How to Watch Television, Second Edition. Группа авторов

that are dominated by this logic of episodic storytelling emphasize plot action and consequently leave characters fairly static over time. Yet in recent decades, even some episodically structured series have indicated the possibility for complex character development, and as Roberta Pearson outlines, mundane plot action can serve this end. In her case study of CSI’s Gil Grissom, Pearson presents a six-part taxonomy of elements that construct the character: psychological traits/habitual behaviors; physical traits/appearance; speech patterns; interactions with other characters; environment (the places the character inhabits); and biography (character’s backstory).³ She uses this taxonomy to create a language for exploring the particularities of television characters, which, along with techniques of characterization—beyond the case study—have been a significantly under-explored area in the field. She notes that the rudimentary taxonomy works for characters in all moving image forms, but that specific media or narrative strategies may vary techniques. For example, the ongoing storytelling process in television series allows for much more character growth and change than in the limited storytelling period available to realist cinema.⁴ Pearson’s case is valuable for illustrating that even though many episodic series place little emphasis on character depth, this is a creative choice rather than an inherent feature of episodically structured shows.

      To better understand attributes of episodic television storytelling and techniques of characterization, this essay analyzes a single episode of House, focusing on how narrative strategies convey meaning on multiple levels. The episode “Three Stories” conveys crucial character information in its basic plot, although the episode uses confounding techniques such as dream sequences, flashbacks, and imagined alternate realities—rarely clearly marked as such—to do so. The misdirection of these storytelling techniques reaffirms a central theme of the series: namely, that “everybody lies,” which is House’s personal outlook and dictates his particular approach to diagnostic medicine. Thus, this episode of House illustrates the complexity available to a series with a narrative structure that is generally rebuked for its reliance on formula and lack of nuance.

      “Three Stories” is arguably the least routine episode of a series that normally maintains exceptional consistency. Although the selection of an aberrant case rarely offers sound footing for broader arguments, the unusualness of this episode underscores its significance and indicates the novelty of the series’ approach to character development. Hence, it serves as the focus of this essay. The episode, the penultimate of the first season, finally explains the injury to House’s leg, which has led to his chronic pain and perhaps his unhappiness—arguably his primary character traits. While this pain and unhappiness centrally define House, they are also what enable future serial storylines, such as his spirals through drug addiction, his efforts to get and remain clean, and his attempts to deal with human interaction and emotions without pharmaceutically induced numbness. House’s struggles to alleviate his pain and his unhappiness—neither he nor the audience is ever fully aware whether these are separate conditions—are traced loosely in the cumulative narrative.

      By the time “Three Stories” aired (twenty episodes into the first season) in May of 2005 and finally explained the origin of the lead character’s primary character trait, House had established itself as a bona fide hit. The series benefited from airing during a post-American Idol timeslot, when the reality competition returned in January of 2005, but even this most enviable of lead-ins might not have been adequate to make such a contrary leading character so popular. Greg House remains the least conventionally heroic lead character to motivate a successful broadcast drama, although such flawed characters have been prevalent in recent years in the more niche-targeted storytelling space of original cable dramas. House’s personal misanthropy functions as a guiding ideology of the series, which stems from his requirement that his team of diagnosticians work from the assumption that “everybody lies.” House encourages his team to dismiss medical histories reported by patients and instead sleuth through their homes to uncover the truth or think of things patients may be unwilling to tell doctors.

      “Three Stories” begins exceptionally, but not in a way that informs viewers just how significant the exception will become. It opens in the middle of a conversation between House and chief of medicine, Dr. Lisa Cuddy, in a way that violates the well-established pattern of opening episodes with a non-regular character experiencing a medical emergency. The conversation in Cuddy’s office establishes that a fellow doctor is ill and that Cuddy needs House to replace him and lecture on diagnostic medicine to a class of medical students. House characteristically tries to refuse, but accepts a release from doing clinic hours—an activity he finds distasteful due to the mundane ailments he encounters—in exchange for agreeing to lecture. House leaves Cuddy’s office and finds a woman named Stacy, who we learn is his ex-girlfriend, in need of his diagnostic skills for her husband. Despite its atypical inclusion of regular characters, this pre-credit sequence offers two obvious potential patients—the ill doctor whom House must replace and Mark, husband to Stacy—although the deviation from the usual location external to the hospital suggests a greater break with conventional form could be occurring as well. A viewer could reasonably presume the still-young series was varying its conventional start, but the opening of “Three Stories” offers the ultimate misdirection, as the episode eventually reveals that the conversation between House and Cuddy involves the case of the week.⁵

      After the opening credits, House begins his lecture to the medical students. He poses that there are three patients with leg pain and asks the students to diagnose the cause, as he gradually builds the stories of the patients. Although the series rarely uses techniques such as dream sequences, flashbacks, or imagined alternate realities, this episode eschews the realist techniques that normally characterize House by portraying characters whose conditions and embodiments shift each time House retells their scenarios. The cases begin as that of a farmer, golfer, and volleyball player, but House rewrites their histories and attributes each time he elaborates on the cases to the students, making “reality” difficult to discern. The actor playing the farmer (a middle-aged man) also appears as the volleyball player at first as well—although House describes the volleyball player as a teen girl. The golfer is actress Carmen Electra as herself, yet Doctors Foreman, Chase, and Cameron are interjected into the cases in a manner suggesting the scenario is real. Eventually three distinct actors embody the possible leg pain patients (none of whom are Electra) as House works through possible diagnoses, treatments, and consequences with the room of students.

      FIGURE 3.1. In an atypical episode, House eschews realist techniques by portraying characters whose conditions and embodiments shift as House retells their scenarios. Here, actress Carmen Electra temporarily appears as an injured golfer.

      Beyond the context of the lecture, this episode’s inclusion of three different patients is uncommon, as the show usually features just one case. This unusual number of cases further confounds viewers’ efforts to understand what is “really” going on, which isn’t made clear until the episode is two-thirds complete. After multiple diagnoses and treatments of the farmer and volleyball player, House reveals the patient who began as a golfer, and is assumed to be a drug-seeker, has tea-colored urine. He offers a few additional indicators of the possible condition to the dumbfounded students when Dr. Cameron, a member of his diagnostic team, suggests “muscle death.” House berates the students for not thinking of muscle death, while explaining that none of the man’s doctors thought of it either, and that it took three days before the “patient” suggested it was muscle death. The episode then cycles back through vignettes in which the farmer and volleyball player are diagnosed and their doctors inform them that their legs may have to be amputated. When the episode turns back to the golfer/drug seeker/muscle death patient, Cuddy appears as the doctor. She delivers the news that amputation may be necessary. The scene transitions back to the lecture hall where House explains that an aneurism caused the muscle death, and a camera pan of the audience reveals all of House’s team, Doctors Cameron, Foreman, and Chase, now seated in the back row, hanging on every detail. Foreman mutters, “God, you were right, it was House,” and the scene cuts to House in bed as Cuddy’s patient.

      The remaining fourteen minutes of the episode shift to a more reliably realist style, although