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how bleak CAN you make Chase’s backstory? (This is a challenge)
CW FOR PARENTAL ABUSE, that's how :)
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When he's four, Robbie is admitted to hospital. His mum drives, speeding and gripping the steering, Robbie crying in the back as each turn and jostle radiates up and down his broken arm; ribs. For once she does not yell at him to shut up. She takes him to St. Anthony's, dad's hospital. He got away from me, she says: he got on the roof, God knows how, he's just so much. Rambunctious. Wild, really. She'd turned her back for a minute. He's hard to handle. God knows how he got on the roof: God knows.
(She isn't lying. She doesn't know. Robbie does: he'd needed to pee, and his fists and throat had hurt from yelling and knocking and he'd known better than to go on the carpet like a mongrel. But Mum wouldn't open the door: Mum was in the kitchen, wrapped about the telephone, talking to Corianne with a gin-and-Tarax as it was before noon, orange juice for the mornings, they'd had quite a laugh about it: Oh, it's Saturday, I'll live a little!)
(He'd been so proud of himself, getting that window open. Proud enough he'd forgotten about his bladder, up on the veranda, the soles of his feet burning. He'd felt tall, powerful, like an adventurer or thief. His plan had been to climb down the trellis, to sneak into the toilet: now he'd imagined instead running away, leaving, to the forests or ocean or anywhere. And then he'd fell.)
St. Anthony's is a private hospital, dad's hospital. Robbie is stitched up, a cast on his arm and a brightly-colored sling and bandages in the children's ward, no longer crying, by the time Dad comes down. He goes straight to Mum: she collapses, sort of, against him. An embrace where she is not embraced back, where her own arms do not wrap around her husband. He got away from me, she says. Darling, I'm so sorry. She cries, and Dad stands there, and Robbie sucks on a candy and watches.
Child services are not called.
Of course not.
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When he is nine, Robbie's principal interests are soccer, Night Rider, and drawing cartoons with his best mate Dicky Campell. The chatting in class and drawing on their worksheets earns Robbie a rap or two from the nuns; worse, it gets back to his dad.
The book his mum throws misses; the magazine that follows does strike his chest, but barely, certainly not enough to hurt. He's been too quick for her for a year or two but he's startled, and once she has him by the arm he can't wriggle loose: he shouts and drags his feet and she slaps him 'til he lets go of a doorway, and then he's in the office again, mum blocking the doorway. "You're trying to cause me trouble," she says. "You're trying to turn your dad against me."
He'd gotten a bad mark on a maths test, a note about his behavior sealed up in an envelope: after this, Robbie learns to intercept and hide such things. Mum locks the door and Robbie quiets down: once the door is closed he's in for it for a while and there's no sense in wearing himself out. It's been some time since he was last locked away: Robbie goes through his dad's desk and then flips through the text books, old enough now to search for and boggle at the nude drawings.
It's past dark when dad gets home. "I've been in here all day," Robbie hurries to tell him when he unlocks the door. "Mum had my arm, it really hurts, look -- I've got a contusion."
"Were you fighting your mother?" Dad asks.
"Well, she wanted to lock me up," Robbie says hesitantly, not sure if this counts.
"Do not cause your mother grief," says Dad.
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At school, there's confessional every Wednesday. Robbie's usual sins: laziness, disobedience, thinking rude thoughts about his maths teacher. He squirms in the confessional. "Father Thomas?" he asks, just as he's being dismissed.
"Yes?" Father Thomas is always nice, always lets him go on. Unlike when Father Jacob is behind the screen, Robbie never feels like he's going to get in trouble -- real trouble, not the kind God will forgive -- for saying something bad: confessional is private, but Father Jacob gives you mean looks in class if you've got too many sins.
"I've also, um... I wished my mum was dead," he blurts out. Father Thomas doesn't say anything, and Robbie feels a pit of dread, absolutely massive and ice-cold.
"You oughtn't harbor such feelings about your mother," Thomas says finally, but nicely; Robbie exhales a little. "Was this a passing thought?"
"Um, well, I was fuming. But she'd tossed all my soccer things away and - and she says we're not going to Bell's Beach next weekend, but it's only because I told my dad she was drunk and trying to put me up in the study again, and she was riled up because I'd gotten away from her, so she threw it all away." It bursts out; his ears burn. His parents hate it when he whines, but Robbie isn't entirely sure if it's whining if he's in confession. "She called me a dobber. I hate her."
