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#of harry? his fans? olivia for casting him? the media for only focusing on him and being excited to see him go down on someone?
tobe-sogolden · 2 years
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Thoughts on Florence’s interview?
No thoughts ❤
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heyyyharry · 4 years
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Drivers License
(inspired by drivers license by Olivia Rodrigo)
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Word count: 2.5k
And you're probably with that blonde girl Who always made me doubt She's so much older than me She's everything I'm insecure about
This song is so sad and it made me cry so I had to write something about it 🤧
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“I love the song.”
“Really?”
“Yeah.”
Y/N chewed on her bottom lip, drumming her fingers on the steering wheel. “But?” she asked her producer, who was on the phone. “You don’t sound like you love it.”
“Of course I love it, Y/N. It’s just–” Came a pause. “Do you really want this to be the next single?”
“What do you mean? You love it but it’s not good enough to be a single?”
“It’s too good, Y/N,” her producer said. “It’s very...personal.”
“That’s why I want to put it out, Gray. It means a lot to me.”
Gray was quiet for another moment. “The media and his fans are going to come for you.”
“I don’t care.”
“Are you sure?”
“Yes, I’m sure.”
“Alright. I’ll call you back.” Gray sounded defeated but she could still sense a smile as he told her, “Good job, kid,” before hanging up.
Y/N put her phone away, tossed her head back and heaved a sigh. She was well aware of the trouble she’d cause by releasing this song. It’d be like showing the whole world her diary. She’d written plenty of songs on her previous albums about her relationships, too. There had been witch hunts simply because the men she’d written songs about had fans who worshipped them and refused to see them as anything less than perfect. She wasn’t perfect, either. If she were perfect, she wouldn’t have written a song about an ‘almost’ relationship. She’d know her worth and not have chased someone who didn’t and would never want her. She knew that now. So this song would be the last thing she’d give this person. The last goodbye that she never got to say.
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“What are you smiling at?”
“Nothing.”
“Let me see,” Y/N giggled and tried to grab his phone as he pretended to fight her off.
“Alright, alright.” He laughed, reached out to turn the music in his car down and handed her the phone. “It’s the memes your fans made about you not being able to drive,” he said, suppressing a grin.
Her jaw dropped. “I hate you!”
“I’m sorry. It slipped out,” he said, laughing again. She could listen to his laugh on replay. She loved his music, but his laugh had to be her most favourite melody. “To be fair, you talked a lot of shit about me in that interview, too.”
“Hey, hey, hey,” she scoffed at the smug look he was wearing. “At least I didn’t tell the whole world about your imaginary friend that you had until you were thirteen. You spilt my secret.”
“Not a secret anymore.”
She playfully smacked him on the arm. “My lawyer will hear about this.”
He pouted, pretending to be upset. “Guess we’ll never work together anymore.”
“Acting is not for me anyway.”
Y/N gave Harry back his phone. He took it but didn’t break eye contact as his brows knitted. “Stop saying that. You were great in the movie.”
She rolled her eyes sarcastically. “Oh please, have you been on the internet?”
“You mean my fans’ reactions, right? Just ignore them.” He breathed. “I mean, I love my fans, but they could be too much sometimes. Just look at all my previous relationships. I can’t even breathe around a female without them sending her death threats.”
“Yeah,” Y/N let out a nervous laugh, hands folded together resting on her knees. “Speaking of relationships,” she ventured, “are you talking to someone new?”
She wasn’t looking at him yet she could feel the heat from his gaze as he told her, “No. I already told you, Y/N. Right now there’s just you.”
Harry turned, putting both hands on his steering wheel. Was he nervous as well? Had she ruined the moment by bringing this up?
He took a deep breath, confirming her assumption. “I’m sorry,” he said. “I’m just not ready for a relationship.”
It was the same line he’d told her times and times again, and she wished she could just tell him how much she loathed it. And since she couldn’t say anything, she just nodded and focused on the rings on her fingers.
“I do care a lot about you, though,” he added, his voice heavy with emotions.
Her friends had told her that men would say things like this, and most of the time they barely meant half of it. However, she’d known Harry for years. Their relationship had only changed since they’d been cast for the same movie earlier this year. She was confident that she knew him better than her friends or anyone else. Surely, he’d meant all the things he’d said to her. The problem was, he just wasn’t ready for a relationship.
“And I don’t want to lose you, Y/N,” he said, now looking at her again.
She turned slowly and met his thoughtful green eyes. She offered a single smile as a way to tell him she wasn’t upset, even though she was, a little bit. “I don’t want to lose you, either,” she admitted.
His dimples reappeared. “I feel like it’s rare for people like us to find a connection like this, and I’ve never opened up to anyone the way I have to you. But I think now isn’t the time for us to take the risk of ruining this. Right now we’re still trying to figure out our own lives, you know?”
She nodded again, not knowing what to say.
They sat quietly for another moment, and it was he who broke the silence. “How come you never learn to drive?”
She could feel her cheeks glowing red. “I never had to drive myself.”
She’d been famous since she was fourteen, so she’d always had people driving her places. Whenever she told anyone that reason, they’d either call her spoiled to her face or give her a judgemental look that made her feel self-conscious. She didn’t have a dad or siblings, her mum didn’t know how to drive, either, and she was too afraid to ask anyone to teach her for she feared they’d judged her.
“I could teach you.”
Y/N whipped her head up and blinked blankly at him. “Really?”
“Of course,” he chuckled. “I have a cousin who didn’t learn to drive when he was young because of his anxiety and I taught him. I could teach you.”
Trying to hide her excitement, Y/N smiled. “Okay.”
“Yeah?” His grin widened even though he was the one doing her a favour. It was moments like this that reassured her that he wasn’t like the other guys who’d broken her heart. “When you got your driver license,” he said, “you can drive up to my house on your own.”
“We can even go on road trips,” she said happily, already imagining the many scenarios in her head.
He seemed equally elated, which made her heart swell. “Yeah! Wanna do it now or–”
“Let’s do it now.”
“Yeah, okay.” Quickly, he unbuckled his seatbelt and got out of the car. She climbed into the driver seat and watched him settle into the passenger side. That afternoon was the first time she’d learned how to drive. She would always remember that.
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“Y/N, you’re up next,” said one member of the backstage staff who handed Y/N her mic and ran off to check on the backing vocalist.
Y/N felt her heart thumping in her chest as she clutched the microphone to her chest and sucked in a deep breath. She looked to her right, peering at her reflection in the full-length mirror. She looked beautiful. The makeup team and her stylist had spent three hours on this look and made sure that she was flawless.
Would he be watching the show tonight?
Had he even listened to the song?
It got to number one on the iTunes chart today. He must have listened to it. If not, he must have heard it on the radio or someone must have sent it to him. The whole world knew the song was for him, and everyone was talking about it. So even though he didn’t care anymore, even though he was happy with his new girlfriend, he must be wondering. Because when she’d heard that he’d written a song about her, she’d been so excited to listen to it. So could it be that he was wondering as well?
“This is Y/N performing her latest single DRIVERS LICENSE!”
Y/N took a deep breath as she got a nod from the stage director. She stepped out, soaked in the stage lights while the audience applauded and cheered for her. She stood at the centre of the stage as the band started playing and the noise in the audience died down. As a habit, she searched the front rows for his face despite knowing with every fibre in her body that this would be the last place he’d be tonight.
I got my driver's license last week
Just like we always talked about
'Cause you were so excited for me
To finally drive up to your house
But today I drove through the suburbs
Crying 'cause you weren't around
She could see it even now. Them driving through the quiet night. From her house to his and back. Just the two of them. The kisses they’d share at stoplights when there was no one else around. The way he’d place his hand on her thigh just because he wanted to. In retrospect, she should have realised that he wouldn’t ever do that to her in public. Their relationship, if she could call it that, had been almost nonexistent. Maybe that was why it’d been so easy for him to move on. You couldn’t feel remorse leaving behind something that didn’t exist. How unfortunate. It’d been real to her.
And you're probably with that blonde girl
Who always made me doubt
She's so much older than me
She's everything I'm insecure about
Yeah, today I drove through the suburbs
'Cause how could I ever love someone else?
She’d thought to herself that if he could write a song about someone he’d never dated, it was worth staying with him despite not actually being with him. She could not expect that a few months after that song had come out, he would be seen driving around with another girl. The girl he’d told her was only a good friend. This girl was older and perfect in every way. Y/N wouldn’t choose herself either if the choices were between her and that girl. But she couldn’t bring herself to hate the girl. It wasn’t the girl’s fault that Harry had chosen her. And it wasn’t Harry’s fault that Y/N refused to see the red flags through her rose-coloured glasses.
And I know we weren't perfect
But I've never felt this way for no one
And I just can't imagine
How you could be so okay now that I'm gone?
Guess you didn't mean what you wrote in that song about me
'Cause you said forever, now I drive alone past your street
Y/N wrote this song a week after she’d got her drivers license. She’d blast sad music in her car and cried as she drove past his house, wondering if he was still up and thinking of her whenever he saw headlights passing his street. The heartbreak had been confusing to her as they weren’t even together. It was funny how the whole world had believed in them, except for him. He’d told her he loved her, so why weren’t they together now? He’d said he wasn’t ready, so why was he holding hands with someone else on the street? Was it because of her? Was it something that she’d done? Was there something wrong with her? Why couldn’t he choose her? Y/N had pondered over those questions for months until she came to accept that there didn’t have to be a reason for someone to leave you. They simply lost feelings or found someone else. No one owed you an explanation.
Red lights, stop signs
I still see your face in the white cars, front yards
Can't drive past the places we used to go to
'Cause I still fuckin' love you, babe
For months, he'd been a ghost living rent-free in her head. She saw him in every face and every crowd, and she could even, in this moment, hear the sound of his laugh somewhere in the audience. She could hear him telling her he was proud of her, that everything would be okay. And the worst part was that, without her, he was still doing fine. He wouldn’t see her everywhere he went. He wouldn’t think about her when he was lying in bed and couldn’t sleep. He wouldn’t wonder if she missed him. Because he didn’t miss her. And he would be saying the same things he’d said to her to his new girl.
Sidewalks we crossed
I still hear your voice in the traffic, we're laughing
Over all the noise
God, I'm so blue, know we're through
But I still fuckin' love you, babe (Ooh, ooh)
There on the stage, she received sympathetic looks from the people in the front row as she cried her heart out to the lyrics. He might be at home this moment, watching the show with his new girlfriend, and seeing her cry on live television. Would they laugh at her together? Would he turn to his girlfriend and say he was sorry for how he’d treated Y/N and promised to never hurt his girlfriend the same way? The most heartbreaking thing, Y/N thought, wasn’t him leaving, but seeing him treat someone the way she’d wanted to be treated and realising that he’d been capable of doing it all this time, just not with her.
I know we weren't perfect
But I've never felt this way for no one
And I just can't imagine
How you could be so okay now that I'm gone?
