House MD

[Sludge Factory]

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[Sludge Factory]

HUDDY REVIEW 6.06 "Brave Heart" Maya295Hi everyone! sorry for the delay but I've been procrastinating a lot these days! well no, actually, to be honest, first half of the week I've been wrapping important issues at work and then second half, since I'm on vacation, I've been........ just lazy! LOL ...but here it is! since (unfortunately) we'll not be House fed before 2 weeks, I hope you'll use this little extra time to share your thoughts!Current Huddy mood after Monday’s House’s episode of House “Brave Heart”: feeling uncomfortable… or funny… I’m still debating…This week’s episode was about bravery. On so many levels, but it was not about ANY bravery, no. It’s about the one and only bravery there is: the one that comes from the heart…So this week was not about actions, not very much that is, but more about words and the way they can affect our lives when they’re said or UNsaid… “Brave Heart”, as suggested by the undergoing Chase’s drama, specifically in his beautiful ‘beg for absolution’ scene with the priest, deals about the urgency of confessing.It starts, of course, with the patient of the week, which almost forbids himself to have a life because of this deadly curse he thinks he’s a victim of. And that’s why he can’t even admit to himself and thereby confess to Cameron that he might act a little too recklessly. Then of course, his former girlfriend, who fails to confess to him that she gave birth to his son, and hides to her son that she knows who the dad is. Then finally, in a way, a shy, maybe embarrassed, Wilson who doesn’t dare to say straightforwardly that he speaks with his dead girlfriend to feel better and chooses to believe a FAKE confession from House instead, who pretends he’s hallucinating again.And it’s needless to say that the most obvious lack of confession here is Chase’s one, who sinks deeper and deeper into misery, eaten away by his lies…Very unusually, in all this thick world of pretenses that surrounds him, House is almost the only one who stays “true”; to himself and to others. Of course he uses one or two tricks (the placebo effect for the patient and the hallucination threat with Wilson) but eventually, like he likes to say it himself “his motives are pure”. He only does that to force people to deal with the confession they have to make. He doesn’t do that to “cheat” and certainly not for selfish reasons. And that’s also why he probably tries to help Chase, by pushing him in the patient’s room, a stressful environment, but thereby forcing him to face his fears, consequent to the Dibala’s case, so that he realizes the urgency of coming clean.That M.O is not new. House’s always been the man who pushes people into an emotional corner to force them to confess and admit their faults. “Everybody lies”. It’s the right moment to remember that this motto has certainly been the most powerful one throughout the whole story of House. House, in the end, is a crusader. His battle is to bring Truth to the people, open their eyes, maybe save their soul. If we think of it, from that specific angle, House has always been the most “Brave Heart” … his motives have always been pure… it’s the means that he was using to lead people there that were questionable… and more then the means, it’s also the personal sacrifices he (probably unconsciously) had to make to reach these goals. Because the price he had to pay was himself.Despite his unquenchable quest for truth, House has always been reluctant to seek it for himself. Up until now, and maybe that’s why he was so fervently focusing on everybody else’s puzzles, House had indeed always refused to face his inner self, which eventually had led him to the very close edge of insanity. But now, what is really stunning and more and more fascinating to observe, he doesn’t try to cheat with himself anymore. House is accepting his fate. In a way, he’s accepting his fears, little by little. He’s accepting to admit his weaknesses, one small step after the other… When the patient (allegedly) dies after he’s been discharged from the hospital, we witness a very humble House, admitting to Foreman the ineluctable limits of his omniscience (which is not a thing he’s used to doing very often). o now, in “Huddyland”, how are that “Brave Heart” topic and the very need of confessing relevant for these two stubborn and guarded characters?Since he’s out of Mayfield, House has been acting differently around Cuddy. At first (as it was shown in “Epic Fail”), just after his return, it was a self-preservation reflex: House needed to protect himself and keep a safe distance (both professionally and emotionally) from one of the probable causes (or at least aggravations) of his mental breakdown, and there’s no doubt that Cuddy was a big part of that. So quitting and pretending (when she went to ask him at Wilson’s why he had done that) that she was not the reason for it, was only pure healing strategy. That was a lie, but it was in his best interest… But, when the first step towards healing was taken and the threat of insanity had dissolved in the absolute evidence that House was better WITH the medical puzzle than without it, then Cuddy became as inevitable in his life as Medicine itself again. Because one doesn’t go without the other. And it’s not an easy thing for House to admit that. that’s why at first, while desperately trying to fight this evidence, he acted indifferent towards Cuddy, escalating her weird distant attitude towards him and feeding an atmosphere of complete misunderstanding.In “The Tyrant”, it was probably ancient bits of House’s pride which made him act with such detachment towards Cuddy and pretend that he was feeling happier and safer to have no responsibilities anymore… as House said “it’s a process. I’m learning”. And he is. Finding the best attitude to adjust to a situation he’s not used to isn’t something he’s comfortable with. For all we know House has always hated changes. And this one was big in his life: just being the observer, rely on someone else’s judgment… Let go. But he’s trying real hard and that’s touching; just as his behavior towards Cuddy in “Instant Karma” was. The process indeed keeps unraveling: first, he had tried to stay away, by fear of being hurt, then he had accepted to be there but acted indifferent; and then, in “Instant Karma”, slowly, humbly, very unexpectedly we have seen him stepped back. Willingly. As if he wanted to give Cuddy some space, to not pressure her. Because he clearly saw that she was uncomfortable, and he didn’t just find out about that in “Brave Heart”. He probably had come to that conclusion right from the beginning and that’s why he was so shy and somehow reluctant to play their old game with her in sooner. House was trying. He was still in search of the right move, the right word, the right attitude. And perhaps he had thought that Cuddy would appreciate it if he’d let her alone. She clearly drew some boundaries, quite immediately after his return and he saw them. Because since he left Mayfield, the new constant in House, so far… is that he’s really attentive to others’ well-being. He cares. Or at least he discovers what it feels like to care. Like every true beginners he’s clumsy, so he’s doing too much, he’s being inappropriate, but he TRIES. With Foreman and Thirteen. With Wilson and Amber’s ghost. With the neighbor. With Chase and Cameron… and finally with Cuddy: he’s making a great deal of efforts to give her what she wants. Or let’s rather say, he does what he thinks she wants. And he’s really doing that to make her happy, at least not to bother her too much like he used to. Maybe he’s failing but this is full of good intentions and that’s what is new and touching.But good will isn’t enough and things aren’t as simple as that. The real irony of course here is again TIMING. I think this is more and more becoming this season’s main theme. And in a way, it’s not a real surprise since that’s what we’ve been subtly but yet undeniably prepared throughout last season. So this is it. Huddy dances again: forwards and backwards. But this time, with House’s mental breakdown history, it has this little extra sweet bitterness in its tone, which makes it sometimes almost painful to watch. Irony…In “Instant Karma”, while in House acted indifferent, Cuddy tried to get “closer”, very, very slightly closer, but she made a move. In French we say “suis moi, je te fuis; fuis moi, je te suis” (which more or less means without the beauty of the alliteration: “chase me and I’ll run away, run away and I’ll chase you”) and I think there is no better way of expressing House and Cuddy’s dance right now: they want the same thing but they’re just incapable of being in sync… and just express their wants… at the same time…So “Instant Karma” and House’s odd distance and indifference had left Cuddy puzzled. So that’s why in “Brave heart” the first interplay between House and Cuddy (in House’s office) shows a very snappish Cuddy, or “scornful” would be the word, as House qualifies it himself.Yes, he’s no fool. He sees it right away. And again, the perfect time irony is that the strategy has changed and the role are now reversed. From the first seconds, we can perfectly see that, while Cuddy switch from caring to contemptuous, House decided to change his previous indifferent attitude into a most playful one. As his healing process continues, House becomes “himself” again. He just dares to be who he is, small steps after small steps. And he reclaims his old personality back, because now that he’s gained some mental strength and a little self-confidence again, he seems to be less scared. That’s comforting.Thereby, in “Brave Heart” we saw House play and tease a little, just as we’re used to seeing him, but it doesn’t do the trick anymore; because while he’s opening up, Cuddy, on the other hand, seems to distance herself from him. And even if it feels good to see some bits of “old” House slowly resurfacing eventually it’s just another incomprehension that settles between them.Of course, Cuddy is adjusting too. And it’s certainly not simple for her either, because House changes a lot. Of behavior, of mind, of mood… so that’s complicated for her, and it starts to show that she’s growing “impatient” what House will finally decide: stay or leave. And this is not a meaningless detail, because the previous episodes have been focusing on that particular aspect, from Cuddy’s point of view quite often. In almost every one of them, since House has returned, we indeed see Cuddy point out at least once, that House really doesn’t know what he wants. Despite the fact that, in Epic Fail and the following episodes, Cuddy was at first absolutely ready to do whatever was required to help House find his mojo again, and had let him all the time he needed to adjust and dissipate his doubts. Could he do his job, could he not do it?... In order to find out, she’d just stepped back, willingly, to allow him some space, so that he could have some peace and stand back to find the right answer. But now, it feels as if this unresolved and still uncertain back and forth thought process, which seems to never set itself on a long lasting decision, annoys her more than it touches her caring heart. And metaphorically, there’s probably more here than only professional issues to discuss. Because, it could be the key to this whole awkwardness between them now. The fact that all Cuddy needs is some hints (if not a clear vision) of what she can expect from her future with House just lies within this. They don’t have many interactions other than on that particular topic. And yet, it holds every other issues that need to be solved between them. Because now, time to make choices has come. And until now, Cuddy’s been patient with House. She has waited long enough for the right moment to come, and not just this season, not just about questions regarding his medical status. She has tried to get closer to him, but he never really allowed her to.So once more in “Brave Heart”, when House dances his little “uncertainty dance” about his job, wanting to do it, renouncing to do it, then going for it again (metaphorically mimicking the back and forth Huddy dance) then, unfortunately, but maybe comprehensibly, it’s not funny for Cuddy anymore. When he joins her in a patient room, while she does her teaching medical round, because suddenly he’s willing to complete the 120 hours he needs to do to requalify, Cuddy reacts wearily, if not disappointed. She asks him if by any chance it’d be “possible for her to get a five-day forecast.” indicating that she may be on the verge of giving up if things keep being just like they’ve always been between them: uncertain, changing, and moody…Of course, through the students observing eyes, when House and Cuddy leave the room and talk outside (so close to each other and so off-topic, sliding into the inevitable field of sexual banter) the whole thing is qualified as “foreplay”. But foreplay to what? Is it really what it is? Or is it just two people desperately clinging to an old mechanism of interactions, connecting in a way which seems to be not genuine enough anymore for the real issue they have to deal with now…Banter and teasing may have mesmerized them in the past, and irrepressibly drawn them to each other, but clearly, it’s not working anymore; because, the only way to step forward now would be for them to finally decide to be sincere. Confessing is the key word of this episode. It’s not about games anymore, not about pretenses. And House is the first to see it. With his new emotional “skills”, and his “brave heart”, that’s where he cautiously tries to bring her when she joins him in his office to give him the form she’s signed off.But why would she do that? That’s indeed the first thing that House asks her, as soon as she hands him the piece of paper. “Why?” Not that it’s surprising on Cuddy’s part to elude a rule, just for him, but here it feels like there’s more to it than just the urgency of getting her best doctor back. Signing off of all his hours is a way to end the banter. It’s a way to prevent them from spending more time together. It’s a way to avoid him.And that also didn’t escape House’s intuition. “You’re uncomfortable with me”, that’s what he tells her, because it’s the simple truth and there’s nothing to add to that. Just the way Cuddy embarrassingly answers him ‘no’ shouts that it’s a ‘yes’… She tries to hide herself behind professional excuses but House doesn’t buy it. We don’t buy it. So House makes a joke about sexual tension… Old tricks, winning banter… The ones that would have made Cuddy roll her eyes and smile before… but not this time; because it’s not before anymore. Trying to be who he’s always been but with a three month difference of wavelength IS House’s irony right now. After he’s searched what was the best way for him to come back, how he should act, what he should do, how he should behave, with his Team, with Wilson, with Cuddy; after he’s found out that the only answer was to be HIMSELF, that’s when the reality of the time he’s lost while he was away hits him: when Cuddy leaves his office. That’s a big gamble for House there. What does he do? Does he go on with his innuendos and teasing games like he’s tried during the whole episode, when clearly that was not the best formula to catch Cuddy’s attention… No. He chooses sincerity instead.“Brave Heart”, that’s him there, seated on the floor and looking up at her with softness in his eyes, and a glimpse of discomfort, as if he was afraid of what the consequences might be if he finally dared to take a step there. In BOTH cases, which means whether the consequences should be good or bad…“What about us?” It’s really the most unequivocal and blunt confession he’s ever made. Daring to use the word “us” while he knows that she knows… while it’s perfectly clear that she will understand what’s implied underneath this “us”. And it’s farther and deeper than Cuddy ever dare to step herself. Because when she came to see him at Wilson’s in Epic Fail, she only asked him about what she was? She wanted to deal with the situation for herself. This was not about them, but only about what she would do once she’d know what to expect.But there’s more in House’s words… and the crushing thing is that when the confession is finally subtly shaping, Cuddy doesn’t seem to want to hear it.“We’re good. Just like this. You press my buttons, I press yours…”And this “just like this” it means: There’s no “us”. Not now, because I don’t want more. Let it be just as it’s always been: “you press my buttons, I press yours.”So is that the formula? Something that will always bring them close just to push them further away. Something that won’t work more than a tingling sexual game. Something that will make them be each other’s special somebody but never for real…Or, is it Cuddy’s way of saying. Not now… not the right time. I need you to prove more to me. Show me how you can change…In any case, now that’s House has taken the first step into emotional sincerity, the next logical thing is to hear more about Cuddy…Confession… I’m impatient to hear where it’ll take us. And waiting for it, I can’t really decide whether I should feel funny or uncomfortable about it…So bring on November, 9th! I can’t wait to find out…

