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Don’t Mess With The Iconic Moment: An Interview With House Writer Doris Egan

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House star Hugh Laurie and creator David Shore have already let it slip: in the aftermath of Amber's death, House and Wilson eventually patch things up.

"I don't think it's a shock that the lovers are reunited," House writer Doris Egan said archly. Nearly as unsurprising might be that Egan helped orchestrate the reunion, since her previous episodes, including "Son of Coma Guy," "House vs. God," and "House Training," tend to delve into that relationship.

The writing staff's resident doctor, David Foster, came up with the original idea for the reconciliation script. Though Egan was initially skeptical, "he started telling me more about it and then I was, like, 'Man, Foster's got the best episode ever.' Finally he said, 'So, would you like to write it with me?' and I said, 'I suppose I might consider that.'"

House and WilsonPerhaps she'd managed to twist his arm, perhaps he'd been hinting all along, but in any case Egan relished the opportunity to help explore the concept in what she calls "the graphic novel episode" (adding the caveat: "That probably will make no sense to anyone else, and after they watch they'll say 'what the hell was she talking about?'")

"I feel like House and Wilson, they deserve mythology. They're larger-than-life characters. There was one moment when I was typing the script where Wilson does something and I wrote: 'This is an iconic moment.' I thought someone would make me take that out, but they didn't."

She feared the scene itself might be omitted since it was scheduled after the main shoot. "Hugh said, 'How could they do that? I believe you called it an iconic moment.'"

"Now I'm going to say that for everything," she joked.

Sticking To The Sonnet

Egan and I talked last week while production was on hiatus and the writers were planning the latter part of the season, but by now episode nine should be filming "if my math is correct."

Not averse to hearing spoilers herself, Egan is nonetheless cautious not to reveal them. She has decided against making public her episode's number so the duration of the estrangement remains a mystery – until the writing credits, at least. (Though I'll eat Michael Ausiello's hat if that information doesn't surface before then.)

She also won't talk about how the friendship is put back together except in the vaguest possible terms. "They have a journey. They have a 'metaphysical journey.'"

She instructed me to add those quotes of irony, though it seems clear that a conversation with Egan is full of irony and eloquence and trenchant metaphors and cogent arguments, even when handicapped by an interviewer who is full of the opposite.

Metaphysical journey or no, the chances of House substantially changing – even being nicer to Wilson – seem slim despite his season finale admission of misery and his role in Amber's death. "I think if he did, people would be a little disappointed," Egan said. I have to concur: what makes the dysfunctional doctor miserable makes him fascinating, so as a fan of the show I'm inclined toward my own happiness over his.

 

"In real life, I don't think people change a lot, personally. I think it's incredibly rare that people change in any major way. For the lead on a series, perhaps even less Hugh Laurie as Houseso," pointed out the woman who co-wrote (with Leonard Dick) "Don't Ever Change." "It's interesting to see how far you can take a character within the parameters you're given, but it's like writing within sonnet form. It's always going to be sonnet form. You're never going to be back to free verse."

The sonnet of House isn't ultimately destined to be a romantic one, in her view. "I would like to believe that when the day comes – a long time from now when the show is over and we reach the end – I would like to believe that House is as ornery and alone as he has ever been," she stated, while remaining cagey on what might develop in the interim and refusing to pick a side in the shipping wars.

Egan sees the heroism in House's life-saving actions and believes we all have a bit of House inside us, but she won't commit to lauding his point of view, either. "I mostly find his point of view easy to understand. Hmm, I'm not sure what that says about me," she laughed. "He's not gratuitously mean, but there's a certain childlike freedom he has that's enviable, though I don't think it would be good for the rest of the world to emulate. I do like that he looks at everything critically. That is certainly something we could use more of in the world. There are no sacred cows to him. Everything comes under the microscope."

