I need to watch that sequence again. It scared me the first time through.
It IS absolutely scary, but I must hand it to the choreographers and whoever else is responsible - it fits spot on. House, who should be miming a carefree Astaire, sporting a mien of sad knowing and dreaded anticipation, Cuddy in a wedding dress thinking her dreams are coming true, but then her face when House pulls her towards him with his candy (vicodin) cane! I also loved House as Paul Newman. He exudes the same kind of careless charm. The only sequence that I didn't like was the sitcom one, but that might be because that's exactly the kind of humour I don't appreciate. I can't judge whether it was well done or not since I don't watch sitcoms and never have. I'm afraid I also don't watch zombie movies at all - sleepless nights and that sort of thing - so the references there totally evade me.
Now, after a few days to contemplate the episode, it's my favourite this season. I really believe it could get Hugh Laurie an Emmy nomination (or isn't it the Emmy - I'm very clueless about these awards) due to the versatility he displayed in it.
No one ever really seems to care if House is all right or not;
Actually, I got the impression that in this episode Foreman and Chase do care. Foreman still doesn't challenge Wilson's authority, but I honestly think it's a mistake on his part - a stupid one, admittedly - but not a sign of not caring. And Chase shows a lot of compassion in this episode. He's the one who shoots Masters down in that last differential while Cuddy is being prepped for the operation when Masters keeps wanting to page House.
As for House, Cuddy and Wilson, I've made my emotional peace with all of them. I probably feel more strongly about House's behaviour than you do, because the situation that Cuddy was in is one that I have experienced indirectly. Had my partner behaved the way House did, our family would have fallen apart - it nearly did as it was. As for Wilson and Cuddy, my emotional response often distresses me - it's difficult to separate the rational knowledge that these people don't exist from the gut response to what they do on screen. In House's case it's easier to live with his shortcomings - I tend to exonerate him very quickly, I find. Too much boyish charm and puppy dog wistfulness there.
Now, looking back on the episode, I feel a lot different about their behaviour than I did at first. Yes, both of them had a major screw-up, House in not showing, Cuddy in leaving him with his vicodin. But the rest of the episode both of them acted like mature beings for a change - no head games, power struggles, hissy fits, crudeness. And it came as a major pleasant surprise to me that they managed the break-up with no yelling and no recriminations on either side. Considering that they are both people who, ahem, have problems expressing themselves without being assertive or aggressive, that was quite a feat. (I'd expected the break-up to be accompanied by a major scene of the kind that leaves onlookers cringing and running for cover.)
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I need to watch that sequence again. It scared me the first time through.
It IS absolutely scary, but I must hand it to the choreographers and whoever else is responsible - it fits spot on. House, who should be miming a carefree Astaire, sporting a mien of sad knowing and dreaded anticipation, Cuddy in a wedding dress thinking her dreams are coming true, but then her face when House pulls her towards him with his candy (vicodin) cane! I also loved House as Paul Newman. He exudes the same kind of careless charm. The only sequence that I didn't like was the sitcom one, but that might be because that's exactly the kind of humour I don't appreciate. I can't judge whether it was well done or not since I don't watch sitcoms and never have. I'm afraid I also don't watch zombie movies at all - sleepless nights and that sort of thing - so the references there totally evade me.
Now, after a few days to contemplate the episode, it's my favourite this season. I really believe it could get Hugh Laurie an Emmy nomination (or isn't it the Emmy - I'm very clueless about these awards) due to the versatility he displayed in it.
No one ever really seems to care if House is all right or not;
Actually, I got the impression that in this episode Foreman and Chase do care. Foreman still doesn't challenge Wilson's authority, but I honestly think it's a mistake on his part - a stupid one, admittedly - but not a sign of not caring. And Chase shows a lot of compassion in this episode. He's the one who shoots Masters down in that last differential while Cuddy is being prepped for the operation when Masters keeps wanting to page House.
As for House, Cuddy and Wilson, I've made my emotional peace with all of them. I probably feel more strongly about House's behaviour than you do, because the situation that Cuddy was in is one that I have experienced indirectly. Had my partner behaved the way House did, our family would have fallen apart - it nearly did as it was. As for Wilson and Cuddy, my emotional response often distresses me - it's difficult to separate the rational knowledge that these people don't exist from the gut response to what they do on screen. In House's case it's easier to live with his shortcomings - I tend to exonerate him very quickly, I find. Too much boyish charm and puppy dog wistfulness there.
Now, looking back on the episode, I feel a lot different about their behaviour than I did at first. Yes, both of them had a major screw-up, House in not showing, Cuddy in leaving him with his vicodin. But the rest of the episode both of them acted like mature beings for a change - no head games, power struggles, hissy fits, crudeness. And it came as a major pleasant surprise to me that they managed the break-up with no yelling and no recriminations on either side. Considering that they are both people who, ahem, have problems expressing themselves without being assertive or aggressive, that was quite a feat. (I'd expected the break-up to be accompanied by a major scene of the kind that leaves onlookers cringing and running for cover.)