HOUSE: Lockdown

For all the questions that we answer by using our powers of recall, intuition, and Google, the toughest ones to handle are rarely asked. Sheer force of habit tells me how many times to hit the snooze button and whether I want fries with that, but I would be hard pressed to deal with the issues raised by this week’s House. Should a dying man ask for unconditional love from a daughter he abandoned under horrendous conditions? Is it possible for one’s self-worth to peak too soon, then slowly drown while treading back toward normalcy? When is love not enough to sustain a marriage?

Undaunted by the challenge of such delicate material, Hugh Laurie stepped behind the lens to direct this unique story. Breaking from the show’s tried-and-true formula, Laurie drew from his theater experience to present a series of one-act plays. Each story was intimately shot and thoughtfully paced. The result? An hour of television that added chapters to each character’s biography, yet flew by at supersonic speed.

Jennifer Morrison has been missed. Prior to her departure, I believed that Allison Cameron was the strongest female character on the show. As a woman who grew past her idol worship of House in order to gain his professional respect, Cameron was strong, versatile, and intriguing. Standing face-to-face with her estranged husband, however, Morrison peeled away all pretense, and tore up her scenes with Jesse Spencer. At times cold and detached, at others kind and reflective, Cameron was just as she described herself, “a mess.” Though the couple said goodbye via an amorous tryst, I would not describe this as a happy ending. Chase never got the answers he really wanted, but he found reason to let himself off the hook. It is far from the stuff of fairy tales, but it is much closer to reality.

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Review: PARENTHOOD – The Big ‘O’

True love, be it romantic or familial, is difficult to demonstrate within the confines of your HDTV. As viewers, we have been conditioned to anticipate big moments, cliffhangers, and provocative twists to keep us engaged with our favorite shows. If Parenthood followed the norm, Max would have already been miraculously cured of his Asperger’s, Joel and Racquel’s flirtation would have led to infidelity, and Jabbar would have been revealed as the love child of Tiger Woods.

Parenthood is a marvelous addition to the TV landscape because of its unwavering commitment to the mundane. I have other outlets on my DVR for feeling whimsical, but I enjoy this program because it simply makes me FEEL. I root for the Bravermans. Their stories are not an escape for me, but a way to face up to feelings about my own family, friends, and not-so-loved ones.

This episode was all about Kristina Braverman, brought to life in a gut-wrenching performance by Monica Potter. Until this week, Kristina’s most memorable contributions were as a reactive mother, handling situations as they popped up. In a powerful change of pace, we saw her crack under the powerful strains of self-doubt and anxiety.

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Review: PARENTHOOD – The Situation

NBC has seen better days. The Peacock Network has taken a precipitous drop in prestige and ratings over the past decade. Household names like Jerry Seinfeld, Kelsey Grammar, and the cast of Friends moved on, leaving huge holes in a once formidable lineup of appointment TV. In their place, NBC has misfired on relaunches of 80’s franchises like Knight Rider, offered heavier doses of Howie Mandel than America deserved, and squeezed profits from the love handles of contestants on “The Biggest Loser.”

February’s Vancouver Winter Olympics provided the network with one last gasp to revive its primetime pulse. Rather than devote precious time to existing franchises such as “Chuck,” NBC’s marketing machine blanketed its Olympic coverage with promos for two new programs, “The Marriage Ref” and “Parenthood.”

Since I don’t enjoy watching divorced celebrities like Larry David and Madonna debate the sanctity of marriage, I met NBC halfway by sampling Parenthood. Despite a premise that could easily have felt too sentimental or schlocky, the experienced cast and crew have built a remarkably solid show. With so many expectations from the NBC brass to appeal to every conceivable demographic, showrunner Jason Katims (a title he also holds on my favorite show, “Friday Night Lights”) has struck a delicate balance between authenticity and broad-based commercial appeal.

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AMERICAN IDOL Top 11 Performance Review

Since I’m traveling for work, I’ve been without internet access the past two days. Sadly that meant I wasn’t able to post Erik’s review of the Top 11 performances from Tuesday night. But I still wanted to share them with you so you had a chance to chime in and share your thoughts. PLEASE DO!!!

Idol is not a guilty pleasure for me. My iPod has a full share of Kelly Clarkson and Carrie Underwood albums to choose from, and I prefer Chris Daughtry’s YouTube version of “Poker Face” to Lady Gaga’s. So, as Kath takes a well-deserved break from the frenzy of live blogging the show, I wanted to offer my take on this year’s crop of future TMZ stories. Using my highly sophisticated scoring system, developed by the same group of scientists that brought us the Octomom, I will award each singer a number of stars, with 5 being the highest.