Driving The Ferrari

The New Jersey native joined the series in the second season and has become known for putting the House and Wilson friendship under the microscope. She's drawn to dissect the pair for an almost poetic reason.  "I like their rhythm. I like a relationship with rhythm. I like Tracy and Hepburn. I like some of the old TV shows of the golden age that had rhythm, like Bill Cosby and Robert Culp, I Spy, The Wild Wild West, The Man From U.N.C.L.E. You throw in a couple of people, give them some good dialogue, and it almost doesn't matter what they're doing."

The House and Wilson rhythm comes not just from the dialogue itself, but from the chemistry between Hugh Laurie and Robert Sean Leonard and from their respective talents. "I know at last one writer referred to it as, 'it's like driving a Ferrari,'" she recalled. "You just trust it's all going to work out. It almost doesn't matter how you screw it up, it will all work out in the end."

"We are so well aware on this show of how lucky we are," she emphasized about the actors. "The only reason we ever put anything even in a parenthetical or an explanatory paragraph is to make sure people understand where the story is going. I think to myself, gee, it will be interesting to see what they do with that. I'm not going to tell them; I'm happy to see what they come up with."

Season four's Survivor arc – where House systematically pared down a pool of candidates to replace Foreman, Chase, anThe cast of Housed Cameron – appealed to her for the opportunity to inject new voices into an established series. "I was partial to the old guy especially, who House called 'Scooter.' Those aren't the kind of characters you can usually get away with putting into medical shows. Generally television is a young place, but since they weren't all staying you could stretch the rules a lot."

But will the now-expanded ensemble tip the balance of the medical/character drama or – gasp – detract from the House and Wilson dynamic?

"It would be a sin and a shame if anything took away from House and Wilson," she intoned mock-solemnly. "I personally wouldn't mind seeing more personal interaction with the other characters just because I'm interested, but the show is called House and there is always a medical mystery that needs to be served, so it's always what we can do within the context of that. And that's going to vary. I also kind of like the occasional off-template episode where you may learn a lot about one character or another. But you can't do them every week or they won't be off-template anymore."

She's short on details, but hints at an expanded role for Chase and Cameron this season as well. "My suspicion is that we're going to see more of them as we start heading toward the middle of the season, for reasons I'm not going to say."

I didn't press because I fall slightly toward the spoilerphobe end of the spectrum. Plus, she wouldn't have told me anyway.

Last Season, On House

The stunning two-part season finale began with "House's Head." In it, House pieced together his missing hours following a bus crash in order to save an unknown patient, who turned out to be Wilson's girlfriend Amber – a shocking revelation unless you happened to come across the kind of spoilers that make even a spoilerphile like Egan cringe.

I was blissfully unaware at the time, but the DVD commentary mentions that pictures of Amber in a hospital bed were released on NBC Universal's website prior to the broadcast. "Mistakes happen and obviously it was done in error, but I was sad," she said.

"When I read the script for 'House's Head' I thought, 'oh, I hope this doesn't get out,' because to me this feels like a real spoiler that would indeed spoil. Every now and then I'd take a spin around the Internet to see if anyone was talking about it and be like, phew, not yet. And then toward the end I saw the link to these pictures and thought, damn, we were so close."

That episode was based on an idea of Egan's. She was working on "Don't Ever Change," however, so Peter Blake, David Foster, Garrett Lerner and Russel Friend collaborated on the script.

"There wasn't time, and the laws of physics prevented me from being in two places at once, sRobert Sean Leonard as Wilsono I had to say goodbye to it. I said goodbye to it sadly and I thought oh, who knows when we meet again if I shall even recognize you, little story. Then I heard what they were doing, and I read the script, and it just blew me away. I was just thrilled with what they did."

"You have those mixed feelings as a writer, which is 'wow, OK, if I had done this myself, could I have done it as well?' There were a few little places where I think I would have done it differently, but I can't say I would have done it better."

