House 3/7: Bombshells

Cuddy has a series of dreams about her relationship with House, imagining them in an old Western shoot-out, as well as in the 1950s, with some music thrown in.

In case you haven’t heard Hugh L. sing before, here is a clip:

Why no, I can’t see where this is going, based off of the promo that had Cuddy wondering if House was back on Vicodin.

Shit. Here it goes again.

Is it sad that I almost cried?

Call me back if there’s any good fallout from their relationship, otherwise, I’m sick of blah blah addict House on drugs blah.

I should probably clarify I mean I’m sick of House going through normal life on drugs - his addiction issues are fine, but if it goes back to earlier seasons where the using doesn’t really matter then meh.

I couldn’t be happier. Now we might get the old House back, I was really getting tired of the tame domesticated version.

She knew what she was getting into. Looking back, it was inevitable that this would happen, which is a good thing.


I loved the Zombie sequence! I couldn’t decide if it was a riff on “28 Days Later” or “The Walking Dead.” They both pretty much started the same - a non-zombie waking up in a hospital.

The other dream sequences were (mostly) great too, especially the “Two and a Half Men” one. But the I Love Lucy-esque one was a bit vapid.

I didn’t care for the dream sequences, except for the musical (clearly influenced by The Singing Detective). Otherwise, a solid episode.

Of all the shit that House does - particularly the lying - Cuddy seizes on this as a reason to dump him? One slip back to Vicodin during a stressful time? That’s ridiculous. Cuddy knew what she was getting into when she hooked up with House, and it’s cruel of her to punish him for being himself.

I wish the goddamn TV writers would occasionally allow a couple to stay together.

I was thinking of Christopher Walken in Pennies from Heaven. Creepy.

Much better episode than the ads let on. I literally said, “No!” when House popped the pills at the end.

In a related note, it seems that every long running show ends up eventually doing a genre-bending episode like this one. I guess the actors and writers get bored after a while. I am sure there is a TV Trope entry for the phenomenon.

I thought the tight closeup on his creepy mascaraed face that opened the musical scene paid homage to both Malcolm McDowell in Clockwork Orange and Joel Grey in Cabaret.

I was thinking Roy Scheider in *All That Jazz *myself.

“If I die, I’m sorry for everything that I’ve done to you. If I live, I’m sorry for everything I’m going to do to you.”

I, for one, loved all the dream sequences. And it was really shitty of Cuddy to not understand that House’s return to Vicodin was a reaction to her own health crisis. Why was it wrong for House to be absent when she needed his support . . . yet she dumped him when he needed hers.

Well, they both were written by Dennis Potter.

I was sort of hoping Cuddy would die, and House would go back on drugs. That way we don’t have to spend the rest of the series watching the ANNOYING and even more HEIGHTENED sexual tension between House and Cuddy, now broken up.

But, no.

Didn’t House have a “normal” relationship with Stacy? It’s not like he doesn’t know how to be an acceptable boyfriend (if the writers remembered this part). It doesn’t make sense that he’d suddenly forget about emotional support.

Sloppy writing and not very surprising plot twists, this season.

Hmm. I was whispering “come on… DO it!”

I thought he would take it… then immediately stick his finger down his throat.