 

HUDDY REVIEW 6.07- Known Unknowns Maya295I'm sorry it took me so long, but there were so many things to say... LOL it seems that Huddy will be something worth discussing from now on, whatever path it might take from here!so here're my thoughts. please feel free to add yours! ;)Current state of mind after Monday's episode "Known Unknowns"?: blurry, possibly baffled. As to the physical aspect of it? have you already been punched hard in the liver?... me neither, but I think I've experienced the feeling nonetheless.Known unknowns: yes, that's what Monday's House episode was about: knowing the real truth, revealing the secrets; because there are things that you hide and it can put you in a really bad state, metaphorically and actually speaking.So there it was, everyone's back story, unraveling in front of our eyes, slowly, unexpectedly, almost shockingly at some point.Of course first, there's the POTW. And Hello irony here! she happens to be someone who can't tell reality from fantasy!... and lives in a total lie, that she's built in her mind to protect her from the sadly dull reality that is her life. She imagines herself wanted, cherished, surrounded by people, when actually she's only a poor lonely child, abandoned to herself by her parents. "a credit card kid" as Cameron describes her... and so young but already so SICK of living in such pretenses... Her lies? They're all speaking about the attention she doesn't get. And when she's finally getting better, she has the honesty to admit her weakness (to Cameron...coincidence?) which, in her case, is: being just an ordinary shy girl who doesn't dare enough and lacks boldness when it comes to give her dream a chance... Then there's Wilson's secret: "Euthanasia. Let's tell the truth, we all do it." What a brilliant subtle way to connect every ongoing drama together here. Euthanasia is indeed not ANY random ethical debate. Some would say it's "murder", some would say it's a pure caring human "gift" given to a patient to end their suffering. It's not surprising that Wilson gets to be the guy who's admitting he's been confronted to that excruciating choice before. But it's very interesting to observe how House reacts to that; whereas, he hasn't seemed very stressed or "concerned" by the ethical issue Chase has raised when he killed Dibala (even if he's done something to cover his a$s) yet he seems completely panicked, or at least twice as much worried for the consequences that Wilson might endure if he confesses that he's done euthanasia. Of course, Wilson is his best friend and House is always (despite what he would admit) very protective towards him, but he's also always essentially emotionally destabilized when the issue is about caring, and about the consequences that ensue. Yes, what frightens House here may be that he saw how deeply emotionally involved Wilson is and he's afraid of what the price to pay might be if things go wrong for his friend: "you won't be hirable anywhere!", House says... Interesting choice here too to put that in the balance, and make a metaphorical parallel with House's own mind struggle, regarding Cuddy: follow reason, or follow your heart... because what would be the most hurtful consequences?...And finally, it's impossible there not to think about Chase and his own moral debate about what he's done. After weeks of pretenses and uneasiness, he decides to take the big step of confession and he tells everything to Cameron. the gloomy tracking out at the end of the episode, showing Cameron, slowly leaning back in shock and letting go of Chase's hand after he confessed he killed Dibala doesn't augur well for the young couple, who will now be confronted to its first challenge. Is it a question of timing in the confession? Is it a question of how serious and grave the matter is? Cameron will certainly have a word to say about Chase's silence, which can easily be read as mistrust... Can it seriously be seen as a "loving" gesture? Trying to justify him not confessing to Cameron, Chase says to Foreman "If I tell her, that's dumping a burden on her shoulders forever." So yes, this is actually a sort of lover excuse, but will it be seen as such? What are the real reasons for protecting people anyway? Protecting them from what? Lying by omission is often justified as a way to protect people from themselves, from their own weaknesses and fragilities. But it's also a comforting way to easily forget that what is said is first and foremost a lie. It's like keeping a family secret unsaid, by fear that the children wouldn't be mature enough to understand... and there, unravels another stunning crushing parallel with House's personal story: why hide a fact (whatever the fact is) from a person you supposedly care for? Because when House asks Cuddy why she hasn't told him about her relationship with Lucas, that's also the issue he's raising: "why keep it a secret? You were protecting me in my fragile state? You think I was an unhinged loony who was about to go off the rails at a badly timed bit of news?" and yes! Cuddy IS with Lucas... have I forgotten to mention that already?... hah! Sorry! that's probably because a part of me is still... how shall I say? ... not so very happy about it... Though this week, very paradoxically, I was first tempted to say that there were practically no changes in House's world. We're still in the era of confession. We're still in the land of confusion. We're still trapped into the "bad timing" dimension.But actually I was wrong. Because this week, a new ingredient has been added to the whole recipe: and it's CHOICE. At first, it seems like an innocent harmless ingredient, like a not so tasteful spice you'd add into your meal, unaware of all the possible altering consequences of it.Because CHOICE has a huge power: it can change EVERYTHING. You make one rather than the other and things become different: for the next five minutes, the next week, the next year... for your entire life... Choices are tricky. It's not easy to make one. It's not easy, even for the very healthy balanced people. So it's needless to say that it's even less easy for the unsure, doubtful fragile ones...And this is not just about House and Cuddy (which is why sometimes, in episodes like that, I have to restrain myself because I'd have so many things to say from every character's perspective about this question of choice: for Chase and Cameron; for House and Wilson; for House and his team, past and present...) but too many things to say, too little time to say them...Because then, there're the gazes; throughout the whole episode. And I could end this review here because with those gazes, there is not much to add. More than words, they say everything. And it's even crushing how powerful their language is...So what about Huddy in this land of confusion now?First, House. Despite the appearance, the boy is getting more and more mature. Especially with the way he deals with his emotions. That's a good thing; even if, at the moment, he's not being exactly rewarded for it..."Appearances": They are what would make us think that we got our old House back. During the first fifteen minutes of the episode, we indeed witness a typical hormonally driven House, getting carried away by some exciting concepts or images like the next teenager in American Pie: a "State pillow fighting championship", a pair of boobs (which, let's grant him that, were really "out there"), a lively butt... Each of those reactions is fun, and House wouldn't be House if he didn't act like that once in a while, but the truth is, it's also essentially immature, like "early House-like immature". Wilson says House has to come with him to a conference and House objects that he can't because he already got tickets for a promising pillow fighting championship which will provide beers and wet Tee-shirts. Then in Cuddy's office, he can't help but going on a tangent, commenting about "Patty and Selma" the "smokin'" girls out there. Yet, the scene in itself is great, because it has a perfume of season 3 bantering in it. The "Microbes can be sneaky" nostalgia kind of thing. And even Cuddy, though she appears very nervous and busy, is receptive to the banter and takes time to joke back. But it also sounded as "we're good. just like this. you press my buttons, I press yours." at least that's what I thought about it then. For five minutes, I could almost have fallen into the delusion that maybe Cuddy was right and there was indeed no better formula... but that was until House became a man... finally.Three years. At least for us. Three years during which, the mystery of the original hook up had remained unsolved; three years since the cryptic mention of "the one night where House gave her..." in Top Secret. And finally, we get a glance at Huddy's back story. Carried away by the reminiscence of old memories, brought back by the fizzling atmosphere of an 80's party, House and Cuddy slow dance together and it gives them an opportunity to take off their mask.And that's when we know for sure that House's bantering jerky appearances were nothing but just appearances. House shows us his true colors and they are beautiful. Genuineness suits him well. And his shyness is oh so touching, especially when we know how hard he's working to usually hide it behind a fake display of arrogance and self-righteousness.Because House is not self-righteous. And he's not arrogant either. At least, not when you care to look deeper under the surface... He cares and he's sensitive and he even has this romantic side in him, so desperate and doomed, almost in the pure tragic tradition of romanticism. It made me think about a beautiful F. Scott Fitzgerald quote which could perfectly depict House in that circumstance "I'm a romantic; a sentimental person thinks things will last, a romantic person hopes against hope that they won't." There is something of that twisted reasoning in House's reluctance to commit. He longs for things to be better in his life, he hopes to find happiness but somehow, a self-destructive force is preventing him from "having it all". He's done that with Stacy, pushing her away, twice, and he's been doing that with Cuddy too, for years and years, never daring to "give it a chance". Probably by fear of being hurt. But not daring to seize the day just because it's shadowed by an uncertain future is just a coward excuse, as Wilson keeps repeating him. So this time House dares, and he goes to the party where he knows Cuddy's going to be too. He finds her there and a lucky coincidence (at least, for once, a good timing... musically speaking) pushes them into each other's arms, to dance on "Time After Time"."Remember the last time we danced? Med School. Week we met." And that was undoubtedly a stunning way to tackle the subject and throw us directly back into the mysterious period of their lives we were all dying to learn more about. I thought it was even more powerful that way, because despite all the fundraising dinners and charity parties they've surely both attended during all those years, it also meant that they'd never danced together on those occasions. So that only left one memory for them to cherish over the past 20 years... So how much striking could it feel for House to relive another moment like that? (and by the way, like always, what an incredibly amazing acting job from HL's part, just with this embarrassed gasp, and rolling eyes, before he dares talk to Cuddy during the dance...)So what do we learn during that beautiful moment of sincere emotional intimacy? First comes the confirmation that House and Cuddy indeed sealed the deal in Med School and had a one night. "one thing led to another..." An adventure that never got the chance to be explored further. For Cuddy, it was because "there was no expectations", while in fact, she learns that House wanted to give it a chance, even if, eventually, he chickened out, using his expel from Med School as an excuse for bad-timing. Again."I was going to come see you; figure out where things would go from there. That was the morning I got the call from the Dean, and I was expelled from my first Med School... didn't see any point."Bad-timing. Bad choice. Huddy irony. Almost about to become a Huddy-ism.And maybe, this is why, abruptly jolted back to present, Cuddy can't stomach this confession and leaves. Because there are too many "what if" hanging there, and given the place where she's currently standing in her life, and the choices that she's made, the assumptions about what "could have happened if" are too painful to imagine (especially when it's probably again). Or maybe, as House sums it up himself quite well for Wilson the morning after the party, this is because of the undeniable proof that he "has always been interested in her" which can be something pretty dizzying to learn for Cuddy in that specific circumstance, since she must have certainly found strength to keep her emotional distance throughout all those years by convincing herself that it was nothing important in the end. "That ship sailed long ago House," as Cuddy once said to him with a smile, meaning (or rather pretending) that she didn't really expect any seriousness out of it. And at the dance, when House confesses that they could have lived something, or at least, that it was what he wanted, Cuddy is just so visibly awestruck that her arms actually fall off of House's neck and she almost reproached him angrily to have told her that."Nooo. Don't do that! I was just as much into it as..."There, it's the guarded Cuddy that has intrigued me since the beginning of season 6, keeping her distance, brandishing her shield. House talks about intimacy and she automatically shrinks back inside her shell. But truth is, this is an almost