An episode about a dying child and depressed lead character may not sound like comedy gold, but a hysterically theatrical House shows up in several scenes, notably when he directs the operating room as his own personal Broadway production. Many of his choice witticisms are deliciously un-PC observations on our need to put tragedy on a pedestal, but there are the usual barbs directed at his team, distracting from the fact that he also reveals the depth of his trust in Foreman and refrains from mocking Cameron quite as much as he could.
Someone at House has cool friends. Elvis Costello recorded a version of Christina Aguilera's song "Beautiful" specifically for the show, and both versions play as bookends for the episode. House the show relies on music for mood too often, but I can never get enough shots of House himself absorbed in everything from opera to rock, shutting out the world.
There is an upside to the bittersweet Emmy results, which gave one to Shore for writing (sweet) but not to Laurie for performing (bitter). While everyone who owns a television â€“ except, I suspect, the man himself â€“ is convinced of Hugh Laurie's incredible talent and range on display in House, the popular criticism of the show has been that it is too dependent on that talent. It's been slammed as "generally formulaic" and "better at witty, intelligent dialogue and creating the character of House than overall plot, medical realism, and secondary character consistency." And that was just by me, who loves the show. But when we're tempted to focus solely on the marvel of Laurie's performance, now we're reminded that there's an Emmy standing behind the words he's speaking, too.
And "Autopsy," from script to direction to props, is another example that the show is laden with enough talent behind the scenes to support the obvious talent on the screen.
- House, M.D. Season One DVD review
- House - "Acceptance" review
- Visit my blog, Unified Theory of Nothing Much for more on the Emmys and random thoughts on life and entertainment.