"Valkyrie" Threatens CASTLE

Article first published as "Valkyrie" Threatens CASTLE on TheTVKing.

ABC's Castle returns for a sixth season tonight with "Valkyrie." When the series paused last May, Kate Beckett (Stana Katic) had decided to accept a job in Washington D.C., a step up for her career-wise, but something that she was sure threatened her professional and romantic relationship with Richard Castle (Nathan Fillion). Before she could break the news to Castle, though, he dropped to one knee and proposed. Will Beckett choose Castle or the job?

Well, both, it turns out, as Castle decides to have its cake and eat it, too. Thankfully, we get the rest of that proposal scene at the start of "Valkyrie," not left to wonder how it all worked out. I feel like this moment is necessary, and for fans who have loyally followed the series for the past five years, earned. It's not overly dramatic, but does reveal a lot about the two leads and how they feel about one another. Plus, a big engagement!

After that is dealt with, it feels OK to skip forward two months. Castle and Beckett are busy people, and the first couple of months of this arrangement are likely to be the easiest. They miss each other, sure, but they haven't been kept apart too long. Now, it's been more than six weeks, and it's time for them to spend some one-on-one time. Of course, a case gets in the way.

I was a little disappointed that Castle jumps headlong into a case-of-the-week so quickly. A lot of time in "Valkyrie" is given to Castle and Beckett figuring out their new dynamic, now that Castle cannot help her with her work. But even more of the hour is spent trying to solve the crime Beckett and her new partner (Lisa Edelstein, House) are assigned to.

Look, Castle is a procedural, and it will never be anything different. It is not the type of series that will abandon the formula and grow into something more, and if one goes into "Valkyrie" with that notion, you may not be too disappointed. I am grateful for the personal interplay time we do get in the premiere, more than in most installments. Yet, seeing how great Castle and Beckett are together, it's hard not to wish for more of that.

Castle gets involved in the case. He tries his best to respect Beckett's wishes and stay away, after a single false start, and I think that shows some real growth and maturity on his part. This is a sign they can make the new circumstances work for them, as long as he is willing to give something up, which he does willingly for her. However, it's clear Beckett also misses working alongside him, and that is what will likely end the D.C. stint. Castle will step aside so that Beckett can fulfill her dreams, but maybe her dream, which she doesn't realize until she loses it, is doing the job she loves with her man, and she'll want to get back to that.

Satisfying, "Valkyrie" is part one of what is at least (and likely not more than) a two-part story. There are high stakes, a dramatic twist, and it all feels like a natural part of something bigger. I like the D.C. team, temporary as they might be, and the tale is a fine one for this genre.

My only real complaint about "Valkyrie" is how Castle rushes off to be with Beckett right after Alexis (Molly C. Quinn) brings home a boy named Pi that Castle immediately clashes with. I mean, Castle and his mother (Susan Sullivan) talk about what Castle should do, and then instead of doing it, Castle leaves. This isn't him avoiding being an overbearing dad; it's him running off to something totally unconnected at a time when he shouldn't. The Alexis plot should have been held for a different episode so that it doesn't feel so disjointed when Castle goes to the capital, twice.

I do appreciate how Castle manages to work in some guy time for Castle, Ryan (Seamus Dever), and Esposito (Jon Huertas). They may be hanging out and talking about work, but it's the easy camaraderie that is nice to see, showing that perhaps the three finally have a lasting friendship, unlike how they drifted apart during times Castle and Beckett were estranged.

Considering the type of show that Castle is, "Valkyrie" is a good effort and a triumphant return, as best as we can expect from an episode in the genre. Castle airs Mondays at 10 p.m. ET on ABC.

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

"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.

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.

     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 - "The Confession" on Blogcritics.

"Get a Room" for The Good Wife

     In last night's episode of CBS's The Good Wife, "Get a Room," Alicia (Julianna Margulies) and Will (Josh Charles) are forced to mediate with a former girlfriend of Will's, Celeste (Lisa Edelstein, House, American Dad!). Celeste tries to use what she knows about Will to gain an advantage, while Alicia agrees to play dirty to help their side. The mediator does side with Alicia, but she feels bad when he calls her out on her sneaky tactics.

      Alicia is a "good girl," as well as a good wife, when the series begins. There has been a slow transition in her character to someone who can be a bit naughtier. This isn't necessarily a bad thing. Sure, she finds some moral grey area where there wasn't any before. But it also makes her seem like a freer, happier, more well-rounded person. Whatever else her relationship with Peter (Chris Noth) is, it is a bit suffocating for her. Seeing Alicia being truly happy, even if that means stepping on a few toes, is worth the price.

