Season Four, Episode Sixteen
Airdate: May 18th, 2008
House’s fourth season was a needed shakeup of its formula, and presented some of its strongest comedy ever in its opening reality show-esque hunt for a set of new fellows to play sounding board for House’s eccentricities. But the emerging fellows also brought the introduction of Amber, also known as Cutthroat Bitch and, by season’s end, the emotional lynchpin for one of the most powerful episodes in the series.
While some may prefer the loud and dangerous “House’s Head,” focused more on the doctor’s internal struggle to remember the events of the bus crash through dangerous drugs and procedures, “Wilson’s Heart” is where the storyline truly comes together. Learning that it was Amber on that bus raised the stakes considerably, and while the first part of the finale (“Head”) gains greater meaning with this revelation I nonetheless cared less about House (who was tragically partly responsible) than I did about Wilson, who had to bear the brunt of the consequences of his friend’s actions.
While Season Five’s attempts at pairing House and Cuddy have felt similarly broad as something meaningful to the show’s emotional core, like House’s flashback to his injury in “Three Stories,” this episode felt the most tapped into something bigger than the show’s procedural construct. Robert Sean Leonard is often given too little to do on this show, with the focus being divided as it is, but he is fantastic here as a grieving boyfriend and, eventually, a friend who blames House for her death.
The episode is also a goodbye for Anne Dudek’s “CTB,” who may have been too much a female version of House to be his fellow but was too delightful a character to abandon entirely. While the winning fellows may have “won,” added as series regulars and all, Dudek got the most material by far: she was robbed of an Emmy nomination for some great work in this episode (and others), but her emotional farewell was nonetheless one of the show’s highlights through four seasons.
“Wilson’s Heart” is somewhat tainted by the fact that the show has more or less abandoned its ramifications halfway into its fifth season, but let its inclusion in the Time Capsule serve as a reminder for the writers: this is how you craft a storyline where we care about the characters and their consequences, not through giving a boring bisexual doctor a terminal illness and having her flaunt it for everyone to see. That’s not tragic, it’s just surprisingly boring for such destructive behaviour, and at the end of the day the show needs to tap into what they had with Amber before Thirteen can feel like something we should care about.
Let’s hope they listen.
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[For more details on the Cultural Learnings 2008 Television Time Capsule, click here!]