In the second hour of the finale, "Wilson's Heart," Egan found herself responding as a fan, one who can't agree with some fans' characterization of a crucial moment.  "There were people who seemed shocked that Wilson would ask House to risk his life. It was almost like instead of hearing the word 'risk,' they heard 'give up.' Like, 'I want you to give up your life for Amber.' It hadn't struck me that way. I wasn't involved in writing that episode at all so I'm saying this as a member of the audience, but when I read that in dialogue, it didn't cross my mind that he meant it as a choice between House and Amber or their lives," she explained.

Referencing the James Clavell novel King Rat, where prisoners of war formed units in place of family in order to survive, Egan elaborated. "I think from Wilson's point of view, House was in his unit and Amber was in his unit and he had a no-man-left-behind philosophy when it came to the people he loved. I think if the situation had been reversed, he would have said exactly the same thing to Amber."

Egan World Meets Online World

Before I turned to the Internet to discuss House back when it was a low-rated underdog starring that guy from Blackadder, I also had been blissfully unaware of shipping and fan fiction and slash. But Egan – a blogger herself – is aware and accepting of online fandom's many guises, and has been embraced as "St. Doris" by those who want to see House and Wilson as more than co-dependent friends.

That's partly because of her House-and-Wilson-centric episodes, partly because Egan, whose writings include the Gate of Ivory trilogy of fantasy novels, has views on storytelling that come closer to the "choose-your-own-adventure" than "bow-before-the-canon" model.

Hugh Laurie as House"In the perfect Doris Egan world, I would make some major changes to television in general. One thing we're learning in the modern era – and it's coming out of things like fan fiction and whatnot – is that literature can be the way comic books are, in the sense that there can be many branches of a story. Just like there used to be many different versions of the King Arthur legend, there can be many different versions of a story."

"There would be on Egan Network One: House Classic. On Egan Network Two, we could have House/Wilson. And on Egan Network Three, hmm, I'll have to think about that one. But in the perfect Egan world, there would be no limits."

Fanfic, then, is one way for those alternate stories to live even if there's no Egan Network Two or Three, and she's far more appreciative of the activity than many TV writers. She won't read House fiction, but marvels at some of The X-Files fan creations she's read, for example.

"It was as if you were saying 'this is going to be my version of King Arthur and he's going to be in Roman Britain instead of coming out of French chivalry.' It's fascinating to me that so many different shadows can come off of one lamp and one picture."

Apart from fan fiction, she sees value in the feedback available on the web. "Statistically, posts on the Internet don't necessarily represent what the mass of the Nielsen audience might feel, but it's still data worth having, I think."

"In the perfect Doris Egan world, you would be able to write in such a way that you would be able to give those fans, as much as possible, what they want – and often that involves character-oriented and continuity-oriented stories – while at the same time pleasing a mass audience that tends not to watch every single episode," she offered. "Even though those are two different audiences, I think they can be simultaneously served in the perfect world."

She clarified that giving fans what they want means those type of stories generally, rather than acquiescing to specific storylines. "I don't think there's anyone on any show who's monitoring every post they can find on the Internet and immediately changing course, because they can't. So many people are saying so many different things."

Protecting The House Unit

Though she values those online interactions, her blog is not an open portal into the writers room of House or any of her previous series, which have included Dark Angel, Smallville, and Tru Calling.

"When you're with a whole bunch of people creating something, it forms a little family. Like any family there is stuff that is not yours to tell. It's a particularly vulnerable family, because when you're working together on a creative project you have to be really trustful of each other and self-revealing. For example, in the writers room people have to be willing to tell their ideas even if they suspect it's a bad idea, and to write free from mockery, because that's the job. It's not the sort of thing where you can then go out later on a blog and point and jump up and down and say 'ha, I knew that was terrible the minute they said it.'"

