I was stunned that of all the Unitarian ministers out there, House's dad would be the one who's all God-FTW and a Darwin doubter. Seriously, God is optional in Unitarianism. Perhaps as much as House is a cranky exception among doctors, House's father is a cranky exception amongst Unitarian ministers.
I just watched "Private Lives" on Hulu (my usual method for catching the show, so I'm always behind) and found it superb. It pretty much had everything I like about the show crammed* in. It actually felt almost like a two parter.Prepon was terrifc but she to disappear a bit from the episode in the second half.
*Mostly House's sense of humour, a little soap, and a decent medicla mystery is a nice touch.
Totally random observation. I'm citing the recent blogger episode in a paper I'm writing at the moment, so I pulled it up to get the producer credits for my bibliography. There are two "producers" which is really all I need, but I let the whole opening credits play through and noticed that there are like a dozen different producers of various titles and stature on this show. Now, obviously, some don't do anything (Are Bryan Singer and Hugh Laurie actually doing producer work on the show? Seems unlikely), but still, that's kind of incredible.
i shudder to think about LOST's credits.
The various kinds of 'producer' in the TV world are usually just writers, yeah? The more experienced the writer, the more executive and less associate the producer title.
IIRC, in addition to the two plain producers, there were at least three each of supervising producers, co-executive producers and executive producers. I have to assume a lot of that is just money being thrown around (Laurie, Singer), senior writers being kept happy and/or being given more administrative responsibility, or miscellaneous. I vaguely remember noticing this the last time I watched the last season of BUFFY, too; I wonder if producer credit creep is just a symptom of being on the air for a while.
Yeah, with people like Laurie and Singer, it's a money thing. But for the writers, it is just literally how the business works re job titles as you move up the experience rungs.
WHY?
Anyway, an associate producer is in charge of POST production
Exec Producers basically have the final say on money aspect
Producers tend to run the day to day
most other producer credits are "vanity credits"
Generally the longer a show goes the more likely the Leads are made into producers.
Also I take offense that "The various kinds of 'producer' in the TV world are usually just writers" Writer Producers are the backbone of TV and have lead to the kind of quality shows you like watching since the creative is working hand in hand with the Executive powers.
You're over-reading into my use 'just' to infer a disparaging intent where none was.
I take the writer very seriously.
Pfft. It's not like you can get anywhere without knowing somebody anyway.
;)
It'snot like anyone on this forum listens to anything I say about working in Hollywood either.
You work in Hollywood?!
Dan, seeing movies drunk in a dashiki and then blogging about it does not count as "working" in hollywood. Ego check.
ISN'T THAT HOW STEVEN SPEILBERG STARTED????
I'm pretty sure he accidentally left on a camcorder filming his kids watching saturday morning TV and someone saw it and told him he had style.
First time I get to see House live in dog's ages. What the fuck was that? Punishment for anticipation?
Spoilers.
This week on House: the team solves the case of talking about their feelings in the dark. Turns out they were lying about their feels. Feelings.
Someone should've firef that head nurse for missing the fact that one of her own was catartonic for a whole day and not knowing how many hampers and towels. Then we would've been sopared so many feelings.
It was really, really awful.
Directed by Hugh Laurie, who more than any "guest director" I've ever seen needs to stay in front of the camera.
"For my first directing job, I want nothing to chew on. Whaty's the worst script in the bin? I'll do that."
First time I get to see House live in dog's ages.
Same here. I resorted to FFWDing through the painful 13/Wilson Truth or Dare bits. It didn't help, because the other parts of the show were not much better.
Maybe Laurie just got a kick out of making Edelstein say with a straight face: "Nobody moves until we find that baby!"
Why was the whole thing so dark anyway? Don't they need light to, you know, FIND THE BABY.
They should've given the baby some sort of phosphorescent disease to explain why all the lights were out.
Ha, that would have made it so-bad-it-funny, which would have been a lot better than what we actually got!
"Why was the whole thing so dark anyway?"
It was after hours, and most of the people were in places that would probably be mostly unlit. Of course, this never ever applies to any of the episodes (all of them) where the cast works past five.
Wilson and 13 was probably the only part of the episode I really liked, though.
I buy that for Cameron and about-to-be-ex, but why was the cafeteria so dark?
The dark didn't bother me as much as the filters.
This scene is blue!
This scene is green!
It was an entire aesthetic taken from late 90s Alt Rock videos. Nickleback could've been playing in the background during Chase's scenes and not looked out of place at all.
Between this ep and what's been used to film the season ender (no spoilers as far as I can see), it's an experimental few eps.
"Canon 5D Mark II used to shoot entire House season finale, director says it's 'the future'"
The fture looks very blue. Are we all on Viagra in the future?
-Mark