     One can credit Will with much of the change. Finding pleasure in his arms, she loosens up sexually. Alicia may seem a bit prudish and repressed to most, but she is not that way when flirting with Will, as evidenced by the fact that she offers to dress in costume for him; an American Revolution costume, no less. Will is allowing Alicia to find her sexiness, and they seem to enjoy each other's company. It's really a win-win situation for the couple.

     That is, it's a win-win unless Will is in love with her. Alicia's brother, Owen (Dallas Roberts), keeps trying to get Alicia to talk about her new lover, but she refuses. This leads Owen to figure out that Alicia is just using Will as a fun release, not because of a deep emotional connection. Sure, Alicia and Will are old friends, but she isn't fancying him for the role of husband number two. instead, he's a secret that she keeps just for herself, and that makes it even more tantalizing, but not so important.

     Might Alicia be, at least in part, trying to figure out what causes Peter to stray? Knowing all the things he did, maybe her affair with Will is her way of living out some of that fantasy life and better understanding her husband. Or, maybe she just wants to get even. They are separated for now, but the circumstances of Will and Alicia's current arrangement open the door for a possible reconciliation later on. Both Alicia and Peter will have to find a way to forgive and move on, making the split two-sided instead of one.

     The problem with that scenario is that Alicia may choose to work with Peter against the firm, intentionally or not, as she eventually tries to repair her marriage. Diane (Christine Baranski) is already worried about such a conflict, and has secured Will's blessing to sack Alicia should that occur. This is a very real possibility with the path Alicia is currently walking.

     The major B plot in "Get a Room" involves a bunch of school kids puking their guts up, possibly because of the cheese that they eat. The cheese people come to Eli (Alan Cumming) for assistance with their image, and he convinces them to retain Lockhart / Gardner as counsel. This leads to a major conflict, as what is in Eli's clients' best interests for public image does not necessarily gel with what is in their legal interest. Diane and Eli fight for control of the situation, even in front of the client.

     It's a very exciting battle of wits between Eli and Diane. Both are very strong characters who are not often challenged by equals. That's because they have few equals. Yet, in this case, both are extremely intelligent and well matched; and both are completely correct in their respective approach, as per their business. This makes the struggle for power between the two of them not only entertaining, but complicated and intense. Pitting the two against each other is a stroke of genius for The Good Wife, and one that will hopefully crop up again.

     Eli is involved in another struggle at Lockhart / Gardner, this one more of a longer arc. He discovered Kalinda's (Archie Panjabi) skills last week, and continues to make good use of her in "Get a Room." While it's cool to see the two interact, and for the audience to experience yet another character impressed by Kalinda's mad skills, this presents a problem. After all, the rest of the firm already relies pretty heavily on their sexy investigator. With Eli pulling her time and attention, she's spread pretty thin — Will and Alicia have to wait for evidence for their mediation while Kalinda looks into the cheese situation. This balance cannot last long, and will soon erupt into another (probably juicy) showdown.

     The Good Wife thrives in subtlety, as well as conflict. Kalinda and Cary (Matt Czuchry) make or may not have had a relationship, but he'd certainly like to. That's obvious because of Czuchry's wonderful acting, and the tension the two build in multiple scenes and a passionate kiss. In "Get a Room," Cary actually calls out Kalinda on said tension in a mostly unsatisfying way. Was there once a relationship there? Might there be in the future? Did she break his heart, or lead him on? Surely Kalinda didn't mean to hurt one of the few people she is close with, but apparently nothing serious ever blossoms between them. Shame, that.

     A couple of final random tidbits... Now that Zach (Graham Phillips) knows that it's Peter's fault that Alicia kicks him out, how might Zach's relationship with his parents change? At minimum, he will no longer treat Alicia as the bad guy. Also, will Grace (Makenzie Vega) ever stop being so easily influenced by others? Might Jackie (Mary Beth Peil) begin to better tolerate Owen, and vice versa?

     And, how will Celeste working at Lockhart / Gardner affect Will and Alicia's relationship? Might Will be inclined to go back to someone else when he learns that Alicia isn't ready for something meaningful with him? Celeste could at least be a good rebound/comfort for him.