As luck would have it, Miley Cyrus’ role as the Idols’ celebrity mentor also gives me chances to poke fun at her fame and fortune. It’s a win/win situation, almost like having the best of both worlds…

Quick factoid #1: Ms. Cyrus was born November 23rd, 1992, so she is still 17 years old. Gentlemen, keep that fact in mind before utilizing your Google Image Search, ok?

Quick factoid #2: Unlike the songs featured tonight, the former Hannah Montana has never actually had a song reach #1 on the Billboard Hot 100 chart. Just saying…

Lee Dewyze: Kicking off the show with The Box Tops’ “The Letter” from 1967, Lee looked like a legitimate solo artist for the first time. Joined on the big stage by a horn section and backup singers, Lee delivered a solid performance that should not put him in danger of elimination. (3.5 stars)

Judges: Randy thought he knocked it out of the box. Ellen babbled about a pen for 45 seconds, leaving me puzzled as to how her writers are failing her in this Idol stint. Kara thought it was Lee’s best performance of the season. Simon thought it was non-commercial and “corny,” lacking a defining moment.

Paige Miles: I was puzzled that a young, vibrant contestant would choose Phil Collins’ “Against All Odds” from 1984, and Paige emerged from this song as a huge underdog to move on to next week. After a rough start, I was hopeful that Paige’s bigger voice would shine in the second verse, but she never found a consistent tone. If the past few weeks are being evaluated fairly, Paige will go home tomorrow and miss out on being part of the Idols Live tour in 2010. (1.5 stars)

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HOUSE: Black Hole

I do not know Greg Yaitanes personally. However, I would guess that he was an indoor child with a vivid imagination. Yaitanes, the director of this week’s House, previously showed a penchant for irreverent visuals in this season’s “Epic Fail,” which featured a series of virtual reality gaming segments. In “Black Hole,” older viewers were reminded of trips to the planetarium in adolescence, which in my experience were often accompanied by the soundtracks of Pink Floyd or The Grateful Dead.

Putting aside my fascination with Mr. Yaitanes’ history in his high school A.V. Club, he succeeded in crafting a story that utilized the full resources of Princeton Plainsboro. By returning Dr. Taub to relevance, opening a window to Wilson’s fear of ending up alone, and injecting genuine surprise into the patient’s story, the director and writer Lawrence Kaplow rewarded viewers with an above-average episode.

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HOUSE: Private Lives

This year’s Academy Awards featured a marquee match up between real-life ex-spouses Kathryn Bigelow and James Cameron. With a built-in “David vs. Goliath” storyline to attract casual viewers, the Oscars reached its crescendo as the Best Director nominees were announced. After weeks of hype, the inexplicable happened. Immediately after Ms. Bigelow was named the winner, the ABC cameras cut to a wide shot of the Kodak Theater. Did the former partners speak, embrace, or acknowledge one another? The audience was left without answers, because of an ill-timed decision by the show’s director.

Next year, the Academy might want to call on Sanford Bookstaver, director of this week’s House. With a resume that includes stints at the helm of “Jericho,” “Bones,” and “The O.C.,” the veteran director’s versatility meshed well with the team at Princeton Plainsboro. In an hour full of good humor, startling revelations, and pointed commentary about the nature of community, Bookstaver did not waste a single shot.

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PARKS & REC Winter Olympics Awards Ceremony

I can’t stop watching the Olympics. This isn’t something I am proud of, or anything to brag about. The hours I have spent watching the quarterfinals of the skicross event could be used to better mankind. Or to shop for groceries. You know, the important things in life!

In the spirit of Canadian mittens, Norwegian curling pants, and the soaring rhetoric of Dick Button, I want to pay tribute to Parks & Recreation’s world class performers. Without the benefit of a more clever or original idea, I bestow these fictitious medals on the best of Pawnee, Season Two!

The Pawnee Medal Count

GOLD MEDALS:

Amy Poehler (Comedic Dance, Multiple Partners): The most valuable characteristics of a true sitcom star are versatility and humility. This season, Amy Poehler has reached that elite level. Though Poehler is featured in almost every scene of P&R, her willingness to share the spotlight has elevated her supporting cast. Leslie Knope makes me laugh by taking a piggy back ride from Andy, failing to understand the meaning of a “Nooner,” and questioning the career plan of an exotic dancer. She is the heart and soul of Pawnee, as well as the person with the busiest daily calendar in Indiana!