Father Thomas is silent and slowly Robbie's guilt takes over: you can't hate your mum, not ever, and his dad's voice is in his head: this is private business, which means that even priests (and God?) oughtn't know. What if he tells? What if Robbie gets in worse trouble? But all Father Thomas does, in the end, is add a few Hail Marys: relieved, Robbie gets them all done that very day.
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When Robbie's thirteen, mum totals her car. She's completely hammered, but all that happens is she and dad have a series of massive rows and dad moves out. Quietly, without a word. It's a few days before Robbie even finds out: he asks when dad's coming back, if he's at a conference, and mum slams the fridge shut and looks briefly furious before she starts to cry.
He rubs her back as she hunches over the counter, talking about divorce and the bills and the damned car. When she's sober, she tries to sound like the other mums in Brighton; when she's drunk and crying, the Perth comes out. Once calmed down, her eyes red and puffy, she gives him a kiss on the cheek and calls him a good boy.
Robbie packs his suitcase and school bag with books and clothes, takes it all to school and ignores his mates laughing, takes the trolley to St. Anthony's that afternoon. "I want to live with you," he says, after an hour or two doing his homework behind a nurse's desk, once dad finally has a minute to talk.
"You need to look after your mother," Dad says.
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"I have fantastic news. I'm expecting!" Mum says, bright and beaming.
Robbie stares at her, aghast. Sick to his stomach. Fourteen. "You need to get an abortion," he says.
It earns him a slap, hard enough to bruise: his mates laugh and Robbie laughs it off as a present from his girlfriend, but his girlfriend is less amused. "Well, yeah, suppose she shouldn't have another baby," Melina admits at the park when Robbie tells her. "But an abortion? You're Catholic."
"I'm not saying she wasn't right to be shirty, I just don't like everyone going on about my face," he sulks.
"Yeah, but it's embarrassing, isn't it? Think of how I feel, knowing my boyfriend gets tossed around by his mum. It's not that manly."
It's their second-to-last date. She's the one who breaks things off.
His parent's reconciliation lasts barely any longer.
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"Hey, this is Robert," he says, bouncing his colicky sister in one arm and trying to hold onto the phone with the other as she cries and grabs interchangeably. "If my dad's around -- oh, yeah. Okay. D'you know when he'll be back in the state?"
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"It's so lovely of you to help your mother out like this," says Danielle's nursery teacher. Danielle is pulling Robbie's arm out of its socket, hanging onto his hand with her entire body weight. He tries and fails to shake her off. She has been throwing a fit on and off for the past few minutes, since Robbie told her it was time to say goodbye and go home.
"Mum's been feeling poorly," he says.
"Poor dear. We haven't seen her in so long..." There's something shrewd behind the teacher's smile. Robbie goes cool.
"Well, my school's just down the block. I like to help out."
"I don't wanna go home," Danielle wails, and Robbie and her teacher exchange smiles.
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First thing he does when he gets home is check the bins. When his mother is feeling well -- as well as she gets these days -- she'll hide the bottles, toss out bedding and towels and anything soiled. The bins are empty. It's been a while since she was feeling well.
Inside, the house is dark and oddly silent: Robbie flips a light switch; checks the fridge. The power is out; the milk is warm and the freezer soggy. He's tired, mostly. His own fault, not making sure the bill was actually paid.
Mum's in the lounge, on her stomach on the sofa, one arm dangling down. She looks pathetic, he thinks: his anger flares and curdles. He shakes her by the shoulder until she stirs, grunts. "Let off," she mutters.
"The power's out," he tells her stupidly: she grunts. There's a sour smell in the room, although he doesn't see any suspicious puddles. "I need money. Everything in the fridge has gone off."
She slaps his hand away. "My stomach's..." she trails off into a moan, burrows into the soiled sofa. She's thin and jaundiced and has been complaining of pain: instead of feeling sorry, Robbie only feels an disgusted anger as he backs away. Let her rot, he thinks. Say a Hail Mary about it.
Her purse is empty when he finds it in her bedroom, and Robbie throws it across the room in frustration before finding her again. "I'm going to pick up Danielle and talk to dad," he says, because a part of him wants her to know he's taking care of things still.
"From where?" Mum says. She sits up, stands unsteadily, falls more than walks across the room while she gets her balance. Robbie has stopped bothering to hide the alcohol from her: she'll just tear the house apart looking, there's no point, he leaves it where she puts it: the entry hall, by the shoes.
