. After all, if Foreman can do the almost impossible by keeping the brilliant mind of House working, bringing prestige to the hospital, without becoming too much of a liability, he will win great praise from the board members and the medical community. It's personal, and plays to Foreman's frequent weakness: his ego.

     Foreman immediately seeks allies in his battle against House, repeating the mistake of assuming that everyone else wants to get the better of House as much as he does. Wilson, who had been Cuddy's (Lisa Edelstein) ally during her tenure, refuses to play back into the game. It seems Wilson truly has learned his lesson. Or perhaps just doesn't have as much affection for Foreman as he does for Cuddy. Chase and Taub refuse to spy, as that would put Foreman in a superior position over them. Technically, he is their boss, but they are already used to blowing off his superiority complex, and it's no sweat to do so again. Which isn't to say that Chase won't be his friend; they go way back. But Chase also isn't going to be his sidekick.

     House, though, knows all of this, of course, and he comes up with what might be his smartest scheme ever: behave. Yes, it serves Foreman's purpose, but Foreman doesn't realize that. He's too blinded by his own certainty in "The Confession," that he can't see what's really going on. It takes Chase, acting as a calm outsider, to point out that House is screwing with Foreman by not screwing with him. This comes only after Foreman doesn't leave the hospital for four days, while House hangs out in his remodeled office with a big screen TV and martini bar. This round goes firmly to House, as will, likely, just about every other one. Foreman will never be in charge of House the way that Cuddy was. But House respects Foreman enough he probably won't go off the deep end without extenuating circumstances. Which will likely arise eventually.

     Random Question: How long before Foreman feels left out, since he's no longer a part of the "fun" team?

     House's final prank of the day in "The Confession" involves his best friend, Wilson, with whom things are just beginning to normalize. House makes the wall between his office and Wilson's movable. One may read into this as a metaphor for House's desire to be close to Wilson again, as they once are. And it's not impossible that those feelings play some role. However, the main goal is to be silly and annoy Wilson. Not only does House accomplish this, but this sets up a bit that can be used over and over again, and milked for much funny in the future. As such, it's one of House's best gags, and may end up being greater than the sum of its parts.

     Is romance blooming? Between Adams and Chase, it seems logical. After all, Adams is a lot like Chase's ex-wife, Cameron (Jennifer Morrison), in her judgmental, bleeding heart ways, and she's newly single. It seems less likely that a hookup will happen between Taub and Park, but they do have some fun interaction, so that should be enough for them. Though, one never knows.


     Watch House Mondays at 8 p.m. ET on FOX.

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Article first published as TV Review: House - "The Confession" on Blogcritics.

House gives up "Twenty Vicodin"

     As season eight of FOX's House begins with "Twenty Vicodin," the titular character (Hugh Laurie) is about to be paroled from prison after serving a year behind bars. Only five days to go, if he can stay out of trouble. A medical mystery presents itself, and House bonds slightly  with a prison doctor, Jessica Adams (Odette Annable, Breaking In, Brothers & Sisters), as they solve the case together. Remarkably, House puts up with tormenting from an enforcer (Jude Ciccolella, 24) and unrealistic demands without complaint, but just hasn't figured out what ails his patient (Sebastian Sozzi, My Generation). So at the last minute, House sacrifices his freedom to provide healing. This earns his another six months, but he was right.

     Many fans were furious about the season seven finale, when House drives his car into Cuddy's (Lisa Edelstein) house. They argued that this time he had gone too far, and that's indisputable. But from a character standpoint, especially when, as House says in "Twenty Vicodin," he knew no one was in any real danger, it makes perfect sense. Hopefully, this premiere will help ease that negativity. He has taken his consequence, forgoing a lawyer to earn a harsher sentence, and is punishing himself worse than anyone else can. He even tries to quit medicine, until he comes to understand that his gift for diagnosing, and the drive that makes it his obsession, is something he just cannot change about himself.

     The episode itself is pretty cool. Not because it's action packed. In fact, it's sort of the opposite. Not because it's a huge, dramatic stand alone feat, which has been done on House before, because the episode actually seems fairly mundane. But because "Twenty Vicodin" explores the essential character of House, who he is without all of the trappings of life he has surrounded himself with. He has no friends, no office, not a single luxury. Instead, in the absence of what most people typically define themselves by, he explores his self. In this, the episode soars.

     Details are an element that House does well, and once more, they are rule the day. House may have a big case to solve, but he also takes the time to help his roommate's pet cricket. The nurses and fellow prisoners trust him to monitor medications being given out. He is allowed to come into the clinic, something most prisoners probably aren't given the opportunity to do. He even gets away with giving a tracheotomy with a guard watching, and is never punished or accused of hurting anyone. And, of course, House only smiles at the very end, when he is proven right. He has reaffirmed who he is, and knows what he's good at. It's given him back his self worth.

     Where will House go from here? The preview for next week indicates he will soon be leaving his prison cell behind. While the jailhouse installment is cool, House will never work outside of the hospital for very long, so this is wise. Jessica is fired for listening to House, and since they work well together, he will probably try to get her hired, whenever he finds he has enough status to do so. But Cuddy is gone for good, a new boss will be in place, and his friendship with Wilson (Robert Sean Leonard) seems finished, considering Wilson never visits him in prison. It's hard to blame Wilson for doing so, but this means House will not be resuming his life. Nor does Thirteen (Olivia Wilde) show up, even though House was there for her recently when she needed him. Things have changed, and no small effort will put them back to the way they were.