     Watch The Good Wife, as outstanding as ever, Sundays at 9 p.m. ET on CBS. If you DVR it, be sure to check and make sure it starts on time, as CBS's NFL runover can push the show back, an inexcusable offense, in this reviewer's opinion.

     If you like my reviews, please follow me on Twitter!

     To buy The Good Wife DVDs, please click here.

Article first published as TV Review: The Good Wife - "Get a Room" 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.

Childrens' Hospital returns for a third hilarious season

     Cartoon Network's Childrens' Hospital began its third season this week with "Run, Dr. Lola Sprat, Run." At the Brazilian-set hospital, though clearly the show is filmed in Los Angeles at the same place where Scrubs was shot, with no attempt to make anyone or anything seem South American, a boy comes in trapped in quicksand. The rescue workers managed to put part of the quicksand in a trough, and that's what they bring in. Because it is Saturday, no one is working at the hospital, so administrator Sy (Henry Winkler) must call the team in to save the boy's life. Dr. Childrens is revealed. None of the doctors can figure out what to do, until Dr. Lola Spratt (Erinn Hayes), who has been delayed, arrives. Meanwhile, Dr. Owen Maestro (Rob Huebel) and Valerie (Malin Akerman), also a doctor, attempt to figure out why Nurse Dori (Zandy Hartig) has suddenly been getting fat these past nine months.

     The opening credit sequence this week is goofy, as it has fake actor names for all of the people playing the main characters, except Rob Huebel. Why Huebel didn't get a psuedonym, too, is a mystery, but it's funny for some reason.

     Even better, we get to see what all the doctors are up to un the weekend, since they certainly wouldn't be practicing medicine. The Chief (Megan Mullally), who can barely walk with her ailments, is a super hero, flying around town, saving lives. Owen is an airplane pilot who doesn't wear pants or underwear. Glenn (Ken Marino) is dating Lisa Edelstein from House (herself) in a hilarious cameo. And Valerie is actually Dr. Childrens (Mad Men's Jon Hamm reprising the bit from last season's finale), the hospital's namesake in disguise. And those are only a few of the beginning scenes. Fantastic cameos really make this bizarre set up work, as Edelstein and Hamm commit fully to the parts.

     Which is why Childrens' Hospital works. Sure, it's just a parody of ER, Grey's Anatomy, House, etc., but it's also one that is so extremely funny because of series star, writer, and creator Rob Corddry. Who else would name the loudspeaker guy after the man who did it on M*A*S*H, and get Michael Cera to voice it?

     One sequence that works a bit slyly is Lola Spratt is taking voice over lessons as the episode begins. There are three main female doctors on the show. Dr. Cat Black (Lake Bell) narrated the first season. Because of other acting commitments, Bell dropped to part time in season two, so Valeria replaced her in both the hospital and the narration, though both work together well enough now. Perhaps season three is Lola's turn, as she is featured in this first episode, the title of which bears her name, and she can do the voice over work. That only leaves one question. Who's turn will it be for season four? Sy?

     Other gags this week include Blake (Corddry) slapping blood on his scrubs purposely before he even goes on shift, giving him the trademark red stains, as well as Glenn adjusting his yarmulke. Valerie only discovers Dori is pregnant because she reads an article in a magazine, not because Dori offhandedly mentions she likes to get high and have sex in opium dens. Of course, the magazine says nothing on if the baby might be a karate instructor, a fear shared by Dori and Glenn.

     The only thing that fell flat in this season premiere is Lola's extended encounter with an ex, who she has to behead. It drags the story down, slowing the pacing and the boyfriend is more dumb than silly.

     Childrens' Hospital works so well because not only is the humor strong, but the performers also commit fully. Despite the ridiculous things they say and do, the characters appears to take everything completely seriously. They freak out, worrying the boy might drown in quicksand, even though all it takes is Lola smashing the trough with an axe (complete with spoken sound effects). It's a show very hard to review, other than to say it will make you laugh more than virtually anything else on television, and you absolutely must watch it.

     Childrens' Hospital airs Thursday nights at midnight.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     Please click here to buy the first two seasons of Childrens' Hospital on DVD.

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!

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     To purchase House DVDs and streaming episodes, please click here.

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

House #7.18 "The Dig"

     So much is going on in last night's 150th episode of FOX's House, that's it's hard to know where to begin. The episode is entitled, appropriately enough, "The Dig." Each of the various stories, some large, some small, many intersecting, deal with layers. There is always something beneath what is being talked about and obviously going on. Many of these layers deal with emotions and relationships. Some deal with disease. Some with morality. All allow serious insight into the characters of House.

