Doctor House is in the house

I hereby declare with both lucidity and helplessness that I can still fall for either out of reach members of my world, for images I project upon strangers, and for fictional characters. I don't get easily caught up in anything, but when I do, I'm close to stuck.

Nowadays he's this brillant, honest to the point of abnocious, miserable doctor created by the cultural emperor from the West. I did some research on the actor as well when I felt it was getting serious, and as much as I laughed at his Fry and Laurie comedy gigs and sighed at his when-out-of-duty British accent, I must confess my fascination is unrelated to the interpreter.

Let me get to the bottom of this. It starts with the voice. Deep, low, slightly husky. It moves to its expressive modulations, blant tone, mimicry. Then there's the content of the verbalisations. Pure and straight irony and sarcasm, thorough medical and psychological deductions, playful, sometimes cruel humour and yet sights of not always well hidden weaknessess. Not always well hidden madness. All coming from this crippled winkled rather old, still attractive, man. And all wrapped put in intriguing diagnostics, coherent life stories and, of course, romance.

For conaisseurs, I did get the shivers during the episodes dealing with Amber's death, I bought House's halucinations as real at the end of season five, and froze at House's ordeal with 'No Surprises' as a soundtrack at the beginning of season six, I did not foresee Cutner's suicide, nor Chase's criminal act (I'm making it sound cheap. It's not.), and, most of all, I identify with Cuddy and want her and House to finally get together.

From a disclaimer perspective, I am aware of House's construction as a media product, which does not exclude cliches or exagerations, and sometimes manipulation from the side of the producers, but still consider the screenplay as witty, and admit being drawn into the 'simulacrum' of the show (term coined by Baudrillard). I believe that the wide appeal of such TV series, as well as of many other industrially produced movies, lies in their construction inside the framework of not just stories we long for, but of fairytales. Modern, or postmodern, fairytales, to differentiate them from the objects of Vladimir Propp's study of Russian folktales. Paraphrasing Ally McBeal, another dear character, who at one point said, trying to explain why she kept idealistically looking for the perfect guy and love story that 'We've been screwed up by Disney', we might be screwed up by quite a lot of the content coming from the media. But that's another story, not as negative, nor as conspirationist as it may sound (and I believe I gave too many clues of my current study load).

And still, I can't help but sometimes imagine Gregory House would come out of the TV screen, like Tom Baxter in Woody Allen's 'The Purple Rose of Cairo', or inspired by Luigi Pirandello's 'Six Characters in Search of an Author'.

Two possible endings to this post, balancing optimism and pesimism towards the state of things:
1. Many things I like are not really real, but you can't have it all.
2. 'I have a great imaginary world, but sometimes I need things to happen' (Ally McBeal).