Guess you didn't mean what you wrote in that song about me
'Cause you said forever, now I drive alone past your street
Putting all her feelings into this song had made everything seem so much simpler and clearer. And at the end of the day, Y/N believed that the whole purpose of songwriting was to get closure. Perhaps, one day, when she listened to this song again, she wouldn’t be sad anymore.
Yeah, you said forever, now I drive alone past your street
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“Good job, Y/N.”
“Thank you.”
“Love the song! You’re amazing.”
“Thank you.”
Y/N faked a few more smiles then shut the door of her dressing room and slumped into her chair in front of the vanity.
All alone, she looked right at her reflection and took a deep breath.
Her phone buzzed and lit up with a new text message.
Harry: Congratulations on your no 1 :) xx
She pondered over the words, picked up her phone, and deleted his contact.
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alltheselights · 2 years
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Hello🌝
Sorry if you’ve talked about this before, you get a bunch of asks, but as usual I’m curious of your opinion if you have any thoughts about the stark difference in harrys behavour in dwd VS mp promo and interviews? He’s been shreded to bits for the venice interviews and I saw people claiming he got media training between dwd and mp premiere which.. lol. But now in new york for dwd premiere he seems a little better but ✨quirky harry✨ is definitely back so..
Well, I actually don’t think the differences are as stark as some fans want people to believe - I think people are focusing in on one or two quotes from each event and ignoring everything else, honestly. Like Harry had some less great answers related to My Policeman and some great answers related to Don’t Worry Darling. He’s done a lot of rambling about both films.
That being said, I do agree that there is SOME difference, but I don’t think it’s not related to Harry caring more about My Policeman more or hating Olivia. Regardless of how Harry may feel about the film personally, I think Harry is a professional and I don’t believe that he would intentionally phone it in and make a joke out of those interviews. Harry is smart enough to realize (though the fandom doesn’t seem to be) that poor responses about DWD don’t reflect poorly on the film, they reflect poorly on Harry. I think most of his responses were unintentionally bad because he’s not used to having to actually answer questions and tends to ramble even on a good day, which is fine for a Rolling Stone interview where they take the best parts and publish them and fine for interviews where the audience is only fans who love him, but not great for a film press conference where the public and journalists are listening to your every word.
I think he’s been better in MP press is because he’s likely practiced more for it, and the main reason I think he’s practiced more for it is because sexuality is not a new topic for Harry and he’s been criticized about his treatment of sexuality for years. Harry has rarely faced backlash related to sexism or patriarchy or any of the themes prevalent in Don’t Worry Darling, but he’s been talking about and receiving backlash related to the topic of sexuality for YEARS now - most recently just a month or so ago with Rolling Stone. It’s been a pretty consistent topic in his interviews and a common criticism of him since his solo career began, but especially since the Fine Line era. I think it’s likely that both Harry and his team fully realized that he needed to have some answers prepared for questions on My Policeman because his failure in those interviews could be really disastrous for him. Like far beyond the lighthearted mocking he’s received for his responses in the DWD press conference and interview. Many people already believe Harry uses the ambiguity of his sexuality to further his career, and if he was also viewed as taking a role that could have been played by an LGBTQ+ actor and lacking understanding or respect for the character and the film, I mean....that would be VERY bad for him. I think that level of pressure is not there for DWD.
The other reason I think he’s prepared more for the MP promo is likely that My Policeman is just a much smaller film with less support, and Harry means much more to its success than he does to Don’t Worry Darling’s success. DWD has a famous director and numerous well-known actors featured, it has a major established studio behind it, and Harry is a supporting character rather than the lead. In contrast, My Policeman is a small budget film made by Amazon (which is not known for making good movies) with a cast of barely known actors and a limited theatrical release, and Harry is the titular role. Harry is essential to the film’s success. I think that’s the reason why Harry was papped on set every day and I think that’s the reason why Harry is going to give better answers about that movie. He knows his responsibility as the person who is significantly more famous than anyone else on that cast or crew, and I’m sure he is preparing for promo accordingly.
Those are my thoughts, anyway!
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angeltriestoblog · 4 years
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I watched a couple of movies! (Part 1)
Back when I regularly had the luxury of long breaks, I spent my days binge-watching films, as you can see from my extensive knowledge of 80s chick flicks and all the cheesy tropes and disgustingly adorable, predominantly white leading men that come with them. Sadly, a side effect of growing older in the digital age seemed to be the diminishment of my attention span: the only things I could focus on were academic requirements, simply because I had to. But, thanks to several factors—the suspension of online classes, the sudden annoyance I developed towards Barney Stinson that prompted me to discontinue How I Met Your Mother, etc.—I decided it was high time to rekindle this lost love. So, here is an unsolicited review of the 17 films I managed to finish in a little over a week! Rest assured, I tried my best to venture out of familiar territory and brush up on some of the more cultured picks, according to Letterboxd, at least.
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Bar Boys (2017, dir. Kip Oebanda) ★★★
The film that kickstarted everything, which I never would have seen if the director had not uploaded the full version on YouTube. This well-meaning tale of four best friends (Carlo Aquino, Rocco Nacino, Enzo Pineda, and Kean Cipriano) and the challenges they face in law school—terror professors, fraternities, and financial difficulties included—does have a lot of heart, and is sensitive enough to show how the effect of this experience differs depending on a student's background. But, what it lacked for me was a certain degree of specificity: I think the same premise would have been applicable in med school, or any other post-graduate degree for that matter. So, why did the characters choose law? I also would have appreciated some commentary on the shortcomings of the country’s justice system, and further fleshing out of the characters so the audience could have seen why we could count on them to fill in the gaps.
Legally Blonde (2001, dir. Robert Luketic) ★★★½
The rating might be surprising, considering that the courtroom scene was responsible for the short law school phase I had in Grade 5. As if I could ever make use of the rules of haircare in an actual cross-examination. Of course, I am compelled to admire Elle (Reese Witherspoon) and how her motivations for going to Harvard shift from winning back a boy to discovering what she never knew she had and using these gifts to help those around her (especially the manicurist, who I feel was given way more exposure than what was due to her). Ultimately, though it was inspirational at some points, it felt too good to be true and impossible to relate to. (But then again, shouldn’t there be a willing suspension of disbelief when consuming forms of media such as this?)
Lady Bird (2017, dir. Greta Gerwig) ★★★★★
I’ll probably end up making a separate post dedicated to this movie and how it singlehandedly called me out, as a sensitive, occasionally self-important product of an all-girls Catholic high school. For now, I am forced to condense my overflowing feelings into a couple of sentences. Lady Bird takes place over the course of the titular character's senior year, a pivotal moment in the lives of all teenagers. But, instead of focusing solely on the formulaic firsts like the normal coming-of-age film would, it shines a light on her dwindling relationship with her equally strong-willed mother. Saoirse Ronan’s colorful performance as the human embodiment of my pre-teen self's conscience, and Greta Gerwig’s tremendous ability to make even oddly specific scenes speak to any viewer shine through and speak to me the most, and easily make this gem something I will be recommending this to anyone who bothers to ask for as long as I live.
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Bohemian Rhapsody (2018, dir. Bryan Singer) ★★★
There’s a lot of controversy surrounding Bo Rhap, particularly its failure to portray Freddie Mercury in a manner that does him justice. While I understand that it is a valid concern for fans of the band, I admit I don’t know enough about who he was as a person to criticize the film in this aspect. Regardless of its factuality, this still was just average for me, the typical rise-and-fall type of biopic that is indicative of a rockstar’s legacy, but with laughably faulty editing. The redeeming factors were Rami Malek’s brilliant portrayal of the legend himself—his Live Aid performance gave me chills that lasted the entire 20 minutes, how alarming—and, obviously, the soundtrack that I kept on loop for several days.
About Time (2013, dir. Richard Curtis) ★
Apparently, this movie focuses on Tim (Domhnall Gleeson), who discovers at age 21 that the men in his family have the power to time-travel and thus revise and repair certain parts of their lives. He uses this to address the fact that he’s never had a girlfriend, and effectively so as he ends up bagging Mary (Rachel McAdams), a charming American who is the settler in this relationship by default. But, of course, this gift is not without its dire consequences—or at least, that’s what it says on Wikipedia. It’s hard to trash on this and admit that I bailed halfway because so many of my friends swear by this. But, I just couldn’t stomach the lack of chemistry between the two leads; the surprisingly boring dialogue for a screenplay crafted by Richard Curtis of Notting Hill fame; and the story that, although bore enough of a resemblance to “The Time Traveler’s Wife” to be interesting, was still not powerful enough to sustain my attention.
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Your Name (2016, dir. Makoto Shinkai) ★★★★★
I’m a huge fan of plots that are sure to make my eyes swell and heart hurt—I can’t explain the psychology behind this either. So when this was recommended to me and I had made it through an hour without shedding a single tear, I was prepared to be disappointed. But, the events leading up to the conclusion proceeded to rip me into shreds, as if to taunt me and say, “You asked for it.” Mitsuha (Mone Kamishiraishi) and Taki (Ryunosuke Kamiki), teenagers living on opposite sides of the country, suddenly start switching bodies following the appearance of a comet. This unexplainable phenomenon causes them to forge an unbreakable bond that transcends the very limits of time and space. I know the description is not much, but it’s best to experience this unique plot for yourself. Besides its storyline, its charm lies in its excruciating attention to detail in depicting life in urban and rural Japan, both in the realistic animation of one picturesque scene after another, and the use of cultural elements to arrive at a twist viewers will not see coming.
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Booksmart (2019, dir. Olivia Wilde) ★★★★½
I can't summarize what I imagine Booksmart to be for teenagers in the future, so here's an entire scenario: It's the year 2070. Two young girls of around 16 are sprawled on their bedroom floor, watching this on whatever device they use for streaming. (Maybe it's from an LCD projector embedded in their foreheads, who knows.) The credits roll, and they instantly think to themselves, "Man, we were born in the wrong generation!" (They simultaneously think of doing a high-five, and without raising their hands themselves, it happens because that's technology.) Anyway, Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) are best friends who played by the rules all throughout high school and realized too late that they could’ve afforded to have a little more fun. On the eve of their graduation, they decide to cram four years’ worth of adventure in a single unpredictable and outrageous night, getting to grips with everything that comes their way in an exceedingly comedic yet refreshing fashion. Also, the protagonists have such a genuine and wholesome relationship: the way they hyped up their most ridiculous looking outfits, or overshared borderline uncomfortable stories is honestly my personal definition of an ideal friendship.
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When Harry Met Sally (1989, dir. Rob Reiner) ★★★★½
Despite this film’s constant presence in every “chick flicks you must watch” list I’ve bothered searching up, I spent a huge chunk of my teen years in constant protest against the decision to cast Billy Crystal as the male lead instead of, I don’t know, literally any other actor on the planet. But, once I finished it, I realized that he’s a much better fit than I thought. The laidback Harry to Meg Ryan’s finicky Sally, both of them spare no effort exploring and debunking truths and misconceptions about modern relationships: examples of which are the idea of being high maintenance, and the quintessential question of whether a guy and girl can ever be just friends. Although their dynamic is the definition of slow burn, audiences can’t help but earnestly root for the pair—the frustration brought by the several almosts pay off in the end, as they lead to one of, if not, the most romantic love confession scene.