Ron Swanson & Leslie Knope (Two-Man Workplace Luge): I enjoy 30 Rock. It’s a smart, funny, well-crafted show. With all due respect to Liz Lemon & Jack Donaghy, I think that Ron & Leslie are now the best workplace duo on television. Season Two has embraced the theme of teamwork, and this team has benefitted most from that direction. Nick Offerman has turned Ron Swanson into a sensation, and the creative team resisted the urge to turn Leslie’s boss into her nemesis. The result? A mature, thoughtful display of personal and professional respect. Let’s keep our fingers crossed that we NEVER hear whispers about putting these two together romantically. They don’t need to be each other’s last phone call of the day, only the last person they each see at 5pm.

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HOUSE: 5 to 9

Fans of LOST have waited years for resolutions to that show’s mysteries. In the opening minutes of “5 to 9,” House viewers were given firm answers to two burning questions. First, Dr. Lisa Cuddy’s day-to-day responsibilities are daunting, and do extend far beyond the occasional drop-in by the head of her Diagnostics department. Second, Cuddy does appear to make her wardrobe choices independently, with an emphasis on form-fitting chic.

All kidding aside, the biggest question entering this episode was whether Lisa Edelstein could shoulder the responsibility of carrying an hour of compelling television, righting the Princeton Plainsboro ship after weeks of inconsistent voyages. Not content with simply bridging the gap between House-centric episodes, Ms. Edelstein delivered an Emmy-worthy performance filled with smarts, sass, and vulnerability.

As a consequence of logistics, the challenges of being a working mother are rarely told effectively on network television. Babies, in particular, are rarely seen due to scheduling restrictions (and the unpredictable moods) of infant actors. Cuddy’s baby Rachel has been a footnote in story arcs since being adopted, and will likely follow the path of Ross & Rachel’s child in TV lore. Despite these challenges, I was moved by Lisa Edelstein’s ability to show a mother’s love despite a myriad of legitimate distractions. By telling this story in a single day, viewers witnessed the true impact of Rachel’s presence in Cuddy’s heart. By resisting the impulse to make this another round of the House/Cuddy/Lucas entanglement, the story ended authentically, with Cuddy’s eyes fixed on the most important person in her life.

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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?

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HOUSE: Remorse

The truth is rarely presented in large doses. For many of us, the process of “coming clean” can be a long and dirty process. Even if our intentions are to be transparent, the fears of disappointing loved ones or colleagues can keep our lips sealed for far too long. Though movies or television shows rely on the melodrama of courtroom confessions and the shock value of a twist ending, real life is plodding in comparison.

This week’s House dealt brilliantly with the topic of honesty. With three separate storylines having significant impact on Dr. House and his team, the halls of Princeton Plainsboro were brimming with authentic conflict and emotional resonance.

The mystery patient of the week, Valerie, injected a new energy into Olivia Wilde’s performance as Thirteen. Played by Beau Garrett, Wilde’s co-star in the upcoming Tron sequel, Valerie presented an interesting twist on the modern psychopath. Instead of going the Law & Order: SVU route, with the patient looking left and right for her next victim, writer Peter Blake forged a far more imposing threat. Valerie savaged the emotions of the people in her life, rather than their flesh. The exchanges between her and Thirteen were captivating. Olivia Wilde has been roundly criticized for being an aesthetically pleasing actress without authentic credentials. Watching her fire away at Valerie, refusing to be manipulated by a woman who knows no other tactics, was a high water mark for Thirteen in Season Six. Valerie and Thirteen were ideal foils for one another, and it was appropriate that Thirteen was at Valerie’s side as the patient regained the ability to feel.

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HOUSE: The Down Low

In my younger years, I had a difficult time forging genuine friendships with males. Absent the pride of athletic achievements or the brashness of alpha male status, I had a difficult time finding common ground with other hormone-driven dudes. In the absence of male bonding, I turned to my favorite TV shows for instructions. When I wanted to learn how to open up about heartbreak and loss, Dawson & Pacey were there. If my colleagues at work did not share my ambition or enthusiasm, I turned to Josh & Sam on The West Wing. My platonic proxys were not a miracle solution. They did, however, give me hope that men could serve as a support system for one another.

Gregory House & James Wilson are not presented to House viewers with syrupy music and heartfelt overtones. On the contrary, this best friendship is loaded with the kind of intellectual clashes, social awkwardness, and jealousy that is recognizable in everyday life. Left in the capable hands of Hugh Laurie and Robert Sean Leonard, the House/Wilson relationship remains the cornerstone of Fox’s most popular drama.