"One of the great things about working at House is that occasionally I might disagree about the small things, as you will anywhere, but you never feel like your trust is misplaced. You really have very little control over a great deal. It's like trying to control the ocean when you work in television. But there are just so many good people here that even if I trip and fall, somebody is going to grab the tray before everything spills."

Season five of House premieres Tuesday, September 16 at 8 pm on FOX and Global in Canada. Doris Egan's first episode of the season airs … wait, no, you're not going to get that out of me.

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About Diane Kristine Wild

  • Anoel

    And Doris proves once again why she is our Saint. Thank you Doris and thank you Diane for this AMAZING interview that has made me insanely happy. I completely agree with her and support her in everything she does. And now I can’t wait for House S5 even more!

  • Lisa Solod Warren

    Yay. Sept. 16. It is on my calendar. Tuesday night is my only television night.
    BTW I KNEW they would have to patch it up. They need each other.
    Thanks.

  • Dedea

    Grat, awesome, wonderful interview. I love you St. Doris!!!

  • meme

    looks like the House/Wilson reunion is going to me emotional!!! Doris Egan is the best!

  • sUE

    I hope Doris Egan reads the comments here, because I would like her to know how incredible I feel this show is. It is like nothing I have seen on television, and I am not a young person. I can watch episodes over and over, and never feel that I am bored or taken for granted. I would rather watch my House DVDs than programs that are not up to the standards this program has set. Except for the casting of the new ducklings, this show is perfect. Every actor seems to be their counterpart; Hugh Laurie just is House, Lisa is Cuddy, Robert is Wilson, etc. It is like both the actor and the character both live in this world as separate characters, and both are just as real as each other.

    I know that not every fan feels the same way about the characters and the story. I would hope that TPTB consider the fans who take the time to post on message boards and forums like a focus group. If they went to an agency and tried to find a group of dedicated fans, it would not be as good the ones who post online. They are people of all ages and from all countries. They can quote lines from the show and answer trivia quizzes. I hope that when there is agreement among more than a majority of these people that they don’t like some part of the show, TPTB take those opinions seriously. The most consistent comments I see concern the actors that play the new ducklings. Some people like Kutner, but most do not like 13 or Taub. Most fans want Chase and Cameron back to a greater extent than we have seen them. David Shore has said in interviews that fans don’t really want what they think they want. I can see how this is true when discussing ships between characters. But when actors are not creating characters that die-hard fans find interesting,the fans are correct in believing the parts were miscast. Then, if you give those characters backgrounds and back stories, fans just don’t care what those stories are. Fans couldn’t wait to find out more about Chase, Cameron and Foreman, but we didn’t get much. We really don’t care about what we’ll learn about the new ones.

    I would love to know if she hears and sees the actors in her mind saying the words as she is writing them? Does it eventually sonund something like what you heard in your head?

  • http://unifiedtheorynothingmuch.blogspot.com Diane Kristine

    Thanks all. Sue, a partial answer to your last question is in a quote from her I didn’t end up using about the actors:

    “Again, it is wonderful just to be able to trust utterly with the people who are taking your material away. You know at the end of the day there may be something different here than what was in my mind, but there’s no way it’s going to be worse.”

  • Sue

    I have not gotten the DVDs yet, because I will not pay a 24 episode price for a 16 episode DVD. So if this question is answered on the DVD, I apologize.

    TPTB said that it was the writers who decided which new “characters” would be hired from the 40 candidates. I don’t believe there is a fan out there stupid enough to really believe that. Did Doris Egan say anything regarding the part the writers played in the hiring of the new “characters?” It was obvious that Olivia Wilde was a choice of Fox, they were going to pick a minority, so Kal Penn had the biggest resume and was the best known minority. Of the others, Peter Jacobson was the only actor other than Scooter who was in his 40s, so it was obvious there was no other actor they were going to hire but him. The other remaining candidates were virtually unknown. Anne Dudek was not going to get hired because Fox wanted Olivia Wilde.