Hintayan ng Langit (2018, dir. Dan Villegas) ★★★★½
This tale adapted from a play by no less than Juan Miguel Severo is set in purgatory—a grandiose art museum-four star hotel hybrid of sorts—where souls can stop and rest while their papers for entry to heaven are being processed. It is here we meet Manolo (Eddie Garcia) and Lisang (Gina Pareno), ex-lovers with unfinished business. Things admittedly start off a bit slow, but it's understandable since there needs to be ample provision of context regarding the standard operating procedures of this unique waiting area. Once that’s done, the focus stays on the main actors, who drive audiences to tears with their powerful performances, and thought-provoking questions on matters of betrayal, forgiveness, and the afterlife. The ending had me rocking back and forth like a baby, my shirt soaked with tears, so do take heed and stock up on tissues!
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The Social Network (2010, dir. David Fincher) ★★★★★
Within its packed first 15 minutes alone, you can easily see what makes The Social Network an example of cinema at its finest: an intoxicated Mark Zuckerberg (Jesse Eisenberg) hacks into the websites of all Harvard dorms to create Facebook’s oldest ancestor from scratch, in an attempt to get back at his ex-girlfriend. The atmosphere is tense, the dialogue is loaded with witty one-liners and powerful insight, and the actors are so in touch with their characters they practically fuse into a single person. This remains consistent for the next two hours or so, making for an enjoyable and fast-paced, yet still informative glimpse into the human side of what is arguable the most powerful company of this era. I also heard that it’s much more fun if seen with the cast commentary on, so I’m gonna have to find a copy of that for myself!
Pretty in Pink (1986, dir. Howard Deutch) ★★★★★
I’m cheating here, I know: this has been a long-time favorite, but I guess I can still give a review if I was still 15 when I last saw this. Andie (Molly Ringwald) and Blane (Andrew McCarthy)’s classic “poor girl + rich boy = happily ever after” story is masterfully tackled by John Hughes, who manages to inject equal amounts of swoon-worthy romance and biting criticism of the inherent class divide in society. Others would argue that Duckie (Jon Cryer), Andie’s devoted best friend, is the true star of the show, and while I do agree that he has his shining moments (if you listen closely, you can hear Try A Little Tenderness playing softly in the background), I sadly inherited my mother’s adoration for Andrew, which I will pass on to my child and so on—truly the defining characteristic of our lineage.
St. Elmo’s Fire (1985, dir. Joel Schumacher) ½
I understand that being an adult in the Real World is bound to come with some grave mistakes and lapses in judgment. But, not a single character in this friend group redeems themselves by the end. While Ally Sheedy’s Leslie and Mare Winningham’s Wendy were just borderline forgettable (why did the latter even end up here with the Brat Pack?), Judd Nelson’s Alec cheats on his girlfriend and believes that marriage is what will make him change his ways; Rob Lowe’s Billy neglects the family he didn’t plan on having by fooling around with other women and making a home out of his favorite bar; Demi Moore’s Jules relies on cocaine and extramarital affairs to hide trauma she refuses to process, and Andrew McCarthy’s pretentiously cynical Kevin suddenly claims he knows what love is when Leslie pays attention to him for 10 minutes. But, none of them compare to Emilio Estevez’ Kirby, the sociopath obsessed with a girl he barely knows. It honestly resembles some sick contest of how many problems this gang can cause before they end up behind bars, with the last scene being a lazy and rushed attempt to wrap everything up, in the name of this surface-level “friendship”.
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Before Sunrise, Sunset, and Midnight (1995, 2004, 2013; dir. Richard Linklater) ★★★★★
Guess it’s better to admit it now, but I made this post as an excuse to rave about how beautiful this trilogy is, the most authentic depiction of love in its purest form. Sunrise has been recommended to me by both friends and the Netflix algorithm, but I put off watching it again and again and again. I mean, what could I possibly get out of looking at two strangers roam around Vienna? Well, to answer that question: quite a lot. Jesse (Ethan Hawke) and Celine (Julie Delpy)’s relationship spans an entire trilogy, and throughout that period, they manage to define then destroy the idea of having a soulmate to call your own in approximately six hours. But certain constancies are present in each movie: the emotion intense even in the smallest of gestures (you don't understand the anguish I feel when the scene at the listening booth randomly pops in my head), the dialogue truly thought-provoking and natural, the settings so picturesque, and the chemistry of the actors so electric I have trouble believing that the director didn’t actually invade the personal space of a real couple and eventually get issued a restraining order.
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High Fidelity (2000, dir. Stephen Frears) ★★
I’d like to think of this as an essay: I'm confident that the introduction is the protagonist Rob's soliloquy on his five biggest breakups to understand why he’s so flawed that everyone always leaves him, and the conclusion his attempt to win his ex Laura (Iben Hjejle) back. But as for the body, I’m not entirely sure. Interspersed between these moments are thoughtful top five lists of anything that can be enumerated, and occasional banter with the employees at his record store that may be charming, but do not enhance the film in any way, shape, or form for me. Also, I normally enjoy seeing John Cusack onscreen, but more often than not, he was nagging in front of the camera instead of talking to the people around him; no wonder his relationships failed!
Scott Pilgrim vs the World (2010, dir. Edgar Wright) ★★★
I wanted to enjoy this so bad, I swear! Sadly, the one thing I gained after seeing this is knowledge of where the “I’m So Sad, So Very Very Sad” meme came from. I get that it’s supposed to resemble a comic book or video game, and maybe the reason why I failed to appreciate this as much is because I was never a fan of either. I found the prolonged action scenes surprisingly boring, the storyline too fantastic, and the whole quest of having to defeat seven monstrous exes for the hand of a manic pixie dream girl not worth it in the end. Although I can’t give it less than three stars given its impressive visual effects, and appeal to the entire Tumblr community (gamers on one end, millennial film connoisseurs on the other), it’s definitely not something I would watch a second time.
There will surely be more where that came from! (I mean it. Since completing this post, I’ve finished another five films.) If you wanna keep tabs on what I’m watching without having to wait on another post, you can give my Letterboxd a follow. Wishing you love and light always, and don’t forget to wash your hands and pray for our frontliners!
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House (TV series)
From Wikipedia, the free encyclopedia "House M.D." redirects here. For the titular character, see Gregory House. House (also called House, M.D.) is an American television medical drama that originally ran on the Fox network for eight seasons, from November 16, 2004 to May 21, 2012. The series' main character is Dr. Gregory House (Hugh Laurie), an unconventional, misanthropic medical genius who, despite his dependence on pain medication, leads a team of diagnosticians at the fictional Princeton-Plainsboro Teaching Hospital (PPTH) in New Jersey. The series' premise originated with Paul Attanasio, while David Shore, who is credited as creator, was primarily responsible for the conception of the title character. The series' executive producers included Shore, Attanasio, Attanasio's business partner Katie Jacobs, and film director Bryan Singer. It was filmed largely in Century City. House often clashes with his fellow physicians, including his own diagnostic team, because many of his hypotheses about patients' illnesses are based on subtle or controversial insights. His flouting of hospital rules and procedures frequently leads him into conflict with his boss, hospital administrator and Dean of Medicine Dr. Lisa Cuddy (Lisa Edelstein). House's only true friend is Dr. James Wilson (Robert Sean Leonard), head of the Department of Oncology. During the first three seasons, House's diagnostic team consists of Dr. Robert Chase (Jesse Spencer), Dr. Allison Cameron (Jennifer Morrison), and Dr. Eric Foreman (Omar Epps). At the end of the third season, this team disbands. Rejoined by Foreman, House gradually selects three new team members: Dr. Remy "Thirteen" Hadley (Olivia Wilde), Dr. Chris Taub (Peter Jacobson), and Dr. Lawrence Kutner (Kal Penn). Meanwhile, Chase and Cameron continue to appear in different roles at the hospital. Kutner dies late in season five; early in season six, Cameron departs the hospital, and Chase returns to the diagnostic team. Thirteen takes a leave of absence for most of season seven, and her position is filled by medical student Martha M. Masters (Amber Tamblyn). Cuddy and Masters depart before season eight; Foreman becomes the new Dean of Medicine, while Dr. Jessica Adams (Odette Annable) and Dr. Chi Park (Charlyne Yi) join House's team. House was among the top 10 series in the United States from its second through fourth seasons. Distributed to 66 countries, House was the most-watched television program in the world in 2008.[2] The show received numerous awards, including five Primetime Emmy Awards, two Golden Globe Awards, a Peabody Award, and nine People's Choice Awards. On February 8, 2012, Fox announced that the eighth season, then in progress, would be its last.[3] The series finale aired on May 21, 2012, following an hour-long retrospective. Contents 1 Production 1.1 Conception 1.1.1 References to Sherlock Holmes 1.2 Production team 1.3 Casting 1.4 Filming style and locations 1.5 Opening sequence 2 Series overview 3 Characters and story arcs 3.1 Main characters 3.2 Recurring characters 4 Episodes 5 Reception 5.1 Critical reception 5.1.1 Critics' top ten lists 5.2 U.S. television ratings 5.3 Awards and honors 6 Distribution 7 Merchandise 8 See also 9 Footnotes 10 Citations 11 References 12 Further reading 13 External links Production Conception In 2004, David Shore and Paul Attanasio, along with Attanasio's business partner Katie Jacobs, pitched the series (untitled at the time) to Fox as a CSI-style medical detective program,[4] a hospital whodunit in which the doctors investigated symptoms and their causes.[5] Attanasio was inspired to develop a medical procedural drama by The New York Times Magazine column, "Diagnosis", written by physician Lisa Sanders, who is an attending physician at Yale-New Haven Hospital (YNHH), and Princeton-Plainsboro Teaching Hospital (PPTH) is modeled after this teaching institution.[6] Fox bought the series, though the network's then-president, Gail Berman, told the creative team, "I want a medical show, but I don't want to see white coats going down the hallway".[7] Jacobs has said that this stipulation was one of the many influences that led to the show's ultimate form.[7] "We knew the network was looking for procedurals, and Paul [Attanasio] came up with this medical idea that was like a cop procedural. The suspects were the germs. But I quickly began to realize that we needed that character element. I mean, germs don't have motives." --David Shore to Writer's Guild magazine[8] After Fox picked up the show, it acquired the working title Chasing Zebras, Circling the Drain[9] ("zebra" is medical slang for an unusual or obscure diagnosis, while "circling the drain" refers to terminal cases, patients in an irreversible decline).