     Wilson (Robert Sean Leonard) and Cuddy (Lisa Edelstein) are absent in this episode, strange for a special 150th entry to the series. Yet, there is just no room for them. Too many stories are happening, and the episode is bursting at the seams as it is. Yet, who they are pervades other storylines, even though at this time, they are not on the journey, so they are present in some abstract way.

     Cuddy has broken House (Hugh Laurie), as he has been seen with even more erratic than normal behavior in recent weeks. She also had begun to heal him. House has been in a bad state for the entire run of the series, especially emotionally. This seems to all stem from when he first hurt his leg, and what he went through with Stacy (Sela Ward). He has occasionally shown compassion, mostly for strangers, but rarely lets his team feel valued. This week, House actually expresses some real tenderness for a member of his staff, which will be dealt with more thoroughly later in this review. That shows House is becoming more of a well rounded person. Perhaps it's a slow change, but it's there.

     The worrisome thing for friendship is that Wilson does not know how to deal with this new House. Wilson has been able to assist his friend through many issues in the past. Wilson has been shown to have a weakness for women that need fixing, but isn't his friendship with House about the same thing? When House goes off the deep end, jumping from a hotel balcony, Wilson backs off, having reached his limit. Even the always helpful Wilson can only deal with one type of person, not the now baffling House. Wilson tries to get involved again, as House returns to work, and then House gets married. Wilson retreats, siding with Cuddy, who is the type of broken he can deal with. As House takes his road trip to a spud gun competition, he doesn't bring Wilson along. Is this simply because House has ulterior motives for the trip, or is it a sign of a growing chasm?

     Thirteen (Olivia Wilde) might just be the replacement friend that House needs. She is almost as messed up as he is. Despite making a go in a serious relationship with Foreman (Omar Epps), Thirteen mostly cannot allow herself to get close to people. It's part of why she and Foreman ended. Instead, she seeks comfort from random strangers in bars and clubs. How is this different from House's preference of hookers? She takes party drugs. How is this different from House's addiction to Vicodin? She can come across as cold and calculating, like House. But when the chips are down, as they were with her brother, she comes through. As House will do for her.

     This rekindled kinship, not romantic, but made through commonalities and a sort of friendship, may be necessary very soon. In a recent interview, Robert Sean Leonard raises the possibility of leaving the show, should House be renewed, which it has not yet been, but is expected to be. He is heading to Broadway, and would like to get away from series television, at least temporarily. This would rob House of the one real friend he has, for a few episodes minimum, and House cannot possibly take losing Wilson so soon after losing his relationship with Cuddy. Unless Thirteen is willing to serve as a replacement best friend. Wilson is invaluable, but it's intriguing alternate path should the actor decide to depart.

     Most of this episode centers on House taking Thirteen on a road trip. She is released from prison, having served a six month sentence for excessive prescribing, and he waits to pick her up and make her accompany him to a spud gun competition. At first, it appears that House is just pulling another stunt to figure out where she has been for the past year. As things play out, the stunt element fades and does not return, unusual for House. He actually opens up to her a little bit about Cuddy, with whom he would be celebrating a one year anniversary, had she not dumped him. He also shows real interest in what happened to Thirteen, and not just as a puzzle as he first frames it. While she may take his silence as a lack of emotion after she confesses the full story, House is processing and wants to help. He does not mock her.

     While House stands there stunned, Thirteen having admitted she killed her brother, who was suffering mightily from Huntington's, it seems he might open his mouth and offer to do the same for her, when the time comes. Instead, he doesn't. But why would he? That is not the kind of act House would normally offer to do. It seems strange that that course of action fit so neatly in the scene, when it is a bit out of character. The writer's hold off on it, though, until the very end of the episode. That makes sense, as House really is stunned by the depth of pain he gets from Thirteen, and needs time to fully consider such a drastic promise. He comes through for her in the end, and that's what's important.

     Masters (Amber Tamblyn) becomes fascinated with a puzzle of her own. The team treats a hoarder and her husband, and Masters can't wait to dig through the mess of their house and sort out what is behind it all. She has shown an aptitude and interest in strange behavior before, and so it makes perfect sense for the character. It is regrettable that she will soon be leaving the series for a new one, though if that gets quickly canceled, it would be nice if she returned. Despite a rocky start, she has staked her right to work among the other strong personalities, and brings a unique perspective to the team.