With all due respect to Ethan Embry, whose literary pursuit of Jennifer Love Hewitt in” Can’t Hardly Wait” was robbed in the 1998 Teen Choice Awards, I am making the creative decision to ignore his contributions to this episode. Embry is a fine actor, with a list of credits on IMDB that any working actor would love to have. But let’s be honest. When House & Wilson spend an hour fighting over a woman and fighting off rumors about their sexuality, it is perfectly acceptable to say, “Thanks Ethan, I’ll rent Donnie Brasco next week in tribute to you.”

Unit 3B was occupied by Sasha Alexander, first introduced to me as the temptress of the Witter family, Pacey’s older sister Gretchen on Dawson’s Creek. In a piece of breaking news MSNBC has not reported, she does not appear to have aged since 2001. In addition to her stunning beauty, Alexander brought charm and energy to the role of Nora, object of Wilson and House’s affections. By infusing Nora with an open mind and a gregarious flare, co-writers Sara Hess and Liz Friedman created a character that I hope will return in future episodes. Is it time for Wilson to court his future fourth bride? I choose to remain optimistic.

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HOUSE: Wilson

No matter how hard I tried to be objective, my experience watching House this week was undeniably influenced by my chat with Robert Sean Leonard. As the “Wilson” episode unfolded, I flashed back to Mr. Leonard’s observations about his character, his work ethic, and the irreverent nature of Wilson’s bond with House.

As a little experiment, this recap will be woven around some of the most notable quotes from that conference call. My hope is that this change in format will be as enjoyable to read as the “Wilson” episode was for me to watch.

“You know, I’m the Carlton the Doorman of my show. I’m not the most ambitious guy. I like playing the best friend. It’s good to be the lead of a show for a week, but I wouldn’t spread it all around too much. I like my role the way it is.”

It was compelling to watch Wilson take center stage at Princeton Plainsboro. The Oncology department is a vastly different animal than the clinic or the ICU, and I was impressed with how well director Lesli Linka Glatter introduced the nuances of Wilson’s everyday routine. From the playful banter with his assistant to a distinctively different bedside manner from his best friend, Wilson’s work environment reflected someone with a sense of structure and an aversion to risk.

“Josh Malina, this great guy… is the patient, and he’s an old friend of mine, and he gets into some trouble and I have some moral decisions to make throughout the show, and yep, it’s a personal case for me.”

I am an unabashed fan of Josh Malina, since he was responsible for shaping one of my all-time favorite TV characters. As Jeremy Goodwin, the earnest associate producer on “Sports Night“, Malina provided hope to nerds like me that we could succeed at our jobs and still get the girl of our dreams.

As Tucker, a man who is grateful to those who saved his life but ungrateful to the family who sustained him, Malina exhibited significant depth. Rather than pigeonhole Tucker as a “self-important jerk,” as House described him, Malina took writer David Foster’s script and injected genuine conflict. After a cluster of episodes that went over-the-top in facilitating Cameron’s departure, this story was a nice way to bring the conversation down to a hushed tone. When Tucker explained that, “The person you want when you’re dying isn’t the same as the person you want when you’re living,” I actually paused the DVR to consider the legitimacy of that assertion. Though I would like to believe that I would behave differently under the circumstances, I welcomed a line of dialogue that provoked such a genuinely emotional response.

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HOUSE’s Robert Sean Leonard: The Show, His Life and Why Wilson & Cuddy Should Never Happen

Tonight, the Oncology department at Princeton Plainsboro takes center stage, with an episode of House focused on Dr. James Wilson. In the appropriately titled, “Wilson,” viewers will gain a first hand perspective into the physical and emotional toll that cancer takes on patients and physicians alike.

In anticipation of this long awaited episode, Robert Sean Leonard took some time out to answer questions from an audience of print journalists and online pundits. After sitting in on several of these calls for GMMR, I was anticipating an affable, but predictable set of answers from an experienced performer. To my delight, Mr. Leonard was quick-witted, self-effacing, and genuinely interested in building a rapport with each of the participants. That’s why this time around, rather than sharing just parts of the interview, I decided to share the whole transcript, as you get a much better sense of who Robert is.

Even if you have never watched a single episode of House, I would strongly encourage you to read this transcript. It contains the sentiments of a man who has achieved success in show business without abandoning his sense of self, remained fiercely loyal to his family, and refuses to be absorbed into the bubble of self-importance that Hollywood can cast.