[10] The original premise of the show was of a team of doctors working together trying to "diagnose the undiagnosable".[11] Shore felt it was important to have an interesting central character, one who could examine patients' personal characteristics and diagnose their ailments by figuring out their secrets and lies.[11] As Shore and the rest of the creative team explored the character's possibilities, the program concept became less of procedure and more focused upon the lead role.[12] The character was named "House", which was adopted as the show's title, as well.[9] Shore developed the characters further and wrote the script for the pilot episode.[4]Bryan Singer, who directed the pilot episode and had a major role in casting the primary roles, has said that the "title of the pilot was 'Everybody Lies', and that's the premise of the show".[12] Shore has said that the central storylines of several early episodes were based on the work of Berton Rouech, a staff writer for The New Yorker between 1944 and 1994, who specialized in features about unusual medical cases.[5] Shore traced the concept for the title character to his experience as a patient at a teaching hospital.[13] Shore recalled: "I knew, as soon as I left the room, they would be mocking me relentlessly [for my cluelessness] and I thought that it would be interesting to see a character who actually did that before they left the room."[14] A central part of the show's premise was that the main character would be disabled in some way.[15] The original idea was for House to use a wheelchair, but Fox rejected this. Jacobs later expressed her gratitude for the network's insistence that the character be reimagined--putting him on his feet added a crucial physical dimension.[12] The writers ultimately chose to give House a damaged leg arising from an incorrect diagnosis, which requires him to use a cane and causes him pain that leads to a narcotic dependency.[15] References to Sherlock Holmes Sherlock Holmes serves as an inspiration for the series. References to the fact that Gregory House was based on the famous fictional detective Sherlock Holmes created by Sir Arthur Conan Doyle appear throughout the series.[16][17] Shore explained that he was always a Holmes fan and found the character's indifference to his clients unique.[14] The resemblance is evident in House's reliance on deductive reasoning[16] and psychology, even where it might not seem obviously applicable,[10] and his reluctance to accept cases he finds uninteresting.[18] His investigatory method is to eliminate diagnoses logically as they are proved impossible; Holmes used a similar method.[9] Both characters play instruments (House plays the piano, the guitar, and the harmonica; Holmes, the violin) and take drugs (House is dependent on Vicodin; Holmes uses cocaine recreationally).[16] House's relationship with Dr. James Wilson echoes that between Holmes and his confidant, Dr. John Watson.[9]Robert Sean Leonard, who portrays Wilson, said that House and his character--whose name is very similar to Watson's--were originally intended to work together much as Holmes and Watson do; in his view, House's diagnostic team has assumed that aspect of the Watson role.[19] Wilson even has a dead-beat brother who may be dead, like Watson's dead alcoholic brother. (season 1, episode 10) Shore said that House's name itself is meant as "a subtle homage" to Holmes.[9][20] House's address is 221B Baker Street, a direct reference to Holmes's street address.[10] Wilson's address is also 221B.[21] Individual episodes of the series contain additional references to the Sherlock Holmes tales. The main patient in the pilot episode is named Rebecca Adler after Irene Adler, a character in the first Holmes short story, "A Scandal in Bohemia".[22] In the season two finale, House is shot by a crazed gunman credited as "Moriarty", the name of Holmes's nemesis.[23] In the season four episode "It's a Wonderful Lie", House receives a "second-edition Conan Doyle" as a Christmas gift.[24] In the season five episode "The Itch", House is seen picking up his keys and Vicodin from the top of a copy of Conan Doyle's The Memoirs of Sherlock Holmes.[25] In another season five episode, "Joy to the World", House, in an attempt to fool his team, uses a book by Joseph Bell, Conan Doyle's inspiration for Sherlock Holmes.[9] The volume had been given to him the previous Christmas by Wilson, who included the message "Greg, made me think of you." Before acknowledging that he gave the book to House, Wilson tells two of the team members that its source was a patient, Irene Adler.[26] The series finale pays homage to Holmes's apparent death in "The Final Problem", the 1893 story with which Conan Doyle originally intended to conclude the Holmes chronicles.[27] Production team Bryan Singer directed the pilot episode and the third episode, "Occam's Razor".[28] House was a co-production of Heel and Toe Films, Shore Z Productions, and Bad Hat Harry Productions in association with Universal Media Studios for Fox.[29] Paul Attanasio and Katie Jacobs, the heads of Heel and Toe Films; David Shore, the head of Shore Z Productions; and Bryan Singer, the head of Bad Hat Harry Productions, were executive producers of the program for its entirety.[13]Lawrence Kaplow, Peter Blake, and Thomas L. Moran joined the staff as writers at the beginning of the first season after the making of the pilot episode. Writers Doris Egan, Sara Hess, Russel Friend, and Garrett Lerner joined the team at the start of season two. Friend and Lerner, who are business partners, had been offered positions when the series launched, but turned the opportunity down. After observing the show's success, they accepted when Jacobs offered them jobs again the following year.[30] Writers Eli Attie and Sean Whitesell joined the show at the start of season four. Since the beginning of season four, Moran, Friend, and Lerner have been credited as executive producers on the series, joining Attanasio, Jacobs, Shore, and Singer.[29] Hugh Laurie was credited as an executive producer for the second[31] and third[32] episodes of season five. Shore is House's showrunner.[33] Through the end of the sixth season, more than two dozen writers have contributed to the program. The most prolific have been Kaplow (18 episodes), Blake (17), Shore (16), Friend (16), Lerner (16), Moran (14), and Egan (13). The show's most prolific directors through its first six seasons were Deran Sarafian (22 episodes), who was not involved in season six, and Greg Yaitanes (17). Of the more than three dozen other directors who have worked on the series, only David Straiton directed as many as 10 episodes through the sixth season. Hugh Laurie directed the 17th episode of season six, "Lockdown".[34] Elan Soltes has been the visual effects supervisor since the show began.[35]Lisa Sanders, an assistant clinical professor of medicine at the Yale School of Medicine, is a technical advisor to the series. She writes the "Diagnosis" column that inspired House's premise.[36] According to Shore, "three different doctors... check everything we do".[37] Bobbin Bergstrom, a registered nurse, is the program's on-set medical adviser.[37] Casting "It wasn't a massive move when I first considered [doing House]. What usually happens is you do a pilot and of the very few picked up, only about a quarter go to a second year. So I thought I'll have three fun weeks. I never dreamed I'd be here three and a half years later." --Hugh Laurie[38] At first, the producers were looking for a "quintessentially American person" to play the role of House.[39] Bryan Singer in particular felt there was no way he was going to hire a non-American actor for the role.[11] At the time of the casting session, actor Hugh Laurie was in Namibia filming the movie Flight of the Phoenix. He assembled an audition tape in a hotel bathroom, the only place with enough light,[39] and apologized for its appearance[40] (which Singer compared to a "bin Laden video").[41] Laurie improvised, using an umbrella for a cane. Singer was very impressed by his performance and commented on how well the "American actor" was able to grasp the character.[11][42] Singer was not aware that Laurie was English, due to his convincing American accent. Laurie credits the accent to "a misspent youth [watching] too much TV and too many movies".[39] Although locally better-known actors such as Denis Leary, David Cross, Rob Morrow, and Patrick Dempsey were considered for the part, Shore, Jacobs, and Attanasio were as impressed as Singer and cast Laurie as House.[43] Laurie later revealed that he initially thought the show's central character was Dr. James Wilson. He assumed that House was a supporting part, due to the nature of the character, until he received the full script of the pilot episode.[44] Laurie, the son of medical doctor Ran http://www.expressupdate.com/places/724028210 Laurie, said he felt guilty for "being paid more to become a fake version of [his] own father".[39] From the start of season three, he was being paid $275,000 to $300,000 per episode, as much as three times what he had previously been making on the series.[45][46] By the show's fifth season, Laurie was earning around $400,000 per episode, making him one of the highest-paid actors on network television.[47] Hugh Laurie made his own audition tape while shooting a film in Namibia. Robert Sean Leonard had received the script for the CBS show Numb3rs, as well as that for House.[48] Leonard thought the Numb3rs script was "kind of cool" and planned to audition for the show.[48] However, he decided that the character he was up for, Charlie Eppes, was in too many scenes; he later observed, "The less I work, the happier I am".[48] He believed that his House audition was not particularly good, but that his lengthy friendship with Singer helped win him the part of Dr. Wilson.[48] Singer had enjoyed Lisa Edelstein's portrayal of a prostitute on The West Wing, and sent her a copy of the pilot script.[49] Edelstein was attracted to the quality of the writing and her character's "snappy dialogue" with House, and was cast as Dr. Lisa Cuddy.[49] Australian actor Jesse Spencer's agent suggested that he audition for the role of Dr. Robert Chase. Spencer believed the program would be similar in style to General Hospital, but changed his mind after reading the scripts.[50] After he was cast, he persuaded the producers to turn the character into an Australian.[51] Patrick Dempsey also auditioned for the part of Chase; he later became known for his portrayal of Dr. Derek Shepherd on Grey's Anatomy.[52]Omar Epps, who plays Dr. Eric Foreman, was inspired by his earlier portrayal of a troubled intern on the NBC medical drama ER.[53]Jennifer Morrison felt that her audition for the part of Dr. Allison Cameron was a complete disaster.[54] However, before her audition, Singer had watched some of her performances, including on Dawson's Creek, and already wanted to cast her in the role.[54] Morrison left the show when her character was written out in the middle of season six.[55] At the end of season three, House dismisses Chase, while Foreman and Cameron resign.[56] After an episode in which he "borrows" a janitor whom he calls "Dr. Buffer" to assist in a diagnosis, House must then recruit a new diagnostic team, for which he identifies seven finalists. The producers originally planned to recruit two new full-time actors, with Foreman, who returns in season four's fifth episode, bringing the team back up to three members; ultimately, the decision was made to add three new regular cast members.[57] (Along with Epps, actors Morrison and Spencer remained in the cast, as their characters moved on to new assignments.) During production, the show's writers dismissed a single candidate per episode; as a result, said Jacobs, neither the producers nor the cast knew who was going to be hired until the last minute.