painful revelation for Cuddy. Because actually House was. Serious. And of course, from there, things couldn't just go smoothly. But have we really even thought for just one second that it could? ha, of course not! more than 20 years of sweet lies and coward choices can't be erased in just one dance. However, things progress. At snail's pace and with huge obstacles on the road. But they progress.House never went that far with his emotional admissions to her before. Not even in "Brave Heart", with his (yet) beautiful "what about us?" It was only about asking HER to do the step then. But here, under other skies, boosted by a renewed confidence, a pain that seems to be and more manageable (his limp is way lighter than it has been, and when he danced, it's even almost non apparent... power of endorphins surely...) anyway, HE DARES! Despite the cost he might pay for it, because even if he goes for it, he still have this threatening fear above him: "she's not just a floozy in a bar, she's the floozy I work for!" But he tries it nonetheless. And this time, he even goes knocking on her door. For real. This is not a simple itch anymore. And then of course, that's when he gets crushed. Cuddy's not alone. Yet, she pretends she is. She lies to him. She's embarrassed, uneasy and insincere. House makes a step towards her, finally, and it's only to discover that it's too late. Cuddy has started a new life, with a new man... And well, "new" isn't exactly the term since, the new man is actually Lucas, last season's PI, and formerly depicted as a rather nice guy. The same one, who in 5.04 Adverse Events, had clearly and undoubtedly understood that Cuddy was spoken for. He'd even asked House if "he wanted him to back off." So the man perfectly knew where he was going and what he was doing. Hence the very appropriate "this is awkward!" when House and he end up face to face in Cuddy's hotel room.Then why? Why would Cuddy do that? Can we blame her for that choice she's made? When Wilson comes to see her while she's sitting on a bench outside the hotel and asks her about the party and how things went with House, she more or less subtly avoids answering him. Wilson doesn't know about Lucas yet, only that she left the party rather hurriedly, so his first reaction is to blame it on House, She doesn't confirm, but she doesn't deny either. She just hides her getaway behind the same excuse she gave House, and probably the same she told to herself: she needs a reliable guy, "and it's never been House." Only now, she adds her daughter into the whole frame to justify her behavior more convincingly "I'm a mother now." and despite the fact that she admits "House was sweet" she also immediately ponders this admission by adding "I know better than to rely on that."Yes, this is cruel and unfair. Because House has changed. House is soft and caring and he has shown genuine feelings for her. And what's more important, he was ready to tell her that he didn't want to screw it up. He even came to her hotel room to offer her to baby sit Rachel, the same very annoying little brat he's spent his time despising, almost throughout the whole last season. So he was ready to make amends and make some significant gestures to prove her that he was not just jerking around this time. He came to her with the best guarantees there are to offer in relationships: good will, faith, patience, and above all good intentions. Anything other than these is only pure delusion; because you can't promise better than that. Yet, it seems to be what Cuddy hopes for. "A guy she can count on every single day." The perfect dream of what a sucessful woman's life should be like every little girl has been handed in their chilhood: Find a man. Settle down. Have children. If possible, handle a professional career as well. So that's a lot of pressure and a lot of modern myths to meet and pursue. And Cuddy is no exception. So right now she totally deludes herself into thinking she's found that perfect dream. And this is what she needs to reassure herself at this point in her life. And yet... this is quite puzzling to see her so emotionally shaken, each time she seems to realize what House's true feelings are; even more puzzling is the so ambivalent way with which she's obviously teasing him during the dance, clinging to his neck, sending wheedling smiles to him, choosing purposely emotional triggering confessions "I tracked YOU down. Endocrinology. The party." And the way she so perfectly remembers every little detail of their encounter, reciting their first conversation by heart, with an evident nostalgia in the eyes. What game does she play? Is it actually a game? Has she forgotten what choice she's made? Is it the first slow unconscious step that will break her delusion and open her eyes to the reality of what she wants?: "So what am I?" "Can I get at least a five day forecast?" "I need a man I can count on every single day." "Just like this. You press my buttons. I press yours..." is it the object of her struggle now? Convincing herself that she's made the right decision? Because actually, she shouldn't even care about that anymore at this point. She chose. She's supposedly the woman with another man right now...So what does it hide? What does Cuddy really feel, deep inside? Is she over House for good? Is this relationship she started with Lucas really serious? Where will things go from there?Practically a whole episode passed playing hide-and-seek, an entire week-end of sham, double-dealing situations, and dishonesty, leaving more questions than answers and in the end, a breakfast.The four of them. Together. House-Wilson facing Cuddy-Lucas. Nose-diving in mugs at first and then bluntness. From the only one who's actually capable of dealing with this absolute awkwardness, while he should be the one being completely shattered: House. An incredible calmness is filling him since the second he's seen Lucas with Cuddy. Silence. Passivity. Detachment. It's almost creepy. So he asks, "How did you two crazy kids hook up?"And then the process unravels and everyone somewhat finds their place in the puzzle... something in this scene is supposed to put the pieces all together and it just does. Everyone is there, seated, glancing over the table, or embarrassingly averting their gaze, or longingly staring at one another... Everyone shows something: an emotion, an involvement, regret, an acceptance, a bragging malice, a supportive friendship. And everyone can't help being a part of their deep self during that scene. Because somehow the roles are now cast...During the dance, while Cuddy and House evoke their one night, House subtly refers to the moment with this modest formula "and one thing led to another..." to which Cuddy, immediately objects "nah, then it didn't [go anywhere]" Snappish, in a way, (even if said with a smile) but quite definite and legitimate to define the lack of relationship that ensued. So, of course, when Cuddy explains how she solicited Lucas for an investigation, House can't help bringing up the ironic reference again, "and one thing leads to another', obviously quoting his previous metaphor, throwing her a line, and desperately waiting for the same reaction on her part. But sadly, all he gets is a longing, oh so sorry, but admitting look that says: yes! Things led where they should lead in every relationship. And with that of course, House pushes the curiosity a little further and provokes Cuddy, trying to understand why she has hidden that to him, asking her the one thing that could possibly help him stomach her reasons less painfully: "was it to protect me in my fragile state?"And of course it's said with irony and a little provocation, because House is somewhat hurt because what he would hope more than anything in that moment is that Cuddy would assess his now new-found emotional strength and stability. But since he admitted to Wilson that he "can't convince her that he's changed his entire personality in a week-end", eventually, asking her if she wanted to protect him IS a real question. A real concern. A real need to know. Because what he seeks for with this question in an admission from her: he wants to hear her say that she cares. But what a painful way to remember how preoccupied by the reciprocity of feelings he already was even back then, during his delusion phase. "I need to break her delusion, which demonstrates to me and to her that there is something underneath this facade." How strongly anchored in his subconscious can this fear be if even his deluded mind wasn't able to soothe it? And that specific issue (mutual feelings) indeed seems to be House's obsession in relationships: love, but only on the condition of being sure to be loved in return... commit, but only for a reason... and never put oneself in a beseeching emotional state... And so, if timing, irony, bad choices, fate, or whatever have drawn he and Cuddy apart, then House needs to know that, all this time, she was at least protecting him, because he means something to her.All those years, he's been unsure, he's been doubtful, he's been afraid; of commitments, of break-ups, of pain, of emotional pain. But he's been learning to deal with that now. Slowly but surely. And during that breakfast, it's an all renewed House, wise, quiet, that is seated here, and only requests legitimate explanations. No sarcasm. No cynicism. Just a clarification.But Cuddy doesn't give him the comforting awaited answer. Instead she chooses a rather curt one, considering their painful shared past: "I just don't advertize my personal life." the look on House's face when she says that shows that he probably gets the allusion to the sorrowful moment when he stood at the hospital's balcony and dared to shout that he had slept with Lisa Cuddy. "I just don't advertize my personal life." because as she'd said to him by then "You have the luxury of not caring about your image. I do not!"So another loop and ... back to the beginning!: emotional self-preservation leading to pretences, leading to lies, leading to awkwardness.but then, most unexpectedly, Lucas, who until then had remained so perfectly discreet from his upstaged position, suddenly steps in: "Yes she was worried. A little worried." A slight approving nod from Wilson first welcomes this confession as a good sign. As if he was saying to himself: "uhm, in his position, good for him to have yet the delicacy to grant House that..." But this is such the wrong assessment! Lucas, starting from then on, couldn't get more inappropriate, mean, humiliating and even perverse than how he actually is. Viciously playing dumb, obviously to hurt House. And using the most precious and crushing symbol of House's deep emotional attachment to Cuddy: the delusional sex episode. Several things come to mind here, among which, first is to say: how can Lucas know about that, if not because of Cuddy telling him? Well apparently she did tell, although she seems to realize suddenly how wrong it's been where she hears Lucas unacceptably putting out every sordid details one after the other, making sure, while remaining perfectly ingenuous in the attitude, to poke the sharp sticks right where it hurts.And then, there are no words left. Everyone, including the viewers, is rendered speechless, which is why in a perfect timing, everyone just shuts up as well in that excruciating awkward scene. And words become gazes. And what the gazes say is more powerful than what any words have been able to express until then.Wilson, totally appalled, desperately trying to catch Cuddy's eyes, to confront her to that sickening outpouring that she's somehow backing with her stunned silence. And it's almost as if he was trying to call her to account, given the fact that she originally probably received the information she knew about House's delusion from him.Cuddy, precisely, who's absolutely contrite and ashamed, silencing Lucas with a glare, and begging House for forgiveness with a crushing gaze. Lucas, then, dreadfully smug, wiggling in content in his chair as if he was very proud of the little bomb he has just dropped.And finally House, detached, disillusioned, surely shocked but perfectly keeping his self-control and holding Cuddy's gaze with sorry eyes, as if he was the one wanting to apologize for this...So at that point, if the question was to know if Lucas is really a nice guy then the answer is, no! Or at least, let's say that now, if the question was about to know whether Huddies would have reasons to like Lucas, then they have their answer, I guess. And it's still NO!But, we can't expect things to be as simple as that. Never see anything in black-and-white terms with House. Just for now, the things that are sure are: - House is in love with Cuddy. - Wilson unconditionally supports House for his quest of happiness. - Cuddy chose a "reliable" man, but she seems uneasy with her choice and maybe, giving up on every other things in her life in order to assume her decision to move on, is not as easy as she thought it was...Now in the last scene (minus the Chase and Cameron one), we however see Cuddy playfully enjoying the little happy family moment with Rachel and Lucas. And it's after the breakfast. So despite the awkwardness and the obvious improperness of Lucas' behavior, she seems fine. And even House, who's looking down at them from the hotel's balcony seems resigned as well. "he [Lucas] looks like a guy who'd be there every day." Does that mean that Huddy is dead for all that? ...Ha! I want to shout NO! because I want cling to the crazy assumption that, on the contrary, it has only been challenged and the journey's just begun... So I can't wait for next week to see how it goes when everyone returns into a more familiar environment...

