The appeal of “House” lies in the show’s insistence that a woman can’t save a man and its refusal to act like soap opera, the New York Times says. The finale, for example, teased with a glimpse of House and Cuddy becoming romantic, yet the show turns that twist upside down by revealing it was just a hallucination of House’s as he battles pain-medication addiction, the newspaper says. The show rewards women who get annoyed by comedies portraying achieving women giving up their lives for unemployed jerks, the Times says.
—Aimee Picchi