[58] In the season's ninth episode, House's new team is revealed: Foreman is joined by doctors Lawrence Kutner (Kal Penn),[59]Chris Taub (Peter Jacobson),[60] and Remy "Thirteen" Hadley (Olivia Wilde).[61] The candidates rejected by House did not return to the show, with the exception of the last one cut: Amber Volakis (Anne Dudek), who appeared for the rest of season four as Wilson's girlfriend,[62] and in seasons five and eight as a hallucination of House's.[63] While Penn and Wilde had higher profiles than the actors who played the other finalists, Jacobs said they went through an identical audition process and stayed with the show based on the writers' interest in their characters.[58] Kutner was written out of the series in episode 20 of season 5 after Penn took a position in the Obama White House Office of Public Engagement and Intergovernmental Affairs.[64] The contracts of Edelstein, Epps, and Leonard expired at the end of season seven. As a cost-cutting measure, the three actors were asked to accept reduced salaries. Epps and Leonard came to terms with the producers, but Edelstein did not, and in May 2011 it was announced that she would not be returning for the show's eighth season.[65] Filming style and locations Frist Campus Center is the source of the aerial views of PPTH. House is often filmed using the "walk and talk" filming technique,[7][18] popularized on television by series such as St. Elsewhere, ER, Sports Night, and The West Wing.[66] The technique involves the use of tracking shots, showing two or more characters walking between locations while talking.[66] Executive producer Katie Jacobs said that the show frequently uses the technique because "when you put a scene on the move, it's a... way of creating an urgency and an intensity".[7] She noted the significance of "the fact that Hugh Laurie spans 6'2" and is taller than everybody else because it certainly makes those walk-and-talks pop".[7] Nancy Franklin of The New Yorker described the show's "cool, Fantastic Voyage-like special effects of patients' innards. I'll bet you didn't know that when your kidneys shut down they sound like bubble wrap popping."[67] "Cameras and special effects travel not only down the throat" of one patient, another critic observed, "but up her nose and inside her brain and leg".[68] Instead of relying primarily on computer-generated imagery, the interior body shots tend to involve miniature effects and motion control photography.[35] Many of the sets are dressed with a variety of unscripted props that allow Laurie to physically improvise, revealing aspects of his character and the story.[7] The pilot episode was filmed in Vancouver, Canada; primary photography for all subsequent episodes has been shot on the Fox lot in Century City.[37] Bryan Singer chose the hospital near his hometown, West Windsor, New Jersey, as the show's fictional setting.[13]Princeton University's Frist Campus Center[a] is the source of the aerial views of Princeton-Plainsboro Teaching Hospital seen in the series.[69] Some filming took place at the University of Southern California for the season-three episode "Half-Wit", which guest-starred Dave Matthews and Kurtwood Smith.[70] Part of House's sixth season was filmed at the abandoned Greystone Park Psychiatric Hospital, in Parsippany-Troy Hills, New Jersey, as the fictional Mayfield Psychiatric Hospital.[71] Opening sequence The opening sequence begins with an MRI of a head with an image of the boxed "H" from the logo (the international symbol for hospital) in the foreground. This is then overlaid with an image of Dr. House's face taken from the pilot episode with the show's full title appearing across his face. House's head then fades and the show's title is underlined and has the "M.D." appear next to it, producing the entire logo of the show. This was the full extent of the title sequence in the pilot episode.[72] All subsequent episodes contain a longer sequence including the names of the six featured cast members and creator David Shore. Laurie's name appears first, followed by the names of the five other featured cast members in alphabetical order (Edelstein, Epps, Leonard, Morrison, and Spencer, then Shore).[73] After the show's title fades, an aerial view of PPTH (actually various Princeton University buildings, primarily Frist Campus Center)[69] is followed by a series of images accompanying each member's name; most are shown next to, or superimposed upon, illustrations of the human anatomy. Laurie's name appears next to a model of a human head with the brain exposed; Edelstein's name appears next to a visual effects-produced graphic of an angiogram of the heart. Epps's name is superimposed upon a rib cage X-ray; Leonard's name appears on a drawing of the two hemispheres of the brain.[73] The producers originally wanted to include an image of a cane and an image of a Vicodin bottle, but Fox objected. Morrison's title card was thus lacking an image; an aerial shot of rowers on Princeton University's Lake Carnegie was finally agreed upon to accompany her name.[74] Spencer's name appears next to an old-fashioned anatomical drawing of a spine. Between the presentations of Spencer and Shore's names is a scene of House and his three original team members walking down one of the hospital's hallways.[73] Jacobs said that most of the backgrounds have no specific meaning; however, the final image--the text "created by David Shore" superimposed upon a human neck--connotes that Shore is "the brain of the show".[74] The sequence was nominated for a Primetime Emmy Award for Outstanding Main Title Design in 2005.[75] The title sequence continued to credit Spencer and Morrison, even when their characters were reduced to background roles during seasons four and five, and Morrison even after hers was written out. A new opening sequence was introduced in season seven to accommodate the changes in the cast, removing Morrison's name and including Jacobson and Wilde's. It was updated in season eight removing Edelstein's name and added Annable and Yi.[76][77] The series' original opening theme, as heard in the United States, comprises instrumental portions of "Teardrop" by Massive Attack.[78] The piece was used in part because of the distinct tempo which roughly mimics the sound of a beating human heart.[79] An acoustic version of "Teardrop", with guitar and vocals by Jos Gonzlez, is heard as background music during the season-four finale.[80] Series overview See also: List of House episodes "Anytime you try to summarize a show in one word, you sound like an ass. It's about truth." --David Shore[81] Gregory House, M.D., often construed as a misanthropic medical genius, heads a team of diagnosticians at the Princeton-Plainsboro Teaching Hospital in New Jersey.[72] Most episodes revolve around the diagnosis of a primary patient and start with a precredits scene set outside the hospital, showing events ending with the onset of the patient's symptoms.[18] The typical episode follows the team in their attempts to diagnose and treat the patient's illness,[78][82] which often fail until the patient's condition is critical.[78] They usually treat only patients whom other doctors have not accurately diagnosed,[69] and House routinely rejects cases that he does not find interesting.[18] The story lines tend to focus on his unconventional medical theories and practices, and on the other characters' reactions to them, rather than on the details of the treatments.[4] The team employs the differential diagnosis method,[82] listing possible etiologies on a whiteboard, then eliminating most of them, usually because one of the team (most often House) provides logical reasons for ruling them out.[83] Typically, the patient is misdiagnosed at least once and accordingly receives some treatments that are at best useless;[82] this usually causes further complications, but--as the nature of the complications often provides valuable new evidence--eventually these help them diagnose the patient correctly.[18] House often tends to arrive at the correct diagnosis seemingly out of the blue, often inspired by a passing remark made by another character.[82] Diagnoses range from relatively common to very rare diseases.[84] The team faces many diagnostic difficulties from patients' concealment of symptoms, circumstances, or personal histories, so House frequently proclaims during the team's deliberations, "The patient is lying", or mutters "Everybody lies"; such an assumption guides House's decisions and diagnoses,[10] and makes the countermeasure of housebreaking a routine procedure. Because many of his hypotheses are based on epiphanies or controversial insights, he often has trouble obtaining permission for medical procedures he considers necessary from his superior, who in all but the final season is hospital administrator Dr. Lisa Cuddy.[85] This is especially the case when the proposed procedures involve a high degree of risk or are ethically questionable. Frequent disagreements occur between House and his team,[86] especially Dr. Allison Cameron, whose standards of medical ethics are more conservative than those of the other characters.[78] Like all of the hospital's doctors, House is required to treat patients in the facility's walk-in clinic.[72][87] His grudging fulfillment of this duty, or his creative methods of avoiding it, constitute a recurring subplot, which often serves as the series' comic relief.[78][88] During clinic duty, House confounds patients with unwelcome observations into their personal lives, eccentric prescriptions, and unorthodox treatments.[72] However, after seeming to be inattentive to their complaints, he regularly impresses them with rapid and accurate diagnoses.[16] Analogies with some of the simple cases in the clinic occasionally inspire insights that help solve the team's case.[18][89] "It's not a show about addiction, but you can't throw something like this into the mix and not expect it to be noticed and commented on. There have been references to the amount of his consumption increasing over time. It's becoming less and less useful a tool for dealing with his pain, and it's something we're going to continue to deal with, continue to explore." --Shore on House's Vicodin addiction[90] A significant plot element is House's use of Vicodin to manage pain, caused by an infarction in his quadriceps muscle five years before the show's first season, which also forces him to use a cane.[91] In the first season, 11th episode "Detox", House admits he is addicted to Vicodin, but says he does not have a problem because the pills "let me do my job, and they take away my pain".[b] His addiction has led his colleagues, Cuddy and Dr. James Wilson, to encourage him to go to drug rehabilitation several times.[92] When he has no access to Vicodin or experiences unusually intense pain, he occasionally self-medicates with other narcotic analgesics such as morphine,[93]oxycodone,[94] and methadone.[95] House also frequently drinks liquor when he is not on medical duty, and classifies himself as a "big drinker".[96] Toward the end of season five, House begins to hallucinate; after eliminating other possible diagnoses, Wilson and he determine that his Vicodin addiction is the most likely cause.[97] House goes into denial about this for a brief time, but at the close of the season finale, he commits himself to Mayfield Psychiatric Hospital.[98] In the following season's debut episode, House leaves Mayfield with his addiction under control.[99] However, about a year and a half later, in season seven's 15th episode, "Bombshells", House reacts to the news that Cuddy possibly has kidney cancer by taking Vicodin,[100] and his addiction recurs.