Ah, uspelo je. Moze se diskutovati oko nekih detalja, narocito u prvom tekstu, ali overall ok. Naravno, ona je ovo pisala sa pozicije 1 Huddy-jevca. Kad/ako se House i Cuddy konacno smuvaju, pravim zurku da proslavimo! :D Mozemo u fazonu osamdesetih ili kako god birajte temu zurke!

Edited November 14, 2009 by Sludge Factory

[3opge]

HUDDY REVIEW 6.06 "Brave Heart" Maya295Hi everyone! sorry for the delay but I've been procrastinating a lot these days! well no, actually, to be honest, first half of the week I've been wrapping important issues at work and then second half, since I'm on vacation, I've been........ just lazy! LOL ...but here it is! since (unfortunately) we'll not be House fed before 2 weeks, I hope you'll use this little extra time to share your thoughts!Current Huddy mood after Monday’s House’s episode of House “Brave Heart”: feeling uncomfortable… or funny… I’m still debating…This week’s episode was about bravery. On so many levels, but it was not about ANY bravery, no. It’s about the one and only bravery there is: the one that comes from the heart…So this week was not about actions, not very much that is, but more about words and the way they can affect our lives when they’re said or UNsaid… “Brave Heart”, as suggested by the undergoing Chase’s drama, specifically in his beautiful ‘beg for absolution’ scene with the priest, deals about the urgency of confessing.It starts, of course, with the patient of the week, which almost forbids himself to have a life because of this deadly curse he thinks he’s a victim of. And that’s why he can’t even admit to himself and thereby confess to Cameron that he might act a little too recklessly. Then of course, his former girlfriend, who fails to confess to him that she gave birth to his son, and hides to her son that she knows who the dad is. Then finally, in a way, a shy, maybe embarrassed, Wilson who doesn’t dare to say straightforwardly that he speaks with his dead girlfriend to feel better and chooses to believe a FAKE confession from House instead, who pretends he’s hallucinating again.And it’s needless to say that the most obvious lack of confession here is Chase’s one, who sinks deeper and deeper into misery, eaten away by his lies…Very unusually, in all this thick world of pretenses that surrounds him, House is almost the only one who stays “true”; to himself and to others. Of course he uses one or two tricks (the placebo effect for the patient and the hallucination threat with Wilson) but eventually, like he likes to say it himself “his motives are pure”. He only does that to force people to deal with the confession they have to make. He doesn’t do that to “cheat” and certainly not for selfish reasons. And that’s also why he probably tries to help Chase, by pushing him in the patient’s room, a stressful environment, but thereby forcing him to face his fears, consequent to the Dibala’s case, so that he realizes the urgency of coming clean.That M.O is not new. House’s always been the man who pushes people into an emotional corner to force them to confess and admit their faults. “Everybody lies”. It’s the right moment to remember that this motto has certainly been the most powerful one throughout the whole story of House. House, in the end, is a crusader. His battle is to bring Truth to the people, open their eyes, maybe save their soul. If we think of it, from that specific angle, House has always been the most “Brave Heart” … his motives have always been pure… it’s the means that he was using to lead people there that were questionable… and more then the means, it’s also the personal sacrifices he (probably unconsciously) had to make to reach these goals. Because the price he had to pay was himself.Despite his unquenchable quest for truth, House has always been reluctant to seek it for himself. Up until now, and maybe that’s why he was so fervently focusing on everybody else’s puzzles, House had indeed always refused to face his inner self, which eventually had led him to the very close edge of insanity. But now, what is really stunning and more and more fascinating to observe, he doesn’t try to cheat with himself anymore. House is accepting his fate. In a way, he’s accepting his fears, little by little. He’s accepting to admit his weaknesses, one small step after the other… When the patient (allegedly) dies after he’s been discharged from the hospital, we witness a very humble House, admitting to Foreman the ineluctable limits of his omniscience (which is not a thing he’s used to doing very often). o now, in “Huddyland”, how are that “Brave Heart” topic and the very need of confessing relevant for these two stubborn and guarded characters?Since he’s out of Mayfield, House has been acting differently around Cuddy. At first (as it was shown in “Epic Fail”), just after his return, it was a self-preservation reflex: House needed to protect himself and keep a safe distance (both professionally and emotionally) from one of the probable causes (or at least aggravations) of his mental breakdown, and there’s no doubt that Cuddy was a big part of that. So quitting and pretending (when she went to ask him at Wilson’s why he had done that) that she was not the reason for it, was only pure healing strategy. That was a lie, but it was in his best interest… But, when the first step towards healing was taken and the threat of insanity had dissolved in the absolute evidence that House was better WITH the medical puzzle than without it, then Cuddy became as inevitable in his life as Medicine itself again. Because one doesn’t go without the other. And it’s not an easy thing for House to admit that. that’s why at first, while desperately trying to fight this evidence, he acted indifferent towards Cuddy, escalating her weird distant attitude towards him and feeding an atmosphere of complete misunderstanding.In “The Tyrant”, it was probably ancient bits of House’s pride which made him act with such detachment towards Cuddy and pretend that he was feeling happier and safer to have no responsibilities anymore… as House said “it’s a process. I’m learning”. And he is. Finding the best attitude to adjust to a situation he’s not used to isn’t something he’s comfortable with. For all we know House has always hated changes. And this one was big in his life: just being the observer, rely on someone else’s judgment… Let go. But he’s trying real hard and that’s touching; just as his behavior towards Cuddy in “Instant Karma” was. The process indeed keeps unraveling: first, he had tried to stay away, by fear of being hurt, then he had accepted to be there but acted indifferent; and then, in “Instant Karma”, slowly, humbly, very unexpectedly we have seen him stepped back. Willingly. As if he wanted to give Cuddy some space, to not pressure her. Because he clearly saw that she was uncomfortable, and he didn’t just find out about that in “Brave Heart”. He probably had come to that conclusion right from the beginning and that’s why he was so shy and somehow reluctant to play their old game with her in sooner. House was trying. He was still in search of the right move, the right word, the right attitude. And perhaps he had thought that Cuddy would appreciate it if he’d let her alone. She clearly drew some boundaries, quite immediately after his return and he saw them. Because since he left Mayfield, the new constant in House, so far… is that he’s really attentive to others’ well-being. He cares. Or at least he discovers what it feels like to care. Like every true beginners he’s clumsy, so he’s doing too much, he’s being inappropriate, but he TRIES. With Foreman and Thirteen. With Wilson and Amber’s ghost. With the neighbor. With Chase and Cameron… and finally with Cuddy: he’s making a great deal of efforts to give her what she wants. Or let’s rather say, he does what he thinks she wants. And he’s really doing that to make her happy, at least not to bother her too much like he used to. Maybe he’s failing but this is full of good intentions and that’s what is new and touching.But good will isn’t enough and things aren’t as simple as that. The real irony of course here is again TIMING. I think this is more and more becoming this season’s main theme. And in a way, it’s not a real surprise since that’s what we’ve been subtly but yet undeniably prepared throughout last season. So this is it. Huddy dances again: forwards and backwards. But this time, with House’s mental breakdown history, it has this little extra sweet bitterness in its tone, which makes it sometimes almost painful to watch. Irony…In “Instant Karma”, while in House acted indifferent, Cuddy tried to get “closer”, very, very slightly closer, but she made a move. In French we say “suis moi, je te fuis; fuis moi, je te suis” (which more or less means without the beauty of the alliteration: “chase me and I’ll run away, run away and I’ll chase you”) and I think there is no better way of expressing House and Cuddy’s dance right now: they want the same thing but they’re just incapable of being in sync… and just express their wants… at the same time…So “Instant Karma” and House’s odd distance and indifference had left Cuddy puzzled. So that’s why in “Brave heart” the first interplay between House and Cuddy (in House’s office) shows a very snappish Cuddy, or “scornful” would be the word, as House qualifies it himself.Yes, he’s no fool. He sees it right away. And again, the perfect time irony is that the strategy has changed and the role are now reversed. From the first seconds, we can perfectly see that, while Cuddy switch from caring to contemptuous, House decided to change his previous indifferent attitude into a most playful one. As his healing process continues, House becomes “himself” again. He just dares to be who he is, small steps after small steps. And he reclaims his old personality back, because now that he’s gained some mental strength and a little self-confidence again, he seems to be less scared. That’s comforting.Thereby, in “Brave Heart” we saw House play and tease a little, just as we’re used to seeing him, but it doesn’t do the trick anymore; because while he’s opening up, Cuddy, on the other hand, seems to distance herself from him. And even if it feels good to see some bits of “old” House slowly resurfacing eventually it’s just another incomprehension that settles between them.Of course, Cuddy is adjusting too. And it’s certainly not simple for her either, because House changes a lot. Of behavior, of mind, of mood… so that’s complicated for her, and it starts to show that she’s growing “impatient” what House will finally decide: stay or leave. And this is not a meaningless detail, because the previous episodes have been focusing on that particular aspect, from Cuddy’s point of view quite often. In almost every one of them, since House has returned, we indeed see Cuddy point out at least once, that House really doesn’t know what he wants. Despite the fact that, in Epic Fail and the following episodes, Cuddy was at first absolutely ready to do whatever was required to help House find his mojo again, and had let him all the time he needed to adjust and dissipate his doubts. Could he do his job, could he not do it?... In order to find out, she’d just stepped back, willingly, to allow him some space, so that he could have some peace and stand back to find the right answer. But now, it feels as if this unresolved and still uncertain back and forth thought process, which seems to never set itself on a long lasting decision, annoys her more than it touches her caring heart. And metaphorically, there’s probably more here than only professional issues to discuss. Because, it could be the key to this whole awkwardness between them now. The fact that all Cuddy needs is some hints (if not a clear vision) of what she can expect from her future with House just lies within this. They don’t have many interactions other than on that particular topic. And yet, it holds every other issues that need to be solved between them. Because now, time to make choices has come. And until now, Cuddy’s been patient with House. She has waited long enough for the right moment to come, and not just this season, not just about questions regarding his medical status. She has tried to get closer to him, but he never really allowed her to.So once more in “Brave Heart”, when House dances his little “uncertainty dance” about his job, wanting to do it, renouncing to do it, then going for it again (metaphorically mimicking the back and forth Huddy dance) then, unfortunately, but maybe comprehensibly, it’s not funny for Cuddy anymore. When he joins her in a patient room, while she does her teaching medical round, because suddenly he’s willing to complete the 120 hours he needs to do to requalify, Cuddy reacts wearily, if not disappointed. She asks him if by any chance it’d be “possible for her to get a five-day forecast.” indicating that she may be on the verge of giving up if things keep being just like they’ve always been between them: uncertain, changing, and moody…Of course, through the students observing eyes, when House and Cuddy leave the room and talk outside (so close to each other and so off-topic, sliding into the inevitable field of sexual banter) the whole thing is qualified as “foreplay”. But foreplay to what? Is it really what it is? Or is it just two people desperately clinging to an old mechanism of interactions, connecting in a way which seems to be not genuine enough anymore for the real issue they have to deal with now…Banter and teasing may have mesmerized them in the past, and irrepressibly drawn them to each other, but clearly, it’s not working anymore; because, the only way to step forward now would be for them to finally decide to be sincere. Confessing is the key word of this episode. It’s not about games anymore, not about pretenses. And House is the first to see it. With his new emotional “skills”, and his “brave heart”, that’s where he cautiously tries to bring her when she joins him in his office to give him the form she’s signed off.But why would she do that? That’s indeed the first thing that House asks her, as soon as she hands him the piece of paper. “Why?” Not that it’s surprising on Cuddy’s part to elude a rule, just for him, but here it feels like there’s more to it than just the urgency of getting her best doctor back. Signing off of all his hours is a way to end the banter. It’s a way to prevent them from spending more time together. It’s a way to avoid him.And that also didn’t escape House’s intuition. “You’re uncomfortable with me”, that’s what he tells her, because it’s the simple truth and there’s nothing to add to that. Just the way Cuddy embarrassingly answers him ‘no’ shouts that it’s a ‘yes’… She tries to hide herself behind professional excuses but House doesn’t buy it. We don’t buy it. So House makes a joke about sexual tension… Old tricks, winning banter… The ones that would have made Cuddy roll her eyes and smile before… but not this time; because it’s not before anymore. Trying to be who he’s always been but with a three month difference of wavelength IS House’s irony right now. After he’s searched what was the best way for him to come back, how he should act, what he should do, how he should behave, with his Team, with Wilson, with Cuddy; after he’s found out that the only answer was to be HIMSELF, that’s when the reality of the time he’s lost while he was away hits him: when Cuddy leaves his office. That’s a big gamble for House there. What does he do? Does he go on with his innuendos and teasing games like he’s tried during the whole episode, when clearly that was not the best formula to catch Cuddy’s attention… No. He chooses sincerity instead.“Brave Heart”, that’s him there, seated on the floor and looking up at her with softness in his eyes, and a glimpse of discomfort, as if he was afraid of what the consequences might be if he finally dared to take a step there. In BOTH cases, which means whether the consequences should be good or bad…“What about us?” It’s really the most unequivocal and blunt confession he’s ever made. Daring to use the word “us” while he knows that she knows… while it’s perfectly clear that she will understand what’s implied underneath this “us”. And it’s farther and deeper than Cuddy ever dare to step herself. Because when she came to see him at Wilson’s in Epic Fail, she only asked him about what she was? She wanted to deal with the situation for herself. This was not about them, but only about what she would do once she’d know what to expect.But there’s more in House’s words… and the crushing thing is that when the confession is finally subtly shaping, Cuddy doesn’t seem to want to hear it.“We’re good. Just like this. You press my buttons, I press yours…”And this “just like this” it means: There’s no “us”. Not now, because I don’t want more. Let it be just as it’s always been: “you press my buttons, I press yours.”So is that the formula? Something that will always bring them close just to push them further away. Something that won’t work more than a tingling sexual game. Something that will make them be each other’s special somebody but never for real…Or, is it Cuddy’s way of saying. Not now… not the right time. I need you to prove more to me. Show me how you can change…In any case, now that’s House has taken the first step into emotional sincerity, the next logical thing is to hear more about Cuddy…Confession… I’m impatient to hear where it’ll take us. And waiting for it, I can’t really decide whether I should feel funny or uncomfortable about it…So bring on November, 9th! I can’t wait to find out…

 