"Her playgroup," Robbie says, disgusted. "It's Thursday." A neighbor has a son in the same playgroup: she picks Danielle up a bit after Robbie heads to school, and Robbie brings her home in the evening.
"She had a fit this morning. I said she's not going if she's going to be a bitch about it." Mum bends over the bag of gin. Robbie stares at her back for a few seconds before he realizes and peels off, taking the stairs two at a time.
He can reach the top of the door-frame now, and has the office unlocked in seconds. Danielle's asleep on the carpet under the window, still wearing the outfit he'd put her in this morning: Robbie's always careful to have her waiting and ready to go when he leaves for school.
"Hey," he says, kneeling and nudging her awake: as soon as the three-year-old stirs and sees him, she starts to cry. He scoops her up. "Mum locked me up," Danielle wails, and: "I'm hungry."
She smells like piss. She'll need a bath, and he'll need to do a laundry. Robbie soothes her as best he can, rubbing her back as she clings to him.
By the time he has her cleaned up and ready to go to St. Anthony's, mum is back in the lounge and says nothing as they pass her by.
By the time dad finally has time to see them and has been persuaded to write a cheque, it's almost nine PM and Danielle is fast asleep in the waiting room, and Robbie has to borrow money from a nurse to get a taxi home.
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Mum's death certificate says pancreatic cancer. She'd had it, true enough, but there's no mention at all of the DTs, her liver failure, the fact that she'd died in Melbourne General, far away from her ex-husband's work.
At the funeral, dad speaks at length about her passionate nature, her warmth, her kindness. You might never know they were divorced. Robert had been encouraged to give a eulogy and declined; Danielle fidgets through the service. Loads of people attend the funeral, mostly friends and colleagues of their dad; at the receiving line Robert is told over and over again how sorry people are for him; how difficult things must be.
He and Danielle will finally be moving in with their dad. With their mother dead, he has no other options. Earlier, Robert had met his new step-mother: she had extended her hand and introduced herself as Claudia Perdue-Chase.
Your mother is at peace now, people keep telling him. She was ill for such a long time.
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"Oh, she'd had a problem for years," he hears an old friend of his mother's say at the wake. "Since the 70s. 60s. I'm surprised she lasted this long. Oh, but she was fun at parties."
"I mean, really," another woman replies. "I must have said ten years ago that she needed help. Those poor children. Someone should have called social services."
"Couldn't agree more," Corianne clucks. "Been saying so for years. Still, they turned out right."
Robert gathers the last of the empty bottles and lets them drop noisily into the bin.
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there’s something about this scene in Three Stories and how House is sort of displaying the fellows as interchangeable. I don’t think he genuinely thinks of them that way but it’s funny how they swap spots but the poses are the same, just with a different person making the pose.
The thing I adore about The Jerk is that, towards the end of the episode, House tells Foreman he's "not ready" to leave. He does this, of course, because he can't admit the larger truth (that he wants Foreman to stay), but the thing is, House is also correct.
HOUSE: You're not ready.
HOUSE: There was a third choice. Don't do what I asked. You coulda defied me, stuck the kid on antibiotics. But you didn't. Because you still trust my judgment more than your own.
This is actually a running theme -- and fault -- of Foreman's. He talks big game, but he has a massive insecure streak, and he tends to founder and hesitate when he's put in charge (DNR, but also his S2 leadership arc), he does trust House's judgement. This will come up again in S5 (Emancipation), which is also when Foreman finally stops deferring to House, but it's a huge part of his character.
But House is right in another way, too.
In The Jerk, in an early scene, Foreman is examining the patient, who complains he can't bend his fingers. Foreman is annoyed by the guy and shrugs it off. This turns out to be the Big Clue of the episode, the thing House uses to solve the case: Foreman missed it.
But here's the other thing.
In Resignation, Foreman announces he's leaving. Chase is curious about this, and does some poking. Both Foreman and House tell him he's wrong and to drop it, but Chase is certain he's right -- and he is. In the same episode, he has a theory about the patient. He's wrong, but so is House; they argue about it and Chase refuses to back down. He gets the test he'd wanted: his diagnosis is wrong but he points out that the result wasn't what House expected, that House is wrong too.
This isn't something we've really gotten from Chase before. Foreman and Cameron argue with House plenty, but Chase usually shrugs and goes along. But it's something that happens repeatedly in S3, after Finding Judas: Chase pushes his theories in Insensitive and Words and Deeds; he solves a case in Airborne, he pokes at Foreman and House in Resignation and The Jerk.