     Is it possible that Masters has a little crush on Chase (Jesse Spencer)? It seems odd, as Chase is a pretty boy, and tends to go after traditionally hot women. Masters does not fit that category. She is a woman of substance and intelligence, who probably could look more attractive, but has more important things on her mind. She is likely drawn to the puzzle of Chase, more than his good looks. In the time she has known him, he has stumbled a bit, still a little shaken up from his divorce. She can see the genuine sweetness buried within, something it took awhile for Chase to show anyone else, and he has kept hidden ever since. So her feelings may not be out of line. The real question is, could he ever be truly interested in her? If she leaves permanently, we will likely never find out.

     Foreman is still cocky and judgmental. After all the things that have happened that could have humbled him, he still thinks he knows better than anyone else. At first, he can't believe Taulb (Peter Jacobson) has landed a young hottie, and tries to figure out what his roommate's secret is. Then he catches Taulb with separated wife Rachel (Jennifer Crystal), and scolds him for messing with a woman's heart. It seems Taulb can't satisfy Foreman, whether he is playing the field with great success, or returning to his life partner. Is Foreman jealous of Taulb? That may sound far fetched, until you spend just a moment pondering their interactions as of late.

     Taulb is showing serious growth. His reconciliation with Rachel has been long and winding, but thankfully is back on track. No matter how many times they call it quits, they feel so natural together. Taub is ready to put Rachel first, wondering if Foreman is right about Taulb messing with Rachel. So he does the right thing, willing to set her free so she can be happy, despite his unhappiness with being away from her. She denies him release, glad to be working things out. These two are built for the long haul, even if their marriage is still currently very much on the rocks. They have shared history, and it's not hard to see what brought them together in the first place.


     House continues its stellar seventh season Monday nights at 8 p.m. on FOX.

 

Article first published as TV Review: House #7.18 - "The Dig" on Blogcritics.

 

Click here for an alphabetical list of all of Jerome's Current Season Reviews.

 

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House Tells "Two Stories"

     I always love it when FOX's House departs from its standard formula and does a different format episode. This week's "Two Stories" was the latest example of this, and it did not disappoint in the enjoyment factor. Framed by House (Hugh Laurie) talking to two fifth grade students, events are told disjointed and out of order, and often times, House is just downright lying. Add to that, parts of the episode involve House telling the young couple about him telling a fifth grade class a story. Mix in several bits he tries to pass off as reality, but were actually ripped from popular movies, and you have one entertaining hour!

     Despite the chaotic nature of the narrative, the plot is pretty easy to follow. I assume that's because the story House is telling is kept simple. There are only two elements, and both are relatively short. First, House's team treats a patient that literally coughs up a lung (gross, but funny). Second, Cuddy (Lisa Edelstein) grows tired of House's inconsiderate nature and the duo have a fight. At first, House doesn't even understand why exactly she's angry, or that this is a culmination of a behavioral pattern, but instead seeks a singular event. Then House tries to figure out what he can do to make it right, but after his conversation with the students, he realizes his manipulative games are what got him into the mess in the first place. Simple, honest sincerity was what it takes to win the day.

    The fact that House can embrace such a concept shows just how far he has come, as well as how deep his feelings for Cuddy go. As House told the principal, he doesn't just love Cuddy, he needs her. Sadly, he has a hard time actually caring about her, as she is quick to point out. Which is what makes them such a great couple. She calls him on his faults, and he really does attempt to be a better man, one worthy of her. It's a process, of course, but I think they both realize that, and House's progress has been satisfactory, overall.

     The reason that letting the two leads pursue a relationship is usually avoided on television is because many shows quickly grow stale when that happens, though there are a number of notable exceptions, Chuck being the most recent. The tension of 'will they or won't they?', even when the audience knows that the answer is almost always 'they will, at the very end of the series', provides dramatic tension and allows fan interest to build momentum. The problem is, after many years of this, it begins to grow stale and feel unrealistic. At that point, it becomes a double-edged sword. If the pair get together, they could become a boring couple. Problems are either unrealistically forced upon them to try to build tension, which doesn't usually work too well, or viewers just can't see how two people can dance around each other for so long and not eventually make a move. There has to be some natural growth after the couples gets together in order for the concept to work, and that groundwork must have been laid long before the relationship begins.