HUDDY REVIEW 6.07- Known Unknowns Maya295I'm sorry it took me so long, but there were so many things to say... LOL it seems that Huddy will be something worth discussing from now on, whatever path it might take from here!so here're my thoughts. please feel free to add yours! ;)Current state of mind after Monday's episode "Known Unknowns"?: blurry, possibly baffled. As to the physical aspect of it? have you already been punched hard in the liver?... me neither, but I think I've experienced the feeling nonetheless.Known unknowns: yes, that's what Monday's House episode was about: knowing the real truth, revealing the secrets; because there are things that you hide and it can put you in a really bad state, metaphorically and actually speaking.So there it was, everyone's back story, unraveling in front of our eyes, slowly, unexpectedly, almost shockingly at some point.Of course first, there's the POTW. And Hello irony here! she happens to be someone who can't tell reality from fantasy!... and lives in a total lie, that she's built in her mind to protect her from the sadly dull reality that is her life. She imagines herself wanted, cherished, surrounded by people, when actually she's only a poor lonely child, abandoned to herself by her parents. "a credit card kid" as Cameron describes her... and so young but already so SICK of living in such pretenses... Her lies? They're all speaking about the attention she doesn't get. And when she's finally getting better, she has the honesty to admit her weakness (to Cameron...coincidence?) which, in her case, is: being just an ordinary shy girl who doesn't dare enough and lacks boldness when it comes to give her dream a chance... Then there's Wilson's secret: "Euthanasia. Let's tell the truth, we all do it." What a brilliant subtle way to connect every ongoing drama together here. Euthanasia is indeed not ANY random ethical debate. Some would say it's "murder", some would say it's a pure caring human "gift" given to a patient to end their suffering. It's not surprising that Wilson gets to be the guy who's admitting he's been confronted to that excruciating choice before. But it's very interesting to observe how House reacts to that; whereas, he hasn't seemed very stressed or "concerned" by the ethical issue Chase has raised when he killed Dibala (even if he's done something to cover his a$s) yet he seems completely panicked, or at least twice as much worried for the consequences that Wilson might endure if he confesses that he's done euthanasia. Of course, Wilson is his best friend and House is always (despite what he would admit) very protective towards him, but he's also always essentially emotionally destabilized when the issue is about caring, and about the consequences that ensue. Yes, what frightens House here may be that he saw how deeply emotionally involved Wilson is and he's afraid of what the price to pay might be if things go wrong for his friend: "you won't be hirable anywhere!", House says... Interesting choice here too to put that in the balance, and make a metaphorical parallel with House's own mind struggle, regarding Cuddy: follow reason, or follow your heart... because what would be the most hurtful consequences?...And finally, it's impossible there not to think about Chase and his own moral debate about what he's done. After weeks of pretenses and uneasiness, he decides to take the big step of confession and he tells everything to Cameron. the gloomy tracking out at the end of the episode, showing Cameron, slowly leaning back in shock and letting go of Chase's hand after he confessed he killed Dibala doesn't augur well for the young couple, who will now be confronted to its first challenge. Is it a question of timing in the confession? Is it a question of how serious and grave the matter is? Cameron will certainly have a word to say about Chase's silence, which can easily be read as mistrust... Can it seriously be seen as a "loving" gesture? Trying to justify him not confessing to Cameron, Chase says to Foreman "If I tell her, that's dumping a burden on her shoulders forever." So yes, this is actually a sort of lover excuse, but will it be seen as such? What are the real reasons for protecting people anyway? Protecting them from what? Lying by omission is often justified as a way to protect people from themselves, from their own weaknesses and fragilities. But it's also a comforting way to easily forget that what is said is first and foremost a lie. It's like keeping a family secret unsaid, by fear that the children wouldn't be mature enough to understand... and there, unravels another stunning crushing parallel with House's personal story: why hide a fact (whatever the fact is) from a person you supposedly care for? Because when House asks Cuddy why she hasn't told him about her relationship with Lucas, that's also the issue he's raising: "why keep it a secret? You were protecting me in my fragile state? You think I was an unhinged loony who was about to go off the rails at a badly timed bit of news?" and yes! Cuddy IS with Lucas... have I forgotten to mention that already?... hah! Sorry! that's probably because a part of me is still... how shall I say? ... not so very happy about it... Though this week, very paradoxically, I was first tempted to say that there were practically no changes in House's world. We're still in the era of confession. We're still in the land of confusion. We're still trapped into the "bad timing" dimension.But actually I was wrong. Because this week, a new ingredient has been added to the whole recipe: and it's CHOICE. At first, it seems like an innocent harmless ingredient, like a not so tasteful spice you'd add into your meal, unaware of all the possible altering consequences of it.Because CHOICE has a huge power: it can change EVERYTHING. You make one rather than the other and things become different: for the next five minutes, the next week, the next year... for your entire life... Choices are tricky. It's not easy to make one. It's not easy, even for the very healthy balanced people. So it's needless to say that it's even less easy for the unsure, doubtful fragile ones...And this is not just about House and Cuddy (which is why sometimes, in episodes like that, I have to restrain myself because I'd have so many things to say from every character's perspective about this question of choice: for Chase and Cameron; for House and Wilson; for House and his team, past and present...) but too many things to say, too little time to say them...Because then, there're the gazes; throughout the whole episode. And I could end this review here because with those gazes, there is not much to add. More than words, they say everything. And it's even crushing how powerful their language is...So what about Huddy in this land of confusion now?First, House. Despite the appearance, the boy is getting more and more mature. Especially with the way he deals with his emotions. That's a good thing; even if, at the moment, he's not being exactly rewarded for it..."Appearances": They are what would make us think that we got our old House back. During the first fifteen minutes of the episode, we indeed witness a typical hormonally driven House, getting carried away by some exciting concepts or images like the next teenager in American Pie: a "State pillow fighting championship", a pair of boobs (which, let's grant him that, were really "out there"), a lively butt... Each of those reactions is fun, and House wouldn't be House if he didn't act like that once in a while, but the truth is, it's also essentially immature, like "early House-like immature". Wilson says House has to come with him to a conference and House objects that he can't because he already got tickets for a promising pillow fighting championship which will provide beers and wet Tee-shirts. Then in Cuddy's office, he can't help but going on a tangent, commenting about "Patty and Selma" the "smokin'" girls out there. Yet, the scene in itself is great, because it has a perfume of season 3 bantering in it. The "Microbes can be sneaky" nostalgia kind of thing. And even Cuddy, though she appears very nervous and busy, is receptive to the banter and takes time to joke back. But it also sounded as "we're good. just like this. you press my buttons, I press yours." at least that's what I thought about it then. For five minutes, I could almost have fallen into the delusion that maybe Cuddy was right and there was indeed no better formula... but that was until House became a man... finally.Three years. At least for us. Three years during which, the mystery of the original hook up had remained unsolved; three years since the cryptic mention of "the one night where House gave her..." in Top Secret. And finally, we get a glance at Huddy's back story. Carried away by the reminiscence of old memories, brought back by the fizzling atmosphere of an 80's party, House and Cuddy slow dance together and it gives them an opportunity to take off their mask.And that's when we know for sure that House's bantering jerky appearances were nothing but just appearances. House shows us his true colors and they are beautiful. Genuineness suits him well. And his shyness is oh so touching, especially when we know how hard he's working to usually hide it behind a fake display of arrogance and self-righteousness.Because House is not self-righteous. And he's not arrogant either. At least, not when you care to look deeper under the surface... He cares and he's sensitive and he even has this romantic side in him, so desperate and doomed, almost in the pure tragic tradition of romanticism. It made me think about a beautiful F. Scott Fitzgerald quote which could perfectly depict House in that circumstance "I'm a romantic; a sentimental person thinks things will last, a romantic person hopes against hope that they won't." There is something of that twisted reasoning in House's reluctance to commit. He longs for things to be better in his life, he hopes to find happiness but somehow, a self-destructive force is preventing him from "having it all". He's done that with Stacy, pushing her away, twice, and he's been doing that with Cuddy too, for years and years, never daring to "give it a chance". Probably by fear of being hurt. But not daring to seize the day just because it's shadowed by an uncertain future is just a coward excuse, as Wilson keeps repeating him. So this time House dares, and he goes to the party where he knows Cuddy's going to be too. He finds her there and a lucky coincidence (at least, for once, a good timing... musically speaking) pushes them into each other's arms, to dance on "Time After Time"."Remember the last time we danced? Med School. Week we met." And that was undoubtedly a stunning way to tackle the subject and throw us directly back into the mysterious period of their lives we were all dying to learn more about. I thought it was even more powerful that way, because despite all the fundraising dinners and charity parties they've surely both attended during all those years, it also meant that they'd never danced together on those occasions. So that only left one memory for them to cherish over the past 20 years... So how much striking could it feel for House to relive another moment like that? (and by the way, like always, what an incredibly amazing acting job from HL's part, just with this embarrassed gasp, and rolling eyes, before he dares talk to Cuddy during the dance...)So what do we learn during that beautiful moment of sincere emotional intimacy? First comes the confirmation that House and Cuddy indeed sealed the deal in Med School and had a one night. "one thing led to another..." An adventure that never got the chance to be explored further. For Cuddy, it was because "there was no expectations", while in fact, she learns that House wanted to give it a chance, even if, eventually, he chickened out, using his expel from Med School as an excuse for bad-timing. Again."I was going to come see you; figure out where things would go from there. That was the morning I got the call from the Dean, and I was expelled from my first Med School... didn't see any point."Bad-timing. Bad choice. Huddy irony. Almost about to become a Huddy-ism.And maybe, this is why, abruptly jolted back to present, Cuddy can't stomach this confession and leaves. Because there are too many "what if" hanging there, and given the place where she's currently standing in her life, and the choices that she's made, the assumptions about what "could have happened if" are too painful to imagine (especially when it's probably again). Or maybe, as House sums it up himself quite well for Wilson the morning after the party, this is because of the undeniable proof that he "has always been interested in her" which can be something pretty dizzying to learn for Cuddy in that specific circumstance, since she must have certainly found strength to keep her emotional distance throughout all those years by convincing herself that it was nothing important in the end. "That ship sailed long ago House," as Cuddy once said to him with a smile, meaning (or rather pretending) that she didn't really expect any seriousness out of it. And at the dance, when House confesses that they could have lived something, or at least, that it was what he wanted, Cuddy is just so visibly awestruck that her arms actually fall off of House's neck and she almost reproached him angrily to have told her that."Nooo. Don't do that! I was just as much into it as..."There, it's the guarded Cuddy that has intrigued me since the beginning of season 6, keeping her distance, brandishing her shield. House talks about intimacy and she automatically shrinks back inside her shell. But truth is, this is an almost