[101] Characters and story arcs Main article: List of House characters Name Portrayed by Occupation Seasons 1 2 3 4 5 6 7 8 Dr. Gregory House Hugh Laurie Infectious Disease Specialist, Nephrologist, Head of Department of Diagnostic Medicine Main Dr. James Wilson Robert Sean Leonard Head of Department of Oncology Main Dr. Eric Foreman Omar Epps Neurologist, Diagnostic Medicine, Dean of Medicine Main Dr. Robert Chase Jesse Spencer Surgeon, Intensivist, Cardiologist, Head of Department of Diagnostic Medicine (series finale) Main Dr. Lisa Cuddy Lisa Edelstein Endocrinologist, Dean of Medicine Main Dr. Allison Cameron Jennifer Morrison Immunologist, Diagnostic Medicine Main Guest Dr. Chris Taub Peter Jacobson Plastic Surgeon,[102] Diagnostic Medicine Main Dr. Remy "Thirteen" Hadley Olivia Wilde Internist,[103] Diagnostic Medicine Main Dr. Lawrence Kutner Kal Penn Sports Medicine specialist,[103] Diagnostic Medicine Main Guest Dr. Martha Masters Amber Tamblyn Double-Ph.D. in Applied Mathematics and Art History,[104] Medical student Main Guest Dr. Jessica Adams Odette Annable Prison clinic physician,[105] Diagnostic Medicine Main Dr. Chi Park Charlyne Yi Neurologist, Diagnostic Medicine Main Main characters The original lead characters of House, M.D.: Wilson, Cuddy, Chase, House, Cameron, and Foreman Throughout House's run, six of the main actors have received star billing. All of them play doctors who work at the fictional Princeton-Plainsboro Teaching Hospital in New Jersey.[72] Dr. Gregory House (Hugh Laurie), the title character, heads the Department of Diagnostic Medicine.[106] House describes himself as "a board-certified diagnostician with a double specialty of infectious disease and nephrology".[107] Dr. James Wilson (Robert Sean Leonard), House's one true friend, is the head of the Department of Oncology.[108]Dr. Lisa Cuddy (Lisa Edelstein), an endocrinologist,[109] is House's boss, as she is the hospital's dean of medicine and chief administrator.[110] House has a complex relationship with Cuddy, and their interactions often involve a high degree of innuendo and sexual tension.[111] In the sixth episode of season five, "Joy", they kiss for the first time.[112] Their physical relationship does not progress any further during the fifth season; in the finale of season five, House believes he and Cuddy had sex, but this is a hallucination brought on by House's Vicodin addiction.[98] In the finale of season six, Cuddy tells House she loves him. They kiss and agree to try being a couple.[113] Throughout season seven, House and Cuddy try to make their relationship work. However, in the finale of season seven, House drives his car into Cuddy's living room in anger and their relationship effectively ends. House's original team of diagnosticians consists of Dr. Eric Foreman (Omar Epps), a neurologist; Dr. Robert Chase (Jesse Spencer), an intensivist; and Dr. Allison Cameron (Jennifer Morrison), an immunologist.[110] In the season-three episode "Family", Foreman announces his resignation, telling House, "I don't want to turn into you".[c] During the season finale, House tells Chase that he has either learned everything he can, or nothing at all, and dismisses him from the team. Cameron, who has developed an affection for Chase, soon resigns.[56] This leaves House without a team for the season-four premiere.[114] Under orders from Cuddy to recruit a new team, House considers 40 doctors.[96] Season four's early episodes focus on his selection process, structured as a reality TV-style elimination contest[96] (Jacobs referred to it as a "version of Survivor").[115] House assigns each applicant a number between one and 40, and pares them down to seven finalists.[116] He assesses their performance in diagnostic cases, assisted by Foreman, who returns to the department after his dismissal from another hospital for House-like behavior.[116][117][118] While Foreman's return means only two slots are open, House tricks Cuddy into allowing him to hire three new assistants.[119] He ultimately selects Dr. Chris Taub (Peter Jacobson), a former plastic surgeon; Dr. Lawrence Kutner (Kal Penn), a sports medicine specialist; and Dr. Remy "Thirteen" Hadley (Olivia Wilde), an internist (nicknamed for her number in the elimination contest).[119][120] In the season finale, Thirteen discovers she has, as she had long dreaded, inherited Huntington's disease from her mother, which is incurable.[80] In the 11th episode of season five, "Joy to the World", Foreman and Thirteen engage in a passionate kiss.[26] Thirteen is at first reluctant to start a relationship with Foreman, but the two eventually begin dating and are still together at the end of the season.[98] They break up early in season six. In the 20th episode of season five, "Simple Explanation", Kutner is found dead in his apartment with a gunshot wound to the head. Because Kutner left no note, House suspects foul play, though the death is accepted by the other characters as a suicide.[121] In the seventh episode of season two, "Hunting", Cameron and Chase have a one-night stand.[122] In the middle of season three, they initiate a sexual relationship that Cameron insists be casual;[109] when Chase declares that he "wants more", Cameron ends the affair.[123] By the end of the season, however, Cameron recognizes that she https://foursquare.com/v/newcastle-movers/58b9a969000bef4879f13a77 has romantic feelings for Chase and they begin a serious relationship.[56] After leaving the diagnostic team, they assume different roles at the PPTH, Cameron as a senior attending physician in the emergency room[d] and Chase as a surgeon.[96] They become engaged in the season-five episode "Saviors" (the episode immediately following Kutner's suicide)[63] and are married in the season finale.[124] When Chase rejoins House's team in season six, Cameron leaves her husband and the hospital in "Teamwork", the season's eighth episode.[125] She returns as a guest character in "Lockdown", nine episodes later.[126] Early in season seven, Thirteen takes an unexplained leave of absence. Cuddy orders House to fill her position with another woman,[127] but eventually makes the choice for him: medical student Dr. Martha M. Masters (Amber Tamblyn), who makes her first appearance in the season's sixth episode.[128] Thirteen returns in "The Dig"--the season's 18th episode and the show's 150th--in which the reason for her absence is revealed: she was in prison for six months for having helped euthanize her brother, who was suffering from advanced Huntington's.[129] While Jacobson and Wilde play central characters (as did Penn), they did not receive star billing until season seven. They were credited as "Also Starring", with their names appearing after the opening sequence.[130] In season seven, Jacobson and Wilde received star billing; new regular cast member Tamblyn did not.[131] Recurring characters The first six seasons of House each included one or more recurring featured characters, who appear in multiple-episode story arcs.[132] In season one, Edward Vogler (Chi McBride), the billionaire owner of a pharmaceutical company, appears in five episodes.[133] He donates US$100 million to the PPTH in return for chairing its board.[134] Vogler represented an attempt to introduce a villain, a move urged by Fox. By the time the Vogler episodes began to air, the show had become a hit and the character was soon dropped.[133] Shore said the concept of a villainous boss was not really viable for the series: "It's called House. The audience knows he'll never get fired."[10] Stacy Warner (Sela Ward), House's ex-girlfriend,[135] appears in the final two episodes of the first season, and seven episodes of season two.[10] She wants House to treat her husband, Mark Warner (Currie Graham), whom House diagnoses with acute intermittent porphyria in the season-one finale.[135] Stacy and House grow close again, but House eventually tells Stacy to go back to Mark, which devastates her.[136] Michael Tritter (David Morse), a police detective, appears in several season-three episodes. He tries to extract an apology from House, who left Tritter in an examination room with a thermometer in his rectum.[137] After House refuses to apologize, Tritter brings him up on charges of unprescribed narcotics possession and forces him to attend rehabilitation. When the case reaches court, Cuddy perjures herself for House and the case is dismissed. The judge reprimands Tritter for pursuing House to excess, and tells House that she thinks he "has better friends than he deserves", referring to Cuddy's 11th-hour testimony on his behalf. House is sentenced to one night in jail for contempt of court and finishes his rehabilitation under the influence of Vicodin.[92] The candidates for House's new diagnostics team are season four's primary recurring characters.[138] In addition to the three who are chosen, the other four finalists are Jeffrey Cole (Edi Gathegi); Travis Brennan (Andy Comeau), an epidemiologist;[138]Henry Dobson (Carmen Argenziano), a former medical school admissions officer;[96] and Amber "Cut-throat Bitch" Volakis (Anne Dudek), an interventional radiologist.[120] Each of the four departs the show after elimination, except for Volakis, who appears throughout the season, having started a relationship with Wilson.[139][140] In the two-part season finale, Volakis attempts to shepherd a drunken House home when Wilson is unavailable. They are involved in a bus crash, which leads to her death.[80][141] She reappears late in season five among the hallucinations House suffers.[63] Private investigator Lucas Douglas (Michael Weston), a character inspired in part by Shore's love of The Rockford Files, appears in three episodes of season five.[142][143] House initially hires Douglas to spy on Wilson, who has ended their friendship after Volakis's death (the friendship is subsequently rekindled). House later pays Douglas to look into the private lives of his team members and Cuddy.[144] If the character had been accepted by the audience, plans existed to feature him as the lead in a spin-off show.[145] In September 2008, Shore spoke to Entertainment Weekly about his vision for the character: "I don't want to do just another medical show. What does excite me in terms of writing is the choices people make and the nature of right and wrong... and a private investigator can approach that question much more readily than a doctor can."[146] There was no show featuring Douglas on the fall 2009 network television schedule.[147] He returns to House in season six as Cuddy's boyfriend.[148] They are briefly engaged until Cuddy breaks it off, realizing that she is in love with House.[149] Episodes Main article: List of House episodes Season Episodes Originally aired Ratings First aired Last aired U.S. viewers (millions) Rank 1 22 November16,2004 May24,2005 13.3 24[150] 2 24 September13,2005 May23,2006 17.3 10[151] 3 24 September5,2006 May29,2007 19.4 7[152] 4 16 September25,2007 May19,2008 17.6 7[153] 5 24 September16,2008 May11,2009 13.5 16[154] 6 22 September21,2009 May17,2010 12.8 22[155] 7 23 September20,2010 May23,2011 10.3 42[156] 8 22 October3,2011 May21,2012 8.7 58[157] Reception Critical reception House received largely positive reviews on its debut;[158] the series was considered a bright spot amid Fox's schedule, which at the time was largely filled with reality shows.[159] Season one holds a Metacritic score of 75 out of 100, based on 30 reviews, indicating "generally favorable" reviews.[160] Matt Roush of TV Guide said that the program was an "uncommon cure for the common medical drama".[161]New York Daily News critic David Bianculli applauded the "high caliber of acting and script".[68]The Onion's "A.V. Club" approvingly described it as the "nastiest" black comedy from FOX since 1996's short-lived Profit.[162]New York's John Leonard called the series "medical TV at its most satisfying and basic",[163] while The Boston Globe's Matthew Gilbert appreciated that the show did not attempt to hide the flaws of the characters to assuage viewers' fears about "HMO factories".[164]Variety's Brian Lowry, less impressed, wrote that the show relied on "by-the-numbers storytelling, albeit in a glossy package".[165] Tim Goodman of the San Francisco Chronicle described it as "mediocre" and unoriginal.[166] Lisa Edelstein's performance as Cuddy was well received by critics. General critical reaction to the character of Gregory House was particularly positive.