The Vogler arc and the Cameron crush are two of the only continuing plotlines in the largely self-contained episodes, and they are among the weakest elements of the show. However, even if the characters of Vogler and Cameron suffered from weak writing, they served to reveal more about Dr. House. Great writing wouldn't rely on bad plot devices to reveal great characterization, but these writers are great enough, often enough, and have developed such a great character that I'm willing to forgive all and call this a great show.

Evidence of its greatness was found in the second last episode of the season, "Three Stories," written by creator and executive producer David Shore. Like some of the other standouts of the season - I'd name "Damned if You Do" and "Detox" - it defies audience expectations of easy answers, and brings up as many questions as it answers. "Three Stories" focuses on the causes of some of House's current misery without neatly tying his personality flaws to his tragic past. "Damned if You Do" treats faith from religion to atheism respectfully, and "Detox" provides no simple answers to the question of House's addiction to painkillers.

The show is visually as well as viscerally and intellectually appealing. The wardrobe and props add to the attention to detail. Each character has a particular style - Cuddy in her sexy power suits, pretty Chase in his hideously mismatched outfits, Foreman in his stylishly professional garb, Cameron in her vests and heels, Wilson in his ever-present tie and pocket protector, and House in his concert t-shirt under long-sleeved shirt under ill-fitting blazer, usually accompanied by jeans and always by sneakers. House's office is a treasure trove of offbeat toys that contribute evidence of his juvenile side. Besides his Gameboy and portable TV, House plays with a turntable, unidentified ball, and iPod, in an office full of quirky personality indicators.

The gorgeous wood and glass sets must be a pain to shoot properly, and walk-and-talk shots are a signature, but otherwise the direction tends to the clean and simple. The pilot episode, directed by executive producer Bryan Singer (The Usual Suspects, X-Men, Superman Returns), oddly seems to have been shot with an orange filter, but otherwise the episodes are presented here in a pristine DVD transfer.

A downside to this DVD release is that it is presented in non-anamorphic widescreen. While this isn't an issue for those with regular 4x3 televisions, anyone with a widescreen TV will be disappointed at the resulting reduction in quality.

The brevity of the extras is another downside, but there are nice moments and it's not all scripted PR fluff. The biggest omission is the lack of commentary on key episodes or any other meaty discussion of the show by its creators. But the inclusion of what must be Hugh Laurie's original audition, taped in a Namibian hotel bathroom when he was shooting Flight of the Phoenix, is a treat. While the producers may seem like visionaries to have seen the potential in Laurie despite his tendency to be typecast in roles that are polar opposite to Dr. House, the reality is here: Laurie made it easy for them by absolutely inhabiting the role from the second the camera began to roll in that African hotel.