painful revelation for Cuddy. Because actually House was. Serious. And of course, from there, things couldn't just go smoothly. But have we really even thought for just one second that it could? ha, of course not! more than 20 years of sweet lies and coward choices can't be erased in just one dance. However, things progress. At snail's pace and with huge obstacles on the road. But they progress.House never went that far with his emotional admissions to her before. Not even in "Brave Heart", with his (yet) beautiful "what about us?" It was only about asking HER to do the step then. But here, under other skies, boosted by a renewed confidence, a pain that seems to be and more manageable (his limp is way lighter than it has been, and when he danced, it's even almost non apparent... power of endorphins surely...) anyway, HE DARES! Despite the cost he might pay for it, because even if he goes for it, he still have this threatening fear above him: "she's not just a floozy in a bar, she's the floozy I work for!" But he tries it nonetheless. And this time, he even goes knocking on her door. For real. This is not a simple itch anymore. And then of course, that's when he gets crushed. Cuddy's not alone. Yet, she pretends she is. She lies to him. She's embarrassed, uneasy and insincere. House makes a step towards her, finally, and it's only to discover that it's too late. Cuddy has started a new life, with a new man... And well, "new" isn't exactly the term since, the new man is actually Lucas, last season's PI, and formerly depicted as a rather nice guy. The same one, who in 5.04 Adverse Events, had clearly and undoubtedly understood that Cuddy was spoken for. He'd even asked House if "he wanted him to back off." So the man perfectly knew where he was going and what he was doing. Hence the very appropriate "this is awkward!" when House and he end up face to face in Cuddy's hotel room.Then why? Why would Cuddy do that? Can we blame her for that choice she's made? When Wilson comes to see her while she's sitting on a bench outside the hotel and asks her about the party and how things went with House, she more or less subtly avoids answering him. Wilson doesn't know about Lucas yet, only that she left the party rather hurriedly, so his first reaction is to blame it on House, She doesn't confirm, but she doesn't deny either. She just hides her getaway behind the same excuse she gave House, and probably the same she told to herself: she needs a reliable guy, "and it's never been House." Only now, she adds her daughter into the whole frame to justify her behavior more convincingly "I'm a mother now." and despite the fact that she admits "House was sweet" she also immediately ponders this admission by adding "I know better than to rely on that."Yes, this is cruel and unfair. Because House has changed. House is soft and caring and he has shown genuine feelings for her. And what's more important, he was ready to tell her that he didn't want to screw it up. He even came to her hotel room to offer her to baby sit Rachel, the same very annoying little brat he's spent his time despising, almost throughout the whole last season. So he was ready to make amends and make some significant gestures to prove her that he was not just jerking around this time. He came to her with the best guarantees there are to offer in relationships: good will, faith, patience, and above all good intentions. Anything other than these is only pure delusion; because you can't promise better than that. Yet, it seems to be what Cuddy hopes for. "A guy she can count on every single day." The perfect dream of what a sucessful woman's life should be like every little girl has been handed in their chilhood: Find a man. Settle down. Have children. If possible, handle a professional career as well. So that's a lot of pressure and a lot of modern myths to meet and pursue. And Cuddy is no exception. So right now she totally deludes herself into thinking she's found that perfect dream. And this is what she needs to reassure herself at this point in her life. And yet... this is quite puzzling to see her so emotionally shaken, each time she seems to realize what House's true feelings are; even more puzzling is the so ambivalent way with which she's obviously teasing him during the dance, clinging to his neck, sending wheedling smiles to him, choosing purposely emotional triggering confessions "I tracked YOU down. Endocrinology. The party." And the way she so perfectly remembers every little detail of their encounter, reciting their first conversation by heart, with an evident nostalgia in the eyes. What game does she play? Is it actually a game? Has she forgotten what choice she's made? Is it the first slow unconscious step that will break her delusion and open her eyes to the reality of what she wants?: "So what am I?" "Can I get at least a five day forecast?" "I need a man I can count on every single day." "Just like this. You press my buttons. I press yours..." is it the object of her struggle now? Convincing herself that she's made the right decision? Because actually, she shouldn't even care about that anymore at this point. She chose. She's supposedly the woman with another man right now...So what does it hide? What does Cuddy really feel, deep inside? Is she over House for good? Is this relationship she started with Lucas really serious? Where will things go from there?Practically a whole episode passed playing hide-and-seek, an entire week-end of sham, double-dealing situations, and dishonesty, leaving more questions than answers and in the end, a breakfast.The four of them. Together. House-Wilson facing Cuddy-Lucas. Nose-diving in mugs at first and then bluntness. From the only one who's actually capable of dealing with this absolute awkwardness, while he should be the one being completely shattered: House. An incredible calmness is filling him since the second he's seen Lucas with Cuddy. Silence. Passivity. Detachment. It's almost creepy. So he asks, "How did you two crazy kids hook up?"And then the process unravels and everyone somewhat finds their place in the puzzle... something in this scene is supposed to put the pieces all together and it just does. Everyone is there, seated, glancing over the table, or embarrassingly averting their gaze, or longingly staring at one another... Everyone shows something: an emotion, an involvement, regret, an acceptance, a bragging malice, a supportive friendship. And everyone can't help being a part of their deep self during that scene. Because somehow the roles are now cast...During the dance, while Cuddy and House evoke their one night, House subtly refers to the moment with this modest formula "and one thing led to another..." to which Cuddy, immediately objects "nah, then it didn't [go anywhere]" Snappish, in a way, (even if said with a smile) but quite definite and legitimate to define the lack of relationship that ensued. So, of course, when Cuddy explains how she solicited Lucas for an investigation, House can't help bringing up the ironic reference again, "and one thing leads to another', obviously quoting his previous metaphor, throwing her a line, and desperately waiting for the same reaction on her part. But sadly, all he gets is a longing, oh so sorry, but admitting look that says: yes! Things led where they should lead in every relationship. And with that of course, House pushes the curiosity a little further and provokes Cuddy, trying to understand why she has hidden that to him, asking her the one thing that could possibly help him stomach her reasons less painfully: "was it to protect me in my fragile state?"And of course it's said with irony and a little provocation, because House is somewhat hurt because what he would hope more than anything in that moment is that Cuddy would assess his now new-found emotional strength and stability. But since he admitted to Wilson that he "can't convince her that he's changed his entire personality in a week-end", eventually, asking her if she wanted to protect him IS a real question. A real concern. A real need to know. Because what he seeks for with this question in an admission from her: he wants to hear her say that she cares. But what a painful way to remember how preoccupied by the reciprocity of feelings he already was even back then, during his delusion phase. "I need to break her delusion, which demonstrates to me and to her that there is something underneath this facade." How strongly anchored in his subconscious can this fear be if even his deluded mind wasn't able to soothe it? And that specific issue (mutual feelings) indeed seems to be House's obsession in relationships: love, but only on the condition of being sure to be loved in return... commit, but only for a reason... and never put oneself in a beseeching emotional state... And so, if timing, irony, bad choices, fate, or whatever have drawn he and Cuddy apart, then House needs to know that, all this time, she was at least protecting him, because he means something to her.All those years, he's been unsure, he's been doubtful, he's been afraid; of commitments, of break-ups, of pain, of emotional pain. But he's been learning to deal with that now. Slowly but surely. And during that breakfast, it's an all renewed House, wise, quiet, that is seated here, and only requests legitimate explanations. No sarcasm. No cynicism. Just a clarification.But Cuddy doesn't give him the comforting awaited answer. Instead she chooses a rather curt one, considering their painful shared past: "I just don't advertize my personal life." the look on House's face when she says that shows that he probably gets the allusion to the sorrowful moment when he stood at the hospital's balcony and dared to shout that he had slept with Lisa Cuddy. "I just don't advertize my personal life." because as she'd said to him by then "You have the luxury of not caring about your image. I do not!"So another loop and ... back to the beginning!: emotional self-preservation leading to pretences, leading to lies, leading to awkwardness.but then, most unexpectedly, Lucas, who until then had remained so perfectly discreet from his upstaged position, suddenly steps in: "Yes she was worried. A little worried." A slight approving nod from Wilson first welcomes this confession as a good sign. As if he was saying to himself: "uhm, in his position, good for him to have yet the delicacy to grant House that..." But this is such the wrong assessment! Lucas, starting from then on, couldn't get more inappropriate, mean, humiliating and even perverse than how he actually is. Viciously playing dumb, obviously to hurt House. And using the most precious and crushing symbol of House's deep emotional attachment to Cuddy: the delusional sex episode. Several things come to mind here, among which, first is to say: how can Lucas know about that, if not because of Cuddy telling him? Well apparently she did tell, although she seems to realize suddenly how wrong it's been where she hears Lucas unacceptably putting out every sordid details one after the other, making sure, while remaining perfectly ingenuous in the attitude, to poke the sharp sticks right where it hurts.And then, there are no words left. Everyone, including the viewers, is rendered speechless, which is why in a perfect timing, everyone just shuts up as well in that excruciating awkward scene. And words become gazes. And what the gazes say is more powerful than what any words have been able to express until then.Wilson, totally appalled, desperately trying to catch Cuddy's eyes, to confront her to that sickening outpouring that she's somehow backing with her stunned silence. And it's almost as if he was trying to call her to account, given the fact that she originally probably received the information she knew about House's delusion from him.Cuddy, precisely, who's absolutely contrite and ashamed, silencing Lucas with a glare, and begging House for forgiveness with a crushing gaze. Lucas, then, dreadfully smug, wiggling in content in his chair as if he was very proud of the little bomb he has just dropped.And finally House, detached, disillusioned, surely shocked but perfectly keeping his self-control and holding Cuddy's gaze with sorry eyes, as if he was the one wanting to apologize for this...So at that point, if the question was to know if Lucas is really a nice guy then the answer is, no! Or at least, let's say that now, if the question was about to know whether Huddies would have reasons to like Lucas, then they have their answer, I guess. And it's still NO!But, we can't expect things to be as simple as that. Never see anything in black-and-white terms with House. Just for now, the things that are sure are: - House is in love with Cuddy. - Wilson unconditionally supports House for his quest of happiness. - Cuddy chose a "reliable" man, but she seems uneasy with her choice and maybe, giving up on every other things in her life in order to assume her decision to move on, is not as easy as she thought it was...Now in the last scene (minus the Chase and Cameron one), we however see Cuddy playfully enjoying the little happy family moment with Rachel and Lucas. And it's after the breakfast. So despite the awkwardness and the obvious improperness of Lucas' behavior, she seems fine. And even House, who's looking down at them from the hotel's balcony seems resigned as well. "he [Lucas] looks like a guy who'd be there every day." Does that mean that Huddy is dead for all that? ...Ha! I want to shout NO! because I want cling to the crazy assumption that, on the contrary, it has only been challenged and the journey's just begun... So I can't wait for next week to see how it goes when everyone returns into a more familiar environment...

