RESURRECTION Maybe Should Have Stayed Dead

Article first published as RESURRECTION Review on Seat42F.

ABC’s latest high-concept sci-fi series is called RESURRECTION. Like so many failed shows before it, such as FlashForward, The Event, and The River, RESURRECTION tries to tell an intriguing mystery with a large cast, each drawn into the mythology in different ways. An unexplained phenomenon is at the heart of the show, and viewers are asked to ponder who is behind it and what it means.

After viewing the pilot, “The Returned,” I just can’t decide if I like RESURRECTION or not. Tonally and stylistically, it feels a lot like those quickly canceled shows I just mentioned, so maybe there’s an emotional resistance against getting too attached to a show that won’t last. Or maybe the cast, as capable as they seem, just aren’t compelling enough to really hook fans. Or it could be the writing, so vague that the mystery begins to feel like it’s laid out just for the sake of mystery, not with any real, complex plan behind it. Whatever the reason, I’m not sold.

RESURRECTION begins with a young boy named Jacob (Landon Gimenez) waking up in a rice patty in China. He is brought back to the United States, clearly being American, and placed in the custody of Agent J. Martin Bellamy (Omar Epps, House). Instead of turning Jacob over to child services, though, his description not matching any missing persons reported, Marty decides to take Jacob to where he claims home is – Arcadia, Missouri.

Arriving at the house Jacob directs Marty to, they meet Henry (Kurtwood Smith, That ‘70s Show) and Lucille Langston (Frances Fisher, Touch), whom Jacob calls ‘mommy’ and ‘daddy.’ The catch? Henry and Lucille’s eight-year-old son Jacob died more than three decades ago. How can this be him?

Thus, we’re launched into the story. A town still haunted by the death of Jacob and his aunt come face to face with the boy they thought lost, a miracle. All are affected by Jacob’s appearance including his uncle, Sherriff Fred Langston (Matt Craven, Justified), widower of the woman who died with Jacob, Jacob’s cousin, Maggie (Devin Kelley, Covert Affairs), a medical professional, and his childhood best friend, Pastor Tom Hale (Mark Hildreth, V). Another local woman, Elaine Richards (Samaire Armstrong, Dirty Sexy Money), is also part of the cast, but isn’t tied into things until the end of the hour.

The themes explored in “The Returned” include religion and belief, asking viewers to suspend reality in favor of a higher power. Since this is a TV show, the faith is likely only a cover for something more sinister, as other secrets, such as an affair, begin to be exposed, too. So I don’t think RESURRECTION is really going to commit to a god angle for their story.

The problem is, this all feels just a little forced, and motivations aren’t explored fully enough. Why does Marty go against the law and his job description to take Jacob home? It’s easy to see why Marty gets obsessed with the situation after arrival, but hard to understand why his boss might let him continue down this path. Some twists, such as the aforementioned affair, don’t really fit well enough to seem needed, bringing unnecessary drama to the proceedings.

How much of RESURRECTION will come across as phony and how much will follow the rules of the world they establish remains to be seen, “The Returned” being too murky in plot and characters to give us a clear understanding. Yet, the fact that the series does hesitate to explain itself in even the simplest terms makes it feel like there might be no explanation mapped out, meaning the show will meander and play with concepts it doesn’t have a goal of getting deep into. This is just a first impression, and few pilots are outstanding right out of the gate, so I will give it more than one chance.

The challenge RESURRECTION faces, though, is shows like this just don’t seem to work on the broadcast networks. Lost was a fluke and every new effort to recapture its magic falls flat. What’s to stop RESURRECTION from joining that junk heap? I haven’t seen many positive signs yet.

RESURRECTION premieres Sunday at 9 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.

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.

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

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 #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.

 

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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.

House "Small Sacrifices"

***There are spoilers below. If you have not yet viewed the episode, please do so before reading.***

     Most episode of FOX's House are great, but sometimes an episode so superb comes along that I can't not write about it. This week's entry, "Small Sacrifices" was one such episode. There was so much going on, from religious debate, to major character developments, that I will likely miss some important aspect in this review. However, I'll try hit all the highlights. For more information on it, I recommend you check out Barbara Barnett's take. She is also a writer (and editor) on Blogcritics, as she delivers excellent, weekly in depth coverage of the show.

     The main medical case this week involved a patient named Ramon (Kuno Becker) who annually has himself nailed to a cross (through his palms, not his wrists) as part of a deal he believes he has made with God to make his daughter cancer free. House (Hugh Laurie) wants to offer Ramon treatment he believes will heal his patient, but Ramon refuses to accept it, thinking it would break his pact. As House doesn't believe in God, a standoff between the two begins, with House only eventually winning by lying to Ramon, making him believe that his daughter is not cancer-free, calling into question his faith.

     Is it ethical to call into question a belief system to save a life? Of course House thinks so. Ramon isn't upset with House for his deception, thinking it only proves god all the more real. So was anyone really hurt? Well, yes and no. Ultimately, House's goal of saving his patient's life was met, but at what could have catastrophic costs. Ramon could have sued Princeton Plainsboro, got House's medical license revoked, and made all sorts of trouble. Luckily for House, Ramon is a forgiving guy.