Chase to Wilson in Finding Judas: "I'm not waiting [for House's approval] anymore."
House to Chase in The Jerk, after Chase correctly calls him out for a scheme: "Sometimes I forget why I hired you."
Chase is ready to move on. Chase trusts his own judgement now and going forward, doesn't rely on House's approval -- or necessarily believe House just because House insists he's right.
But Foreman isn't there yet, even though he wants to be. He's leaving because he's afraid of House, afraid of being House's favorite and what that means. He isn't truly confident yet, he isn't ready. He missed the Big Clue. In the same episode, Chase uncovers a (completely different) mystery. One of them is ready, and it isn't Foreman.
If there was to be a Cameron whump episode--similar to Euphoria and Nobody's fault-- where do you think it would be best placed in the show and what do you think it should be about?
This is such a fun question, because she deserves a whump episode.
I think when it should happen is pretty easy: mid-season three, after Tritter but before the FWB arc. Sometime around One Day One Room. I think this makes sense for a few reasons, mostly that it sets up her actions in the rest of the season: not just the Chase thing, but also her decision to quit Diagnostics in the finale.
There was something of a running theme in S2 episodes of Cameron growing more cynical and less happy with Diagnostics/House: there are two early episodes (TB or Not TB and Hunting) that ask her and make the case that she isn't particularly happy with her life or the job, and she has several additional episodes where the cases take real tolls on her: the couple she admires in Clueless is actually a poisoning case; Sleeping Dogs Lie and Spin are both episodes where despite her hopes, the "bad guy" is rewarded. Foreman stabs her with a needle because he doesn't believe she'd help him otherwise (probably the bigger insult); her article is "stolen," her career stagnant, she is passed over for leadership in favor of Foreman. Cameron isn't miserable, but she isn't getting any wins, she keeps having her faith shaken and taken advantage of.
This only gets worse in S3: she bends her own morals in Informed Consent, and then more or less kills the patient in Words and Deeds by wiping his memories by mistake. Her morals might not exactly be slipping, but she's making compromises she never has before: she lies to Tritter and covers for House's drug use, where a year before she was furious at the patient in Spin for just that.
Speaking of House, Cameron isn't doing great here either: while she gave up on him after their date and seems to have largely moved on, she has always sort of idealized him and wanted to not just imagine the best in him, but see him as and acting nobly. Cameron defends and is protective of House in moments where he is vulnerable or trying to be a better person, but tends to be very angry and act betrayed when he doesn't "live up to" these ideals.
I think it's a bit simplistic to say as House does that she "wants a project," someone to fix, but it's clear that Cameron in S1 idealizes House in a way she never does again: she sees him as "someone who always does what's right," she denies the possibility of him being a drug addict entirely and seems to view him with a kind of nobility. This never quite goes away -- she has high expectations for House -- but she grows more and more frustrated that he isn't that person, too. She's certainly never that vulnerable with House again after S1. All this paints a picture of S3 Cameron as someone kind of primed to quit, right? She's not particularly happy even if she's not miserable; she doesn't have a lot to keep her in Diagnostics. House isn't wrong when he later says she "quit because of Chase:" with Chase gone, her reasons for staying are no longer compelling enough to keep her around.
(From another perspective, too, this is why it makes sense she went to and in her own words fell for Chase in S3: he is the only person in that office who hasn't hurt her. She cares about House and Foreman, but they have both recently said and done things that prove Cameron does not matter to them as much as their own desires. Chase, at least, offers to hang out when she's upset.)
This is why I think mid-S3 is Prime Whump Timing: Cameron is already looking to make a change (she is about to fake date herself with Chase), already not super pleased with her life, and a Big Incident would propel her to act and maybe even articulate those feelings.
As for what... IDK. Cameron has already had a health scare in Hunting, and I almost think her Whump Episode is better served as psychological, since she's always been much more affected by the emotions of others. Maybe she almost kills another patient, someone she likes, cares about, in her desperation to save them. Maybe we get the patient from Better Half, five years too early. Cameron does something Morally Dubious, she throws aside her ethics, almost lets the husband die to save the miserable wife.
