But in the end, it’s not enough—just like the long line of hookers, champagne and room service meals, it seems. Nothing excites him; there is no real joy left, despite appearances. And from within his turmoil, House realizes he’s depressed—aware that neither medicine nor the dissipated pleasures he’s been enjoying. This is a bad sign.
This dawning realization leads House to the balcony of his hotel, considering how, or even whether, to cope with the loss of Cuddy. In the end, House wants to know he can still feel—can still experience something that can take his breath away and excite him. The way he goes about it is completely insane, which only speaks to how messed up he is right now. Wilson and the entire team have good reason to worry in the aftermath of House's leap into a pool from his hotel balcony.
Tommy Moran and Larry Kaplow’s script delivered on some interesting parallels between the bull rider patient and House, and Sanford Bookstaver gave us a great teaser sequence that echoed through to the ending. The evocative music gives viewers some insight to what's happening inside House's broken heart, while to all appearances he's having a ball.
I realize this will be as controversial an episode as "Bombshells" (if not more so), but please keep things civil and respectful, whether you loved or hated the episode! Don't forget, I’ll be posting a longer essay later in the week with a closer look both at the episode and my take on House’s considerable humanity—and how it’s plays out from the series’ first episode through tonight’s “Out of the Chute.”