Ah, uspelo je. Moze se diskutovati oko nekih detalja, narocito u prvom tekstu, ali overall ok. Naravno, ona je ovo pisala sa pozicije 1 Huddy-jevca. Kad/ako se House i Cuddy konacno smuvaju, pravim zurku da proslavimo! :D Mozemo u fazonu osamdesetih ili kako god birajte temu zurke!

kakve bre 80, naredi da sve zene dodju obucene ko medicinske sestre Edited November 18, 2009 by 3opge

[Sludge Factory]

Hmm, ista ova devojka cije sam tekstove postavio iznad, napravila intervju sa Greg-om Yaitanes-om (jednim od co-producenata i najcescih reditelja u seriji; rezirao npr. proslu epizodu, a dobio je Emmy za reziju epizode House's Head s kraja cetvrte sezone) preko twittera. Zanimljiv tekstuljak, malo ulaze u detalje kako snimaju epizode (ima spojlera za 4. i 5. sezonu, nema za 6.):

I have an account on twitter and I follow Greg Yaitanes, the producing director of HOUSE season 6 (for those who didn't know him already)As he directed "Known Unknowns", I sent him my thoughts about his work after Monday's episode, which granted me the amazing chance to get to ask him more directing questions of my choices.Here's what I've asked him and in blue bold font HERE ARE HIS ANSWERS!Since I got his authorization to share "them at my pleasure", I thought I should put them in here!*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-@maya295_ :Two shot plan gives stillness, alternate one shot plans give movement. can you give creative reasons to opt for one rather than the other?@GregYaitanes : completely what the scene and script calls for. i can't fully explain what determines what, it's a just a gut reaction to how i see a scene. m: Close-ups undeniably enhance the emotion that's displayed. Which specific emotion do you personally prefer to film with this technique?GY: i love not wasting close ups using them for impact and intimacy. m: does it often happen that, while filming, you catch by chance a blessed moment of acting that was not written in the script but adds so much depth and beauty to the whole scene that you simply can't erase it? (and I don't mean improvisation on dialogues, but more like a move, a gaze, a facial expression... something that the actor wouldn't have discussed with you before, but which just came out in the "heat of the moment") would you mind sharing the memory of one of those stunning moments you remember?GY: always. i find Hugh does things that are subtle and so perfect sometimes that i often miss when i am watching the performance on the day. tiny expressions that tell volumes. i am really in awe of it. i would have to say the depth of the reaction house had on the season finale BSN took my breathe away. when we revealed the lipstick to be the pills. devastated me. m: speaking about the balance between spontaneity and directing, how do you work with the actors? How far do your directing indications go? What do they include? (despite of course the basics where to stand, where to go if a movement is planned and where to stop...) do you tell the actors general indications about the "tone" they should use for their lines while on set, or it is something that's been automatically discussed before, during the reading sessions?GY: i work by tweaking. i give the actors a wide road and just help keep them on it by bumping the sides a bit. our cast is so talented that i have to do very little. when we stage a scene i usually let the actors go where they want first. if that works i leave it or make small adjustments. Hugh always has ideas of where and what he is doing. he is like my co-director. making all his scenes stronger with creative ideas that go beyond anything else in tv. m: as a director, what is your relation to the camera as an object? Do you like to hold it yourself, see through its "eye" during a scene, or do you prefer to direct from a standing (or sitting) position beside it? Which also leads me to ask you, what is the best way to do a tracking: with a steady cam or a dolly? Which technique do you prefer and why?GY: i 100% let the script speak to me. house is a great show that every episode is just different enough that each director can make his own movie. all my eps look different because the script called for different approaches. i'm past the point of making cool shots for the sake of making them. i want everything to support the storytelling. stedi cam and dollys are tools. my preference is toward what tool is right for the job. m: when you read a script for an episode you are going to direct, how much of your own artistic vision can you bring into the whole frame when it comes to thinking about how you'll put writing into images? I mean, what is already suggested (and sort of "ties" you), and what is only pure creative freedom? For example, how much of the final visual result of the bus crash scene in House's head did you imagine? because that was a hell of a powerful amazing scene. did the script said like "bus crash" and then you did all the rest or were there many details already written?GY: i bring to and encourage every director to make his or her movie with our show. every writer has a different style so i want for every director to enhance those differences. it would pain me if every one of our shows looked the same. with the bus crash we wanted to show it all from the inside. more of the story beats where scripted but then i took it to the next level with the flip and specific visuals. moments like the bag falling away, the cane falling away, them trying to reach our for each other, house hitting his head... scripted. the details of achieving that rested on myself and the team. m: and finally, do you have any particular scene in the history of cinema or TV about which you can say: I remember that, when I first saw THAT scene, I said to myself: I want to do that for a living!GY: star wars is why i make movies. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*To Greg Yaitanes,THANK YOU a million times for this incredible opportunity you gave me to interact with you a little more thoroughly and get to know a bit more about your job.On another level, I also want to thank you for your patience on Twitter and just, your presence actually... it's comforting and almost cozy to have this kindly "link" into a usually rather inaccessible world... but you make it possible! So THANK YOU! :-)

[notenoughreasonsforclaire]

Ode.

[Sludge Factory]

Ohoho, kakva epizoda!

House the ass is back too.Bog sve vidi. :D

[gervasius twinkleminkleson]

bezveze epizoda, najlosija u sezoni [ne rachunajuci uzasnu prvu]

[jms_uk]

Ode.

Bedak :(Ali kako ga [je uvek] cita[la]

[Sludge Factory]

Bedak :(Ali kako ga [je uvek] cita[la]

Ovo da mu ona pruzi ruku, a on je ne prihvati, je podsecanje na slicnu situaciju iz prve sezone, kad je prvi put odlazila, isto mu je pruzila ruku, a on je nije prihvatio. Inace, epizoda je bila potpuno luda, za 45 min. se desilo toliko toga. House je briljirao na sve strane. Ali kako ga je Taub ispratio iz kancelarije Sto se tice Cameron, njen lik je presao cudan put, bar kod mene. Prvo mi je bila simpaticna (a i palio sam se na nju u pocetku :P ), ali kako je vreme odmicalo pocele su da izbijaju na povrsinu neke njene ne bas fine osobine, dok je na primer Chase poceo kao ljigavac, a sad je doslo dotle da navijam za njega (BTW, bas dobro glumi Jesse u 6. sezoni, ovo oko ubistva i izjedanja). Nedostajace mi Cameron, ali najvise zbog toga sto su njena moralizatorska naklapanja, hipokrizija i smernost/cednost fine, nevine devojcice izvlacila iz House-a ono najbolje. :D

[freakns]

Ovo da mu ona pruzi ruku, a on je ne prihvati, je podsecanje na slicnu situaciju iz prve sezone, kad je prvi put odlazila, isto mu je pruzila ruku, a on je nije prihvatio. Inace, epizoda je bila potpuno luda, za 45 min. se desilo toliko toga. House je briljirao na sve strane. Ali kako ga je Taub ispratio iz kancelarije Sto se tice Cameron, njen lik je presao cudan put, bar kod mene. Prvo mi je bila simpaticna (a i palio sam se na nju u pocetku :P ), ali kako je vreme odmicalo pocele su da izbijaju na povrsinu neke njene ne bas fine osobine, dok je na primer Chase poceo kao ljigavac, a sad je doslo dotle da navijam za njega (BTW, bas dobro glumi Jesse u 6. sezoni, ovo oko ubistva i izjedanja). Nedostajace mi Cameron, ali najvise zbog toga sto su njena moralizatorska naklapanja, hipokrizija i smernost/cednost fine, nevine devojcice izvlacila iz House-a ono najbolje. :D

zbog takih kao ti koji gledaju koliko je ko dobar/fin/lep/simpatican... upropastise seriju :( ali ajde, istumbali su je valjda sada sasvim dovoljno, pa postoji nada da se serija vrati svojim korenima... bas sam pre neki dan pogledao par epizoda iz prve dve sezone... ne moze da se poredi kvalitetom! mislim zasto ne mogu lepo da se vrate na te stvari? House dobije slucaj, sere po svima, onda ubace Wilsona koji se posere po Housu i svi sretni i nasmejani :D

[Teixeira]

chekam celo jutro na reakcije, gde ste svi? :Dnekoliko fenomenalnih situacija u epizodi.

[Sludge Factory]

Oh my god, who got punched?

[Frank Pembleton]

BTW:20:05 House MD---FoxLife21:00 House MD---Studio BNaravno razlicite sezone ali...Meni je veci problem sto dobre epizode u svakoj seriji pamtim do detalja pa malo smeta ali ok za razonodu...

[Odd_Job]

Juče i prekjuče sam pogledao dve epizode, po prvi put u životu. Stvarno je odlična serija. Ali, ja ne mogu da je gledam jer sam gadljiv i hipohondar i uopšte mi ne prija.

[Frank Pembleton]

BTW:20:05 House MD---FoxLife21:00 House MD---Studio BNaravno razlicite sezone ali...Meni je veci problem sto dobre epizode u svakoj seriji pamtim do detalja pa malo smeta ali ok za razonodu...

Al' bi voleo da vidim maga reklamnog biznisa koji prekida epizodu kada je ostalo jos 10-ak sekundi do kraja pa se vrati maltene na spicu