    So, was there anything said in the interview about her impression of the actors that play the new duckling, or about her contribution to hiring these actors? I know the final decision is not hers.

  • http://unifiedtheorynothingmuch.blogspot.com Diane Kristine

    Not only would it not be her decision, but I can’t imagine her contradicting what David Shore and Katie Jacobs (aka the bosses) have said many times. And yes, there’s a lot on the DVD about it. Not that they were all contenders, but that they signed about 6 contracts to keep their options open, meant to keep 2 and ended up keeping 3.

    But she was talking about all the actors when she gave the quote above, and she was talking about the expanded ensemble when she talked about being interested in exploring the personal relationships (and she added that she’s looking forward to getting to know them better).

    I personally do like 13 and Kutner – I’m interested in how they develop the idea of 13 knowing her fate – though I’m on the fence about Taub. So I’d challenge your assumption that there’s one voice when it comes to what the fans like and don’t like about the new characters, on the Internet or off. In fact I’d been hoping the ensemble would get pared down by eliminating the former ducklings, not because I dislike them but because I personally don’t like the idea of the show getting soapier by focusing on so many secondary characters.

    Your assertion that Kal Penn was hired because he’s a minority is offensive – he wasn’t “the best known minority,” he was the biggest name of the bunch period, with the talent to back it up. So yes, I imagine he was pretty much a given unless the role just didn’t pop onscreen. I can’t see why being in his 40s would be a reason to hire Peter Jacobson either. Wilson and Cuddy cover that bracket well already, Fox still covets the younger demo, none of the original ducklings were in that age range and since it’s a fellowship, nor do they realistically need to be. Not to mention Scooter was way older than 49, but I bet Carmen Argenziano would thank you for the compliment.

  • Linda

    Thankyou Diane for this wonderful interview. I’ve admired St. Doris for three seasons now, and considered her first among equals of the House writers. It’s good to hear her speak as herself at long last. And you are obviously a terrific interviewer! I wasn’t left wondering ‘why didn’t she ask ________?’ Nothing was left out.

    As for the new ducklings, I liked Kal Penn even before his first episode aired. I just hoped he wasn’t too busy making movies to have time to work on House too. I’m glad he was chosen. And I wasn’t interested in Taub until I realized that Peter Davidson was that same actor that I had seen before playing a sleazeball…that got me interested in watching him carefully steer himself away from that territory without losing his underlying prickliness, annoyance, jealousy… I really like watching actors work on their characters. And 13. I thought she was boring and just sleepwalking through her scenes until I was able to watch the reruns. The problem with 13 was me. I was unable to get a fix on her with all the breaks for holidays and the strike. It was too disjointed for my alleged brain to put together. But now I have seen the entire season week after week without interruption and I like 13 a lot. I see what Olivia Wilde and the writers were doing with her and I very much want to know what her Huntington’s Chorea diagnosis does to her this season. I am happy with the new ducklings and look forward to seeing the old ones back. But mostly I want to see House and Wilson kiss and make up!

  • http://unifiedtheorynothingmuch.blogspot.com Diane Kristine

    Thanks Linda, though all credit goes to her for being generous with her thoughts and time.

    I hadn’t seen Peter Jacobson before (or at least hadn’t registered him before) and I found Taub pretty unmemorable for the most part. Except he really stood out as intriguing in Ugly and Don’t Ever Change, and he grew on me in the latter part of the season, so I figure he’s got potential to sway me in time. But really it’s all about House for me and everyone else serves to illuminate him, so as long as that remains the case, I’m happy.

  • Jo

    Diane, I thoroughly enjoyed the Doris Egan interview, just as I always enjoy her episodes. I love the way she writes the interactions between House and Wilson. “Son of Coma Guy” is my absolute favorite Doris Egan episode, and in my top 10 favorite episodes for the series.

    I do want to respond to one of your replies, though. You wrote that you were “hoping the ensemble would get pared down by eliminating the former ducklings, not because I dislike them but because I personally don’t like the idea of the show getting soapier by focusing on so many secondary characters.”