     But is it ever ok to lie to a patient, even in a life and death circumstance? After all, Ramon has a right to choose his treatment (or lack thereof), and House went against Ramon's known wishes. For the audience, there is now a character to bring life to that very question, as well as a whole slew or moral and honesty issues, in the newest doctor on the team, Martha Masters (Amber Tamblyn).

     Masters has already appeared in three episodes, and been given an "Also Starring" opening credit line, putting her in the same league as House's second team these past few seasons. Meaning, it looks like she is here to stay for the foreseeable future. I don't like her. I don't know if my distaste is about her, or about how she is getting in House's way and making doing what he does that much harder. I also think my distaste for her is far from universal, so I'll try to break it down.

     House likes Masters. He likes a challenge. Masters has already carved her niche in the team, which admittedly, has gotten more accepting of the way House does things. Complacent, even. For that reason I should welcome Masters, as House has, in his own way. But I can't help but feel the patients would be better off without her, and if she does get kicked off the team this year at some point, that will be the reason for it. Even Masters was the first to admit this week that if House had let her in on the plan, she would have spilled the beans and the patient would have died. Yet, that is not enough to make her rethink her beliefs. She is like Ramon in that even why her way defies what needs to be done to save a life, she will stick to it.

     That certainty should make me admire her, as I would most people with such strong convictions. It makes her a truly unique character on the series, and an interesting addition. Somehow, though, I don't. I think in this case, her inexperience is coloring her work, and it's not helping anyone, least of all her. In order to be the best doctor that she can be, she has to start seeing the world in shades of gray. Honesty is a virtue, but not an infallible one.

     Which kind of brings me around to the House-Cuddy (Lisa Edelstein) relationship, which I am enjoying, even as I worry about the blow it recently suffered. For weeks, House has maintained that he did the right thing by lying to Cuddy to save a patient's life. While Cuddy may have accepted that before they became a couple, she cannot separate her personal and professional lives, and so has forced House to resort to self pleasure.

     By this week, it felt like make it or break it time for the pair, as Cuddy seemed tired of fighting with him about it. Wilson (Robert Sean Leonard) kept telling House to lie and apologize the save the relationship, but instead, House was determined to prove to Cuddy that lying is sometimes necessary and beneficial. It was classic House, and of course he succeeded. But it didn't fix anything. In fact, it made it worse. Because Cuddy wasn't ever debating the positives or negatives of lying. She was upset about a lack of trust and openness that the two of them need to make it work. In the end, House took Wilson's advice. While I would have called this uncharacteristic of him a short time ago, it reflect the new House, who really cares about someone other than himself, and it looking for a new balance.

     Will Cuddy ever find out about this latest deception? Will it change the way she feels about him? Surely, she knew going in that she couldn't change House. Not fundamentally. The audience is quickly learning, though, that if anyone could shift who House is, it's Lisa Cuddy. I like the growth. It looks good on House, and I hope that we've seen the end of this particular fight. It would serve no purpose for her to know he was lying when he apologized. In fact, that he was willing to speaks volumes.

     Sadly, House and Cuddy were the only strong couple on display this week. I was very disappointed to see Sam (Cynthia Watros) leave Wilson shortly after his proposal, even though her reasons were solid. Maybe the patient files were forged, but it doesn't seem to me that Sam did it. She was pretty consistent in her statements. It may even have been a manipulation by House to undermine them, and if so, it worked. Wilson missed the point by thinking if he told her he was proud of her for lying, she would be happy with him. Again, it wasn't about the act or the words, it was about some fundamental communication level in their relationship, and Wilson sailed it. But I was enjoying Watros, having been missing her since her way-too-early departure from Lost, so I hope that a reconciliation is in the cards, even though it felt like her leaving was final.

     Taub (Peter Jacobson) also faced martial woes. His wife, Rachel (Jennifer Crystal), who is seen too infrequently for my taste, as Crystal does such a bang-up job, is having an emotional affair. That it is with a guy who lives across the country and exists only in email is immaterial. Taub is right to ask her to stop it, because as long as she has someone else to open up to, she won't ever do it with him again, a necessary step if their marriage is to survive. Yes, Taub cheated. And unlike Taub, I didn't think that Rachel had moved past it. But to see her so blatantly defy him to speak with another man was sad. They had a lot of work if they're going to make it. My money regrettably is on a divorce by February sweeps.

     Chase (Jesse Spencer) is embracing the single life, having hooked up with three women at one wedding (two were part of a threesome, if that makes it any better). No one could have been sadder than I when he split with wife Cameron (former cast member Jennifer Morrison) last year. I guess I should be glad that he's getting some, and beginning to get over for her. However, the behavior is destructive, and will not lead to anything good.

     Foreman (Omar Epps) is on a long dry spell, and just when Chase was helping him get over it, his co-worked abandoned him. I think Foreman still pines for Thirteen (Olivia Wilde), but as that doctor isn't coming back soon, it will be sometime before a resolution is in sight.

     All of this points to a major erosion of House's core team, with each member (except Masters) on a path that could lead to self-destruction. Could it be that once the titular character finally gets his own life under control, those around him have theirs come crashing down? It makes a twisted kind of sense. And gives us fans plenty to look forward to as the season continues to unfold.

     House airs Monday nights at 8pm on FOX.

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

Article first published as TV Review: House - "Small Sacrifices" on Blogcritics.