She spirals. She hates this. She did the wrong thing. House, meanwhile, loves this. He's egging her on: she's finally becoming effective, a 'better doctor.' Cameron is torn: she wants to help, to save the day, but not change. She wants to change, but she wants things to stay the same. House is proud of her for being cynical and cold, and she realizes she doesn't want that, that she has crossed from no longer seeking his approval to actively viewing his approval as a bad sign (as is her eventual argument in S6: House makes people worse). So then what's the point? What has she gotten out of the last three years? Five? Ten? Can she succeed and be a good doctor (and person) without throwing all her values away?
House says: no, because your values are rigid and incorrect and based on the idea that the world is made of kittens and rainbows.
Foreman says: no, because you have to be pragmatic and logical like me (three episodes before his own idealism breakdown begins).
Chase says: why not? House complains about your opinions but he usually listens. Who cares? (She's like, that's rich coming from someone with no opinions) He doesn't see what she's panicking about.
Cameron starts acting out, a bit like Hunting. Okay, she's unhappy; she has to address this. She doesn't know how, what exactly she wants to change. Sleeping with Chase helped last time (maybe we kick that arc an episode early). House finds this annoying: she's only unhappy because she's refusing to let herself be happy; he thinks the new cynical Cameron is an improvement. He doesn't understand that this is the problem: not just that she acted cynically, but that she now understands he's sincere.
It kind of resolves itself. It doesn't go anywhere; Cameron gets the last word but sticks around. House cracks jokes about her mid-life crisis and "boy-toy." But then at the end of S3, she quits, because House will be fine without her -- and she's better off without him.
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happy OR3 release day to those that celebrate 🙂↕️ i can't put into words how i feel about this song so i hope that this small webweave-approximate will do the job:
All that I want is to know undoubtedly
That you just have eyes for me
Could you make it clear?
What a shame you're not here
Here to witness my devotion
And my endless well of needs
I'm an anchor in the ocean
You know I could never leave
So, I'm patient, you're learning, pretend it's not hurting
They say it's a virtue to not let good love slip away
So, I'm cool and forgiving, I'll take what you're giving
But nothing's quite enough, when I know that to get it, I begged
Yeah, to get it, I begged
And I have this thought when I lay in bed at night
That I feel trapped inside my life
Is that a normal thing to fight back the waves
Of a static lover's dread?
I'm overwhelmed, I'm underfed
And yet I still cling
Cling to hope like snow on mountains (Cling to hope like)
Careless words melt it away (Careless, melt away)
I'm a penny in a fountain (In a fountain)
Just waiting on my luck to change
something ive been turning around in my head for a while now but haven't fully put into words is the timing of house quitting therapy. he basically pitches a fit about nothing in his life going his way and storms out, and then within days is "rewarded" (in a psychological sense, i don't mean to objectify her) by entering a relationship with cuddy. i feel like that just kind of solidified the Therapy Bad idea in his brain, instead of him realizing that therapy is in large part what allowed him to begin healing/remain sober/etc, and that just COMPLETELY fucked him over. basically today i am arguing that house's true point of no return was actually at the end of 6x21 (or perhaps 6x22),
timing wise, i think that cuddy asking out house is one of the worst possible things that could have happened to him... thinking about how a cornerstone of our mental health recovery has been learning how to deal with bad things happening. idk.
honestly idk if it ever would be possible for house and cuddy to stay together unless house was in therapy. alternate universe where instead of going back to vicodin house goes back to dr nolan
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I know everyone makes a big deal out of the emotional moments in the "Chidi and Elanor Love Each Other" montage in the season 3 finale, but honestly, that's not the part that's the best. It's something that is very funny and VERY touching.
It's this moment. This one right here is how you know they love each other. See, Chidi teaches Elanor in every timeline... But here we see Elanor reaching out. She doesn't have a lot to offer Chidi, but she's TRYING. She's TRYING to teach him something that he doesn't know, and SHE IS IMITATING HIM not because it's a joke, but because she's using him as a model for love. This kind of imitation is a CLASSIC way for someone like Elanor to dip a toe into the pool of emotional vulnerability, into reciprocating effort and feelings.
AND HE'S TAKING HER SERIOUSLY. He's CLEARLY trying really hard to follow along, even though there's NO WAY this matters... Except it matters to her, so it matters to him.
Nothing has done quite so much damage to my internal vocabulary as the construction #MyNoun. I don't remember if it was from that "tour of my jar, this is my twig #MyTwig" or if it was from "inappropriate attachment to objects, my tuube #MyTuube" but either way it was one of you fuckers on here. I do it every time there's my noun #MyNoun
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