[158][167]Tom Shales of The Washington Post called him "the most electrifying new main character to hit television in years".[168] The Pittsburgh Post-Gazette's Rob Owen found him "fascinatingly unsympathetic".[169] Critics have compared House to fictional detectives Nero Wolfe,[170]Hercule Poirot, and Adrian Monk,[171] and to Perry Cox, a cantankerous doctor on the television show Scrubs.[159][169] One book-length study of the series finds a powerful kinship between House and another famous TV doctor, Hawkeye Pierce of M*A*S*H.[172] Laurie's performance in the role has been widely praised.[78][170][173] The San Francisco Chronicle's Goodman called him "a wonder to behold" and "about the only reason to watch House".[166] Gabrielle Donnelly of the Daily Mail said that because of Laurie's complex personality, he was "perfectly cast" in the title role.[46] Critics have also reacted positively to the show's original supporting cast, which the Post's Shales called a "first-rate ensemble".[168] Leonard's portrayal of Dr. Wilson has been considered Emmy Award worthy by critics with TV Guide, Entertainment Weekly, and USA Today.[174][175] Bianculli of the Daily News was happy to see Edelstein "finally given a deservedly meaty co-starring role".[68] Freelance critic Daniel Fienberg was disappointed that Leonard and Edelstein have not received more recognition for their performances.[176] Reaction to the major shifts of season four was mixed. "With the new crew in place House takes on a slightly more energized feel", wrote Todd Douglass Jr. of DVD Talk. "And the set up for the fifth season is quite brilliant."[177]The Star-Ledger's Alan Sepinwall wrote, "The extended, enormous job audition gave the writers a chance to reinvigorate the show and fully embrace Laurie's comic genius".[132] Mary McNamara of the Los Angeles Times, on the other hand, took issue with the developments: "the cast just kept getting bigger, the stories more scattered and uneven until you had a bunch of great actors forced to stand around watching Hugh Laurie hold the show together by the sheer force of his will".[178]USA Today's Robert Bianco cheered the season finale: "Talk about saving the best for last. With two fabulous, heartbreaking hours... the writers rescued a season that had seemed diffuse, overcrowded and perhaps too ambitious for its own good."[175] Season five of House was met with a more positive response in comparison to the previous season. It holds a Metacritic score of 77 out of 100, based on ten reviews, indicating "generally favorable reviews".[179] It also holds a 100% approval rating on aggregate review website Rotten Tomatoes, with an average score of 8.1 based on nine collected reviews.[180]USA Today praised Laurie's performance and the repercussions of the season-four finale, stating "a carry-over from last season's brilliant finale, House is firmly in the forefront. And when you have an actor of Hugh Laurie's range, depth and charisma, putting him center-stage makes perfect sense, particularly when you've written a story that explores the character and his primary relationships in a way that seems".[181] The New York Daily News noted that "The show pays more attention to relationships we care about, hints at a sensible number of new ones that show some promise, and thus doesn't rely on obscure medical mysteries to carry the whole dramatic burden", and noted that "the prognosis for this season could be better than last season seemed to foreshadow".[182] Mary McNamara of the Los Angeles Times highlighted the performances of the cast, especially Michael Weston as detective Lucas Douglas, calling him a "delightful addition". She concluded, "So different is the premiere that the savvy House (and Fox) viewer may expect the revelation that it was all a fever dream. That does not seem to be the case, and one assumes that Laurie and the writers will be bringing a different version of their now-iconic character back to Princeton. Not too different, of course, but different enough."[178] Conversely, The Chicago Tribune's Maureen Ryan disliked Weston's character, calling him "An unwelcome distraction... an irritating pipsqueak".[183] She continued saying "House used to be one of the best shows on TV, but it's gone seriously off the rails". The Sunday Times felt that the show had "lost its sense of humour".[184] The focus on Thirteen and her eventual involvement with Foreman also came under particular criticism.[132][185] At the end of the show's run, Steven Tong of Entertainment Weekly wrote that "House had, in its final seasons, become a rather sentimental show".[186] In New York Magazine's blog 'Vulture', Margaret Lyons wrote, "More than a hospital drama or a character piece or anything else, House is a complex meditation on misery." But, continued Lyons, there is a line between "enlightened cynicism" and "misery-entropy", and "as the show wore on, its dramatic flare dimmed while its agony flare burned ever brighter."[187]Alan Sepinwall wrote, "The repetition and muck of [the] middle seasons ultimately severed whatever emotional connection I had to House's personal struggles."[27] The show placed #62 on Entertainment Weekly's "New TV Classics" list.[188] The show was declared the second-highest-rated show for the first ten years of IMDb.com Pro (2002-2012).[189] Critics' top ten lists After its first five seasons, House was included in various critics' top-ten lists; these are listed below in order of rank. 2005[190] #2 Newsday #3 PopMatters #3 USA Today #4 The New York Times #7 The Boston Globe - Chicago Tribune[e] 2006[191] #6 Newsday - Chicago Tribune[e] 2007[192] #2 Los Angeles Times #2 Chicago Sun-Times #5 The Boston Globe #6 Newsday #7 The Star-Ledger #7 The New York Times - Chicago Tribune[e] 2008[193] #4 Los Angeles Times - Chicago Sun-Times[e] 2009[194] - The New York Times[e] U.S. television ratings In its first season, House ranked twenty-fourth among all television series and was the ninth-most popular primetime program among women.[195] Aided by a lead-in from the widely popular American Idol,[196] the following three seasons of the program each ranked in the top ten among all viewers. House reached its peak Nielsen ratings in its third season, attracting an average of 19.4 million viewers per episode.[197] According to Jacobs, the production team was surprised that the show garnered such a large audience.[198] In its fifth season, the show attracted 12.0 million viewers per episode and slipped to nineteenth place overall. It remained Fox's most popular show other than American Idol.[199] The most-watched episode of House is the season four episode "Frozen",[200] which aired after Super Bowl XLII.[201][202] It attracted slightly more than 29 million viewers.[203]House ranked third for the week, equalling the rating of American Idol and surpassed only by the Super Bowl itself and the post-game show.[204] Below is a table of House's seasonal rankings in the U.S. television market, based on average total viewers per episode. Each U.S. network television season starts in September and ends in late May, which coincides with the completion of May sweeps. House season rankings in the U.S. television market Season Episodes Timeslot (ET) Season premiere Season finale TV season Rank Viewers (millions) 1 22 Tuesday 9/8c November 16, 2004 May 24, 2005 2004-05 #24 13.34[205] 2 24 Tuesday 9/8c September 13, 2005 May 23, 2006 2005-06 #10 17.35[206] 3 24 Tuesday 8/7c (2006) Tuesday 9/8c (2006-07) September 5, 2006 May 29, 2007 2006-07 #5 19.95[207] 4 16 Tuesday 9/8c (2007-08) Monday 9/8c (2008) September 25, 2007 May 19, 2008 2007-08 #7 17.64[208] 5 24 Tuesday 8/7c (2008) Monday 8/7c (2009) September 16, 2008 May 11, 2009 2008-09 #16 13.62[209] 6 22 Monday 8/7c September 21, 2009 May 17, 2010 2009-10 #22 12.76[210] 7 23 Monday 8/7c September 20, 2010 May 23, 2011 2010-11 #42 10.32[211] 8 22 Monday 9/8c (2011) Monday 8/7c (January-March 2012) Monday 9/8c (April-May 2012)[212] October 3, 2011 May 21, 2012 2011-12 #58 8.69[213] Awards and honors Main article: List of awards and nominations received by House "House has redefined the medical television show. No longer a world where an idealized doctor has all the answers or a hospital where gurneys race down the hallways, House's focus is on the pharmacological--and the intellectual demands of being a doctor. The trial-and-error of new medicine skillfully expands the show beyond the format of a classic procedural, and at the show's heart, a brilliant but flawed physician is doling out the prescriptions--a fitting symbol for modern medicine." --Judges of the American Film Institute on the show's 2005 win[214] House has received many awards and award nominations. In 2005, 2007, 2008, 2009, 2010 and 2011 Laurie was nominated for an Emmy Award for Outstanding Lead Actor in a Drama Series.[215] The Emmy board also nominated House for Outstanding Drama Series in 2006, 2007, 2008, and 2009, but the show never won the award.[216] For the season one episode "Three Stories", David Shore won a writing Emmy in 2005[75][217] and the Humanitas Prize in 2006.[218] Director Greg Yaitanes received the 2008 Primetime Emmy Award for Outstanding Directing - Drama Series, for directing "House's Head", the first part of season four's two-episode finale.[219] The show has been nominated for six Golden Globe Awards and received two. Hugh Laurie has been nominated six times for the Golden Globe Award for Best Performance by an Actor in a Television Series - Drama; he won in 2006[220][221] and again in 2007.[222][223] In 2008 the series received its first nomination for the Golden Globe Award for Best Television Series - Drama.[224]House was nominated for best dramatic series again the following year, but did not win in the category.[225] The show received a 2005 Peabody Award for what the Peabody board called an "unorthodox lead character--a misanthropic diagnostician" and for "cases fit for a medical Sherlock Holmes", which helped make House "the most distinctive new doctor drama in a decade".[226] The American Film Institute (AFI), included House in its 2005 list of 10 Television Programs of the Year.[214] In 2011, House won four People's Choice Awards: favorite TV drama; favorite dramatic actor and actress for Laurie and Edelstein; and favorite TV doctor.[227] Laurie won the Screen Actors Guild's award for Outstanding Performance by a Male Actor in a Drama Series in both 2007 and 2009.[228] Writer Lawrence Kaplow won a Writers Guild of America Award in 2006 for the season two episode "Autopsy".[229] In 2007, the show won a Creative Arts Emmy Award for prosthetic makeup.[230] In 2005, Laurie appeared on the cover of TV Guide as "TV's Sexiest Man".[195] In 2008, Gregory House was voted second-sexiest television doctor ever, behind ER's Doug Ross (George Clooney).[46][231] Distribution In 2008, House was distributed in a total of 66 countries. With an audience of over 81.8 million worldwide, it was the most watched television show on the globe and far surpassed the viewership figures of the leading TV dramas the previous two years (CSI and CSI: Miami).[232][233] The following year, it placed second in the world after CSI.[234] House episodes premiere on Fox in the United States and Global in Canada, which have identical schedules.[235] The show was the third-most popular on Canadian television in 2008.[236] That same year, House was the top-rated television program in Germany,[237] the number 2 show in Italy,[238] and number 3 in the Czech Republic.[239] The series is also very popular in France,[240] Spain,[241][242] Sweden, and the Netherlands.[243] In the United Kingdom, the first four seasons were broadcast on Five. Sky1 acquired first-run rights beginning with season five.[244] The original, English-language version of the show also airs in Australia on Network Ten,[245] in New Zealand on TV3,[246] and in Ireland on 3e, TV3's cable channel.