HOUSE: Moving the Chains

Erik will be back tomorrow with his review of February 8th “House”, but here are his thoughts on last week’s episode.

“Moving the Chains”: Original Air Date: February 1, 2010

Something bizarre happened as I watched this week’s House. It was not a shock on the level of, say, trying to dissect the LOST season premiere. On the other hand, it still felt foreign to someone who appreciates the efforts of Hugh Laurie & company. Within the first 15 minutes of the episode, I was gripped with….boredom.

Quick check to make sure this was legitimate: I was not tired or fatigued as my HDTV pushed through the opening credits. No turkey or Nyquil had entered my system, negating that explanation. Nope, I was simply taxed to sit through this story with any enthusiasm. How did that happen?

After a second viewing, fueled by an inhuman supply of Diet Coke, I have a theory about why “Moving the Chains” felt like an inordinate commercial break. For the first time I can remember, the script seemed to fail the actors onscreen and the home audience.

From a distance, this week’s patient storylines seemed to be easy fodder for dramatic interpretation. The issues of head injuries in amateur athletics and deployment pressures on military families are well documented in our mainstream media. Surely, the talented House creative team could tell their own versions of The Blind Side and Stop/Loss, right?

Instead, co-writers Russel Friend & Garrett Lerner gave us a story that took the fun out of House & Wilson’s dynamic, followed predictable paths with the mystery patients, and spoiled the arrival of Foreman’s brother by reintroducing House’s most distasteful traits.

I am a card-carrying member of the House/Wilson fan club. Hugh Laurie & Robert Sean Leonard’s onscreen chemistry is the backbone of the show. This week, I was put off by the manner in which Wilson’s psychoanalysis of his best friend was forced on the audience. Time after time, instead of trusting the viewer to interpret Wilson’s subtle suggestions about House’s feelings about Foreman, Cuddy, etc., Leonard was challenged to deliver pointless and long-winded monologues examining his roommate’s psyche. Exposition is a necessary element in every script. However, the percentage of screen time devoted to the explanation of House’s actions (or inactions) from Wilson took me completely out of this story. No wonder I was nodding off by the second commercial break…

If there was a silver lining to this garbage bag of a storytelling device, I am always excited to see Lucas Douglas scheming. If I have to endure more Huddy drama in order to see Michael Weston’s mischievous antics, it is a fair trade. Next week’s Cuddy-centric episode seems to be the perfect forum for such a confrontation, don’t you think?

At the risk of piling on, I was disappointed with the paint-by-numbers approach to both patients. Ambitious athletes like Daryl have been staples on medical dramas like Grey’s Anatomy & ER for years. The creative challenge in handling these cases is to find a narrative that does not feel recycled. In this instance, the combination of an earnest, “aw-shucks” young man and his calculating mother (with a heart of gold, of course) was a bit predictable. As an ingredient to the family-first approach to the episode, I understood why this story was included. I simply wish Daryl’s layers were more emotional than physical.

Young soldier Jim Dunnagan, struggling with new orders to deploy while awaiting the birth of his first child, should have been a highly sympathetic character for viewers to grow attached to (unlike Jim’s relationship with his foot). Instead, House’s initial diagnosis, that Jim was just a guy in an unfortunate situation, never changed. Despite an energetic effort by actor Trever O’Brien, the Dad-in-waiting came off as a bit of a drama queen, willing to literally sacrifice his ability to walk rather than fulfill his commitments. I have profound empathy for the men and women who sacrifice their own self-interests to defend us from unimaginable threats. Jim was the exception to the rule. As he was wheeled out of the clinic, down one appendage in the game of life, I got the feeling that Jim, not House, was the person doubting his principles.

Orlando Jones’ first appearance as Marcus Foreman appears to be the first in a multi-episode arc, so I will reserve judgment on his contributions for the weeks ahead. Marcus’ revelations about his younger brother, particularly their Mom’s passing, should provide interesting material for the Foreteen relationship, as well as Foreman’s ability to deal with his grief. Unfortunately, House’s behavior throughout this saga brought to mind a cruel, wreckless streak that could not be masked by Hugh Laurie’s ability to emote. If you edited out Wilson’s armchair therapist diatribes, House was behaving in an abusive and manipulative manner, a far cry from the steps he took earlier in the season to develop Foreman’s leadership capabilities. Per usual, I am hopeful that a smarter script and more screen time together will offer better opportunities for House to mentor Foreman. .

Next week, Lisa Edelstein takes center stage in “5 to 9,” a showcase for Cuddy in the style of “Broken” and “Wilson.” With those two episodes serving as the creative high points of Season Six, I am eagerly awaiting a day in the life of Princeton Plainsboro’s Chief Administrator. .

What are your thoughts on this episode? Were either of the patients’ stories of interest to you? Has Chase been lost in the mix, post-Cameron? Who has done the best job in carrying the show over the past few weeks? Chime in with your opinions, and let’s get the conversation rolling…

After writing about good television programs, I am searching for a new favorite “bad TV” show. With Jersey Shore’s season behind us, my free time must be absorbed by something mindless and DVR-worthy. Tweet your suggestions to me @FreelanceErik