     Which makes this season of House exciting, and fills many fans, myself included, with anticipation. Make sure you watch House Mondays at 9 p.m. ET on FOX.

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Article first published as TV Review: House - "Moving On" on Blogcritics.

House is "Moving On"

     FOX's House season seven finale cannot be said to end on a boring note. With a framework story of Cuddy (Lisa Edelstein) and Wilson (Robert Sean Leonard) talking to the cops, the story builds to a big finish. House (Hugh Laurie), a patient himself after attempting to do surgery on his own leg, directs his team to treat a performance artist (the great Shohreh Aghdashloo). As the doctors research the artist, they discover she knows she has a terminal illness, and is faking symptoms to make her case more attractive to Dr. House, all the while filming the procedure to make another artistic piece. House is fine with that, but when he diagnoses the artist with something non-fatal, and she decides to do risky brain treatment because of love, House grows angry. He takes her choice personally, feeling all that he has is his work, and he thinks he has a kindred spirit in her. Soon after, House sees Cuddy with another man, and drives his car full speed into her dining room, hence the frame story.


     There is much speculation as to if House really did drive his car into Cuddy's home, or if it is another Vicodin-induced hallucination. After all, Wilson comments that House takes almost a month worth of the medicine in just three days, and House has visions because of the drugs before. But there do not seem to be any hints or clues in the episode that point to the stunt as not being real. Hence, for now at least, it appears to happen.

      What is most surprising is House's utter lack of concern for people he has previously shown to care about. He does order Wilson out of the car beforehand, but doesn't pay much attention as Wilson hurts his arm getting out of the way. When House last looks through the window, Cuddy and her guests are sitting right where he plows his car. What if they didn't move? He would have killed four people. House is self-destructive, but rarely shows so little regard for life, and especially for Cuddy.

     But is it really out of character? This might just be the result of the good doctor finally snapping. Pressure is building, and with feeling betrayal first by Cuddy, then the patient, House may not be able to take anymore. He has done some crazy things in the past, and while this may be a new level for him, he does have pent up feelings and a drug problem. Those two elements might explain why he would act in this manner.

     Is there a hint when Wilson tells House to let out his anger so he will feel better? House is shown at the end sitting on a beach, having a drink and smiling. Could this be a result of letting his emotions out, finally finding relief, rather than keeping them bottled up? Is he "Moving On," as the episode title suggests? Is he smiling at the fantasy of driving a car into a house? The House that has delighted TV audiences for the past seven years is not so cruel as to delight in others' pain. The whole situation is very confusing.

     Which is why judgement should be reserved. The House writers have proven themselves time and again over seven seasons, and the series always manages to come up with something exciting and true to the characters. With such an unfinished ending, there is obviously more to what happens than seen at first glance. I, for one, trust the scribes to come up with something plausible and satisfying as the story moves forward from this point.

     As this season is already announced as Lida Edelstein's last, the car stunt may be a convenient way to write her off  the series. After being assaulted so directly by House, it is no wonder the character would not want to stick around. By the time next season begins, she may easily have moved away to put some distance between her and this crazy man. Their relationship, a long time coming, is sadly over, probably for good. She will be "Moving On," too.

     The patient of the week is a gripping, though not unusual, story for House. Aghdashloo takes the acting to a higher caliber than most guest stars because of her immense talent. But the mystery, while contrived, a neat twist ,is no greater than many other patients'. As such, the actress at the center of the story can be credited for much of the wonderfulness of the plot.

     As usual, the patient speaks to what House is going through. Dr. House has an uncanny ability to pick the patients he needs, not just the patients that need him. When choosing the performance artist, he needs justification for his life, the way he is, and his inability to change, as he sometimes wants to do. The fact that the patient completely surprises him sets him off. Perhaps there is more going on here than surface. Maybe House really does, at least subconsciously, surround himself with those who match his mindset or the situation his personal life is in, or help or fascinate him in some way. He thinks he has the perfect candidate here, and after she tricks him, he doesn't trust himself anymore. His judgment is skewed.

     The only subplot of significance is that of Taub (Peter Jacobson), who the writers have been especially generous to lately. Taub avoids Rachel's (Jennifer Crystal) calls, as she is his soon to be ex-wife, whom he is still very fond of, and isn't sure how to break the news to Rachel that the object of his fling is now pregnant. And that is all this new girl is to Taub - a fling. She may be carrying his child, and that may make Taub determined to force a relationship that isn't there for the sake of the kid, but he is not shown to especially care about her in the series at this point. By contrast, Taub cares a great deal about Rachel, and while his avoidance may seem cowardly, he genuinely does want to spare her feelings.

     And then Rachel shows up to drop the bombshell. She, too, is pregnant. By the look on her face, a baby makes a difference in her relationship with Taub, and she is there to take him back. Despite all of the things the pair have gone through, they are going to be parents, and that matters more than the rest of it. That tune may quickly change when the other woman enters the picture. Taub can't keep one of his children a secret. If he has to choose, he will pick Rachel. But he can't just abandon his other kid, either. This is a messy, complicated situation that guarantees Taub continued focus next season.


     House will return for its eighth, and likely final, season next fall on FOX, sans series regular Lisa Edelstein. Be sure to tune in!

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Article first published as TV Review: House - "Moving On" on Blogcritics.