      House has solved this by making the main character so anti-social in the first place. While House has always had a special fondness for Cuddy, I don't think the good doctor ever believed she would go for him until it happened. It is throwing his whole world out of order, and that's a good thing. There is plenty of story to mine about someone who got what he wanted and doesn't know how to keep or enjoy it. Suddenly, House, who has overcome plenty of obstacles, but remained a fairly static personality at his core, has to find his way. While fans know he hasn't always been the Grumpy Gus that we've watched for seven years, House has lived that way for so long that it's hard for him to remember who he used to be. This season has delighted in that discovery, and there's at least another season or two worth of material here.

     The foils of two fifth graders to Huddy's love story is clever. House is, at heart, somewhat childlike. It makes sense that his actions have an immaturity two children can relate to. I think that the young girl is a cross between House and Cuddy's more aggressive sides, while the young boy is their softer sides. Or what their softer sides need to be, as Cuddy is clearly more developed in this area than House. As such, House can learn from watching the boy's example. The boy chooses to support the girl, and be there for what she needs and wants. House does that, too, at the end of the episode.

     An elementary school is such a bizarre place for House to be, and not just because he doesn't have kids. But once I got over the fact that the teacher lets House keep going with his wildly inappropriate stories, which would never happen in real life, I enjoyed the way that kids don't buy into House's crap as much as adults do. They can see through his bluster. I especially enjoyed the kid who keeps pointing out which movies House is referencing.

     On the other hand, I also see House's appeal to the children. He is an interesting man who does exciting work. It's readily apparent that he is also a very smart, talented individual who excels in his field. Plus, his manner of storytelling is just plain fun, and makes you want to hear more. I can relate to that. After all, I've watched six and a half seasons about the guy! Kids haven't yet developed their preconceived notions, and are more open to hearing about the world, as they are not fully in it. This was the most receptive audience that House could ask for, save a room full of med students who have been studying his cases. But that's already been done.

     House is, at his heart, a teacher. Perhaps an abrasive one, but he knows how to set people up to learn. Look at how he treats his team. You cannot tell me that any of them haven't benefited from working under House, learning his techniques and how his mind works. He espouses unconventional thinking and self-motivation. House teaches you how to learn and figure things out for yourself. Any teacher will tell you that teaching someone how to learn is far better than just giving formulas and answers. Whether he is in front of young children, med students, or his own staff, this element, which often gets buried beneath his blustery, over-sized personality, is essential to knowing who House is.

     Now that I've gotten through the serious, deeper elements of the episode, I want to delight in the fun parts. Besides peeling aside the layers of House's soul and the inner workings of his romantic relationship, this week also brings along some of the funniest moments the show has exhibited in awhile. The fact that most don't actually happen in no way lessens the enjoyment. We see House shoot a college student to influence another into hacking into Cuddy's laptop. Taub (Peter Jacobson) and Foreman (Omar Epps) help House stage an elaborate break-in to Cuddy's office. House shouts at a student, "You can't handle the truth!" All wonderful moments.

     My favorite scene in the entire episode, though, was when House makes up dialogue for his fellows, playing on broad stereotypes. Chase (Jesse Spencer) and Taub both proposition a new nurse in lecherous ways, but also in references to sexual experiences both have had (Taub cheats on his wife in past seasons, and Chase engages in a threesome at an administrator's wedding). Masters (Amber Tamblyn) is shot down by other team members, and Foreman takes control, even though he isn't actually their boss. It is a smart play, not wholly out of character for any of them, and yet, of course, using dialogue they would never actually say. The entire scene deserves continuous laughter.

     Also, just the basic image of House being sent to the principal's office is plenty entertaining. That he gets into a fist fight in the classroom, of the sort that elementary students might engage in, only adds to the scene. In some ways, the hospital where House works in like a school, and Cuddy is like a principal. Too bad for House, the principal in this episode doesn't have the same fondness for him that his boss possesses.

     The last thing I'd like to mention, since I don't review every episode, is something that happened last week. Taub moves in with Foreman. Their bonding over video games and love troubles is a high point of the series, showing characteristics of both men that we haven't seen that much of. I am very pleased by this development, and hope the series shows us plenty of downtime together for the two of them in future episodes. Though most of the show takes place in the hospital or wherever House is, Taub in particular has been getting a lot of outside material lately, and it is something I'd like to see more of for all of the other cast members.

     House airs Monday nights at 8 p.m. on FOX.


Article first published as TV Review: House tells "Two Stories" on Blogcritics.

For frequent mini-reviews and occasional TV news, follow Jerome on Twitter.