[247] Episodes of the show are also available online for download: Amazon Video on Demand, iTunes Store and the Zune Marketplace offer episodes from all of seasons 1 through 8. In 2007, NBCUniversal (the show's distributor) and Apple Inc. (iTunes' owner) had a disagreement that temporarily kept the fourth season off iTunes.[248] In a statement to the press, Apple claimed that NBCUniversal wanted to drive up the per-episode price to $4.99.[249] In September 2008, it was reported that the issue between Apple and NBC had been resolved.[250] Episodes can now also be purchased in HD on iTunes for $2.99.[251] Recent episodes are available in streaming video on Fox's official House webpage[252] and all 8 seasons are now on Netflix DVD. The first seven seasons of the show were released on DVD encoded for regions 1, 2 and 4. A boxed set comprising seasons one through seven has been issued, as well.[253]Universal Studios Home Entertainment announced plans to rerelease the first season in region 1 in anamorphic widescreen (the original release is letterboxed).[254] It is unclear if the DVDs will be re-released with anamorphic widescreen in regions 2 and 4, where they have been presented in 4:3 fullscreen.[255][256] Merchandise For a charity auction, T-shirts bearing the phrase "Everybody Lies" were sold for a limited time starting on April 23, 2007, on Housecharitytees.com. Proceeds from sales of those shirts and others with the phrase "Normal's Overrated" went to the National Alliance on Mental Illness (NAMI).[257][258]House cast and crew members also regularly attend fundraisers for NAMI and have featured in ads for the organization that have appeared in Seventeen and Rolling Stone. The show's efforts have raised hundreds of thousands of dollars for the charity. Jacobs said that through their association with NAMI, they hope to take "some of the stigma off that illness".[259] Nettwerk released the House M.D. Original Television Soundtrack album on September 18, 2007.[260] The soundtrack includes full length versions of songs featured in House and previously unreleased songs especially recorded for the series.[261] In 2008, the Spanish game company Exelweiss designed a cellphone game for the show, which was released in both Spanish and English versions.[262] In June 2009, Legacy Interactive announced a licensing agreement with Universal Pictures Digital Platforms Group (UPDPG) to develop a video game based on the series, in which players step into the roles of House's diagnostic team to deal with five unusual medical cases.[263] The game, released in May 2010, included a minigame calling upon the player to "navigat[e] a restaurant-placemat-style maze, in which a giant sandwich must avoid hungry physicians on its way to Dr. House's office." It http://www.expressupdate.com/places/724028210 received an F from The A.V. Club;[264] however, Legacy updated the game by August 2010.[264] See also List of diagnoses from House Footnotes ^ McCosh Health Center, Princeton University's infirmary, is situated adjacent to Frist, and can be seen in some shots.[265] ^ The line is part of an exchange at the end of the episode between House and Wilson. They are discussing how House has changed since the infarction in his leg. Wilson asks, "And everything's the leg, nothing's the pills, they haven't done a thing to you?" House responds, "They let me do my job, and they take away my pain."[266] ^ Foreman further explains his resignation to House: "You'll save more people than I will, but I'll settle for killing less. Consider this my two weeks notice."[267] ^ According to the description in Fox's official House website, "Cameron heads up Emergency Medicine".[110] ^ The Chicago Tribune, 2008 Chicago Sun-Times, and 2009 New York Times lists are not ranked--they each consist of ten shows in alphabetical order. Citations ^ "House, M.D.". Netflix. Retrieved February 6, 2016. ^ Eurodata TV Worldwide, Agence France Presse (June 12, 2009). "'House' is the world?s most popular TV show". Archived from the original on April 1, 2012. Retrieved March 21, 2012. ^ Seidman, Robert (February 8, 2012). "Current Season to Be The Last for 'House'". TV by the Numbers. Archived from the original on February 10, 2012. Retrieved February 8, 2012. ^ a b c Frum, Linda (March 14, 2006). "Q&A with 'House' creator David Shore". Maclean's. Rogers Communications. Archived from the original on October 10, 2007. Retrieved January 2, 2007. ^ a b Gibson, Stacey (March 2008). "The House That Dave Built". University of Toronto Magazine. University of Toronto. Retrieved April 5, 2008. ^ Challen, p. 96. ^ a b c d e f MacIntyre, April (November 17, 2008). "'House M.D.' interview: Katie Jacobs talks Cuddy, Cameron and House triangle". Monsters and Critics. Archived from the original on January 11, 2009. Retrieved January 6, 2009. ^ Challen, p. 41. ^ a b c d e f "House... and Holmes". Radio Times. BBC Magazines Ltd. January 2006. p.57. Archived from the original on January 18, 2010. ^ a b c d e f Jensen, Jeff (April 6, 2007). "Full 'House'". Entertainment Weekly. pp.44-47. Retrieved April 10, 2009. ^ a b c d Jacobs, Katie; Laurie, Hugh; Shore, David; Singer, Bryan (2005). House Season One, The Concept (DVD). Universal Studios. ^ a b c Werts, Diane (January 29, 2009). "Fox's medical marvel stays on top". Variety. Retrieved April 5, 2009. ^ a b c Jensen, Jeff (April 8, 2005). "Dr. Feelbad". Entertainment Weekly. Retrieved December 7, 2008. ^ a b Shore, David (2006). "Developing The Concept". 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"Living in a 'House' built for one". msnbc.com. Retrieved October 12, 2007. ^ "Hunting". House, M.D. November 22, 2005. Fox Broadcasting Company. ^ Murray, Scott (April 26, 2007). "Is there a Dr Watson in the House?". The Age. p.21. In the pilot, the patient is Rebecca Adler, named, no doubt, after Irene Adler. 'To Sherlock Holmes, she was always the woman,' as Dr. Watson so tenderly described her. ^ Wild, Diane Kristine (May 24, 2006). "TV Review: House Season Finale- "No Reason"". Blogcritics. Archived from the original on September 11, 2008. Retrieved September 26, 2008. ^ Writer: Davis, Pam. Director: Shakman, Matt (January 29, 2008). "It's a Wonderful Lie". House. Season 4. Episode 10. Fox. ^ Writer: Blake, Peter. Director: Yaitanes, Greg (November 11, 2008). "The Itch (House)". House. Season 5. Episode 7. Fox. ^ a b Writer: Blake, Peter. Director: Straiton, David (December 9, 2008). "Joy to the World". House. Season 5. Episode 11. Fox. ^ a b Sepinwall, Alan (May 22, 2012). 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"Get Ready for Some 'House' Music". BuddyTV. Retrieved November 8, 2008. ^ Staff (August 14, 2007). "House Gets A Soundtrack". IGN Music. Archived from the original on March 26, 2009. Retrieved November 8, 2008. ^ "House, the mobile game based on the TV series" (in Spanish). Exelweiss. Retrieved August 21, 2008. ^ "Companies Announce House M.D. for the PC and Nintendo DS and Murder, She Wrote for the PC". Legacy Interactive. June 2, 2009. Archived from the original on January 2, 2010. Retrieved June 5, 2009. ^ a b Wolinsky, David (May 17, 2010). "House M.D". The A.V. Club. Retrieved November 15, 2012. ^ "Campus Map". Princeton University. Retrieved September 27, 2008. ^ Writers: Kaplow, Lawrence; Moran, Thomas L. Director: McCormick, Nelson (February 15, 2005). "Detox". House. Season 1. Episode 11. Fox. ^ Writer: Friedman, Liz. Director: Straiton, David (May 1, 2007). "Family". House. Season 3. Episode 21. Fox. References Benson, Kristina (2008). House M.D.: House MD Season Two Unofficial Guide: The Unofficial Guide to House MD Season 2. Equity Press. ISBN1-60332-065-2. Challen, Paul (2007). The House that Hugh Laurie Built: An Unauthorized Biography and Episode Guide. Toronto: ECW Press. ISBN1-55022-803-X. Holtz, Andrew (2006). The Medical Science of House, M.D. New York: Berkley Trade. ISBN0-425-21230-0. Jacoby, Henry (2008). House and Philosophy: Everybody Lies. Hoboken, New Jersey: John Wiley & Sons. ISBN0-470-31660-8. Wilson, Leah (2007). House Unauthorized: Vasculitis, Clinic Duty, and Bad Bedside Manner. Dallas Texas: BenBella Books Distributed by Independent Publishers Group. ISBN1-933771-23-2. Further reading Hockley, Luke (2011). House the Wounded Healer on Television. Routledge. ISBN0-415-47912-6. External links Find more aboutHouseat Wikipedia's sister projects Media from Commons Quotations from Wikiquote Official website at Fox.com Official House Wiki at Fox.com House on Internet Movie Database House at TV.com House at Yahoo! TV The House MD Project (explains the disease behind each episode) Polite Dissent (critiques the medicine in each episode) Precededby Criminal Minds 2007 House Super Bowl lead-out program 2008 Succeededby The Office 2009 v t e House Characters Main Gregory House Lisa Cuddy James Wilson Eric Foreman Robert Chase Allison Cameron Thirteen (Remy Hadley) Chris Taub Lawrence Kutner Martha Masters Jessica Adams Chi Park Recurring Stacy Warner Michael Tritter Episodes Season 1 "Pilot" "Paternity" "Love Hurts" "Three Stories" Season 2 "Acceptance" "Autopsy" "Humpty Dumpty" "Daddy's Boy" "Spin" "Hunting" "The Mistake" "Deception" "Failure to Communicate" "Need to Know" "All In" "Clueless" "House vs. God" "Who's Your Daddy?" "No Reason" Season 3 "Meaning" "Informed Consent" "Lines in the Sand" "Fools for Love" "Que Ser Ser" "Son of Coma Guy" "Whac-A-Mole" "Finding Judas" "Merry Little Christmas" "Words and Deeds" "One Day, One Room" "Needle in a Haystack" "Insensitive" "Half-Wit" "Top Secret" "Fetal Position" "Airborne" "Act Your Age" "House Training" "Family" "Resignation" "The Jerk" "Human Error" Season 4 "Alone" "The Right Stuff" "97 Seconds" "Guardian Angels" "Mirror Mirror" "Whatever It Takes" "Ugly" "You Don't Want to Know" "Games" "It's a Wonderful Lie" "Frozen" "Don't Ever Change" "No More Mr. Nice Guy" "Living the Dream" "House's Head" "Wilson's Heart" Season 5 "Dying Changes Everything" "Not Cancer" "Adverse Events" "Birthmarks" "Lucky Thirteen" "Joy" "The Itch" "Emancipation" "Last Resort" "Let Them Eat Cake" "Joy to the World" "Big Baby" "The Greater Good" "Unfaithful" "The Softer Side" "The Social Contract" "Here Kitty" "Locked In" "Simple Explanation" "Saviors" "House Divided" "Under My Skin" "Both Sides Now" Season 6 "Broken" "Epic Fail" "The Tyrant" "Instant Karma" "Brave Heart" "Known Unknowns" "Teamwork" "Ignorance Is Bliss" "Wilson" "The Down Low" "Remorse" "Moving the Chains" "5 to 9" "Private Lives" "Black Hole" "Lockdown" "Knight Fall" "Open and Shut" "The Choice" "Baggage" "Help Me" Season 7 "Now What?" "Selfish" "Unwritten" "Massage Therapy" "Unplanned Parenthood" "Office Politics" "A Pox on Our House" "Small Sacrifices" "Larger than Life" "Carrot or Stick" "Family Practice" "You Must Remember This" "Two Stories" "Recession Proof" "Bombshells" "Out of the Chute" "Fall from Grace" "The Dig" "Last Temptation" "Changes" "The Fix" "After Hours" "Moving On" Season 8 "Twenty Vicodin" "Transplant" "Charity Case" "Risky Business" "The Confession" "Parents" "Dead & Buried" "Perils of Paranoia" "Better Half" "Runaways" "Nobody's Fault" "Chase" "Man of the House" "Love Is Blind" "Blowing the Whistle" "Gut Check" "We Need the Eggs" "Body & Soul" "The C-Word" "Post Mortem" "Holding On" "Everybody Dies" Related Cast list Accolades Soundtrack Nurse Jeffrey Dr. Richter (Russian remake) Portal Category v t e Satellite Award for Best Television Series - Drama The X-Files (1996) NYPD Blue (1997) Oz (1998) The West Wing (1999) The West Wing (2000) 24 (2001) CSI: Crime Scene Investigation (2002) The Shield (2003) Nip/Tuck (2004) House (2005) House (2006) Dexter (2007) Dexter (2008) Breaking Bad (2009) Breaking Bad (2010) Justified (2011) Homeland (2012) Breaking Bad (2013) The Knick (2014) Better Call Saul (2015) The Crown (2016) Authority control GND: 7592347-6 BNF: cb16132340b (data) Retrieved from "https://en.wikipedia.org/w/index.php?title=House_(TV_series)&oldid=786333660" https://en.wikipedia.org/wiki/House_(TV_series)
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