Without further adieu, Mr. Robert Sean Leonard…

WARNING: The following may contain HOUSE spoilers. Read at your own risk.

Moderator: The first question comes from the line of Matt Mitovich with FanCast.com.

Matt: Hey, Robert, thanks for your time today.

Robert: Hey, no problem. How are you doing?

Matt: Congratulations on your self-titled episode.

Robert: Oh, no, it’s my worst nightmare. Are you kidding? When I read this pilot, I was going to—the other pilot I was considering was Numbers, when I first got out here five years ago, and I read Numbers and thought, well this is way too many scenes. Its way too hard, and I’m not interested. And then I read House, and the guy was, Wilson was in about three scenes a show, and I thought this is perfect. You know, I’m the Carlton the Doorman of my show. I’m not the most ambitious guy. I like playing the best friend. It’s good to be the lead of a show for a week, but I wouldn’t spread it all around too much. I like my role the way it is.

Matt: Well, tell us how Wilson is different in this episode, and why.

Robert: Well, he’s not different; he’s just examined more. You see my assistant you’ve never met. You see the oncology floor, you see where I work. My office next to House’s is just my office, so there’s a whole floor where I work in oncology. I have my own patients, my own assistant, my own day that doesn’t include House, so you basically follow Wilson around for a few days and see what his life is like.

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HOUSE: Ignorance is Bliss

Following last week’s rant/recap of “Teamwork,” I took a step back to think about how I want to approach each installment of House. The discussion generated by that episode was incredibly thoughtful, and really spoke to the passion that the show’s audience invests into each week’s story. There is a disconnect between what brought many viewers to the show years ago and the creative team’s current philosophy. Cameron is gone. Foreteen is back in the forefront. House is showing signs of his pre-Mayfield self. Since I have always been focused on celebrating the best of this show’s elite cast & crew, what is a writer to do?

Luckily, the performances in “Ignorance is Bliss” solved my dilemma for me. Though it may not have appeased my inner fears about the overall direction of the show, it was one of Season Six’s best. By fusing an intriguing patient story, a welcome string of humorous asides, and a meaningful story for Dr. Taub, I found most of “Ignorance is Bliss” to be top notch television.

James Sidas was the most compelling patient of Season Six, armed with a lush history and a genuine sense of conflict. Actor Esteban Powell, most recently featured on A&E’s “The Cleaner,” held his own against House’s impressive cast, particularly in describing the anguish he felt over his own marriage. James’ method of self-medicating, ingesting cough syrup in order to slow his brain down to average level, was a strong contribution by writer David Hoselton. Rather than frame James as a mutant with dueling personalities, Hoselton forced the patient take ownership of his poor behavior toward wife Dara. If this were “Grey’s Anatomy”, James would have emerged from brain surgery with no memory of his wife, and the audience would be left wondering who to be angry at for the weeping wife’s pain. Kudos to the House team for forcing that issue into the open.

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PARKS & RECREATION and the Mural of Shame

I have neglected my duties to the public servants of Pawnee and the loyal readers of GMMR. My day job has been as painful as the large mass in Ron Swanson’s foot lately, so I have been woefully short on time. Though I do not have access to a decent shoe shine vendor, I have made alternative plans to ensure that my Parks & Recreation recaps will be delivered on time from this point forward.

Before jumping into this week’s mural-intensive story, let me share a few thoughts about the “Ron & Tammy” episode. Before NBC’s marketing machine sent Megan Mullally and Nick Offerman for press interviews, I had no idea that Ron & Tammy were married in real life. Their onscreen interactions were hilarious, uncomfortable, and captivating. If you have ever loved someone a little too much (for much too long), it was easy to find some truth in the exaggerated histrionics between the two. Ron Swanson became, if only for one week, the personification of an alpha male desperate to hide a thick layer of sensitivity.

To Mike Schur and the P&R creative team, I ask one little favor. It would be hilarious to see Tammy attempt to break up Leslie’s team by recruiting one of her staff members. April would be the obvious choice, considering her non-traditional approach to work. However, Jerry makes the most sense. In fact, I would love to see Leslie try and convince Jerry that he is important to her team, considering the abuse that has been inflicted on the quiet bureaucrat all season. Would Jerry leave the department that spoiled his parents’ secret, ridiculed his criminal past, and demeaned his use of the term “murinal?” I do not know where he would end up, but that’s must-see TV!

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