    Obviously, I can’t disagree with your opinion, but I have to say that I find the character of Thirteen (and her upcoming storylines per the latest previews) to be “soapier” than anything I’ve seen on this show. The prospect of seeing more of this blank-faced actress in the new season considerably dampens my enthusiasm for September 16th, and Olivia Wilde should thank her lucky stars for her good fortune in not only being assured that she was hired right from the start, but in being given a substantial, continuing arc while characters like Chase and Cameron – who helped make this show the success it is – are practically invisible.

    I don’t dislike Taub, but I have no interest in him either. He would be a good periphery character, in my opinion, not a team member. I do like Kutner, and would have been delighted if they had simply added him to the original cast, rather than such a drastic shakeup. There are a lot of people very attached to the original team. Letting them go would be a big mistake, in my opinion, because not only would the show lose charismatic, interesting, and likeable actors, but that taking them away would leave the show with only the new team, and they pale in comparison. YMMV, of course.

  • http://unifiedtheorynothingmuch.blogspot.com Diane Kristine

    Thanks Jo! I’ve never found the individual duckling stories a very interesting part of the mix, but my own opinion is not my main point – they’re clearly *not* getting rid of the original team, and this article is based on Doris Egan’s opinions, not mine (for example: I have no patience for shipping, can’t see Wilson and House as anything more than friends, hate fanfic, etc.).

    My real point with those comments is that fans are all over the map when it comes to what the show “should” do. So I strongly object when someone tries to say there is fan consensus on anything. Because of that, and because if the loudest fans had their way the show would turn into the most awful parody of fanfic, I’m happy to put my faith in the writers, who in my opinion almost always take the show in unexpected and satisfying directions … despite my nagging worry that the expanded ensemble means more soap.

  • Sarah

    Funny, I lost my faith in the writers when they decided to get rid of the duckings, one of the most stupid storylines after the survival arc. I lost my faith in the producers when they lied and lied about Jennifer Morrison and Jesse Spencer being back in full capacity last season and the casting of Olivia Wilde, Kal Penn and the other one, whoever he is, and saying they didn’t know who woul make the cut, but Olivia and Kal were the chosen ones since the beginning.
    I recovered my faith in me when I stopped watching House.

  • http://unifiedtheorynothingmuch.blogspot.com Diane Kristine

    Yet you still read and write about it? You might want a new priest ;)

  • Pat

    Thanks for an interesting interview. Doris Egan has always been one of my favourite House writers, especially as she writes the House/Wilson relationship. Many of the writers enjoy putting in the banter but she’s the only one really puts their relationship into a context.

    I had mixed feelings as I was reading this. On the one hand, I’m glad she’s proud of the show and enjoying being part of it. On the other, I thought season four was a vast drop in the quality of the show from what it was in the first seasons. Had I started watching season four, I doubt I would have stayed beyond an episode or two.

    As someone else did, I want to comment on your wish for the show not to have so many characters to avoid getting soapier. A well written ensemble does not have to be like a soap opera; indeed, to write good stories for a number of characters could avoid the soap opera problem of throwing too much at a small group. I thought the show got a great deal soapier in season 4 as Amber died in a hour-long episode and everyone cried (and the angst will continue into next season), Wilson was once again estranged from House as he is every season (and every season they get back together), House yet again almost died (twice), Cuddy lost both her brains and her spine and ended the season as a sex object (there is a long list of impressive female bosses on TV but Cuddy is no longer on it) and Thirteen’s many mysteries and Huntingdon’s story would put any soap opera to shame. Maybe if Amber and Scooter had been hired instead of Thirteen and Taub (a more boring Foreman if that’s even possible), it wouldn’t have seemed so bad but other than Kutner the new team is so unoriginal and so unbelievable as doctors that every time I see them I find myself wishing that Shore and the writers would hurry and get Cameron and Chase back on the show instead.

    I think those fans who watch the show primarily for House or House/Wilson/Cuddy don’t mind the new show so much; many of us who watched for the complex interactions of all six original characters have been quite unhappy lately.

    But good for Doris Egan for continuing to believe in her show.

  • http://unifiedtheorynothingmuch.blogspot.com Diane Kristine

    I don’t disagree that season four was often too soapy, which is why I have those fears. I don’t think ongoing relationship arcs have ever been the show’s strength, but I include Chase and Cameron in that.

    House has never been a true ensemble, since all paths lead back to House – the other characters never have stories that don’t tie in to him. And that’s not a complaint. If I wanted to watch Grey’s Anatomy, I would. I want to watch one of the best character studies ever on TV, one that intelligently and thoughtfully explores issues without hitting you over the head with Important Issues.

    So for me it’s just math: if there are more characters to serve, there is either less screentime available — spreading the characters so thin so we never care about any of them — or there is less time for the medical mystery that fuels the ethical and philosophical issues at the heart of the show. The medical stories also fuel the character interactions that, in the best episodes, have incredible power because they are revealed slowly, in a more impactful way because they tie in to the themes of the episode.

  • Pat

    The show should be primarily a medical mystery (something that I think was lost last season) but it is also a character-driven show. I enjoy how the medical stories illuminate the primary characters (by which I mean the original six since the episodes for Taub and Thirteen didn’t grab me).

    I think the focus on House was what made the show in the beginning but by season 4 and certainly season 5, I think the show would be better served by giving more time to the other very capable actors (including JS and JM) and less to House.

    There is only so much you can do with a character who doesn’t change and consequently his interactions with those closest to him don’t change either. House has now had an infarction and briefly died, had the angst of his old love returning and then losing her again, he’s been shot, put in a ketamine coma, lost his pain and got it back again, got arrested, overdosed and was lying in a pool of his own vomit, faked brain cancer, lost the 3 who worked closest to him, “died” again sticking a knife in an electrical socket, and lost his memory and almost died yet again in a brain procedure. It was a character study, now it seems like a joke.

    Even his interactions with Wilson, the backbone of the emotional part of the show, are in a rut. Every season they become estranged (each time worse than before) every season they get back together. I love Wilson’s game-playing and angst around House and I love chocolate cake but a diet of either can pall. I thought Amber was the best thing to happen to the House/Wilson relationship in 3 seasons because the same old thing was getting boring.

    As you said, the fandom for the show is diverse. On the part of this fan, who started watching from the pilot episode, I can pretty much predict what House will do and I’m not that interested in him any more. I will watch the start of the new season for the acting of HL and RSL but I’m pretty sure that story will be the same one that they have been telling for the past 3 seasons. I would have liked to have seen more of Wilson’s relationship with Amber and how House dealt with it, more of how Chase grew and why, more of Cameron dealing with her issues and the reality of medicine. I’d even rather see Cuddy being a good administrator generally rather than always losing to House and loving it or Foreman doing something more than railing against being like House. The focus being so centred on House means that the other characters get short-changed in their stories but it also means that they ran out of things to do with House a couple of years ago and are going back over old ground again and again.

    Hugh Laurie is a very good actor but after four seasons of the same thing taking 90% of the show, I’m bored by the character of House. I’m speaking heresy, I know, but less House would make the House scenes I would get more effective.

  • Miranda

    I’m sorry, I loved the first two seasons, but the show has been going down hill since the whole “tritter” arc and the three newbies soon after. Why not make house a single man team and cut the other three. They are boring, undeveloped and we were starting to know cameron. Olivia Wilde must be sleeping with shore because she’s been heavily hyped and doing the same thing she did on the OC in the future kissing another female. I decided to give season 5 a shot but the first two episodes were rather Blah, nothing spectacular about it.