Wilson assumed House was receiving a blow job when he was actually having a massage from Ingrid. And the chicken mole was the dish that Wilson used to tempt House and learn more about House/Crandal's relationship. Wilson left the chicken mole after House told him about what happened between him and Crandal's girlfriend - another blow job, I suppose. Remember now? These little bits made the episode tolerable to me, but didn't put it among the best, anyway...

Oh yeaaaah! I'd rewatch to see these bits, but...yeah.

The chicken mole scene is the only good thing about this episode imo. I love that one.

I quite liked this episode as it gave us strong character development for House and Cuddy, an intriguing glimpse into House's past through Crandall, a great clinic scene with the red-stained little boy, the expert comic timing of the scene with the red-headed sperm donor candidate and of course the deft and sexy scenes with red-skirted Cuddy. House even wears a red t-shirt in the epilogue in which he ponders his lie about the paternity test. Yes, there was indeed a color scheme (lust, blood, generation) to this episode! The weakest element of the episode for me was the central POTW whose medical case was sadly underdeveloped and uninteresting. Certainly, the centerpiece of the episode was the intensification of the relationship between House and Cuddy. The poignant and ambiguous final scene between them was really both a summation and a launching place for their story. The acting in this scene in particular was wonderfullly nuanced for both parties. I felt that House looked at Cuddy with expectancy and even a bit of hope. His eyes were frank, open, and unwavering in looking at Cuddy's face directly. The raised eyebrows and slightly open mouth supported this impression of almost eagerness as did the wonderful slight nod of the head and fist. All this is in distinct contrast to the previous scene in which he drops his eyes as he says she should find some one she likes -- he is making an offer but is quite afraid to see it in her face if he is not the one she wants. Cuddy sees the opening House has provided and she waivers. She had come to his office with a purposeful stride indicating that she had made up her mind about something. I think she was planning to ask House to skip the cup and make a donation in the traditional way. But when she sees him she stumbles over the complex reality of their fraught history. Despite their many frustrations, they have reached a mutually supportive and even affectionate truce that allows both of them to work at a remarkably high level and get (some) emotional sustenance as well. Cuddy is afraid of rocking this delicate equilibrium. And so she pulls back from The Ask. I thought House sounded almost sad when he said is that all you came to say. And Cuddy sounded weary and full of chagrin when she replied, no. This baby arc is important to both characters in that it shows them searching in parallel fashion for deeper meaning in their lives. For Cuddy and perhaps for House as well, the possibility of a baby would signify that the short-term satisfactions of professional accomplishment might be complemented by the chance to shift the world through raising a child. I think House is afraid of this, reluctant to imagine himself as a father, but unable to put aside the question altogether. I believe the final three episodes of season 2 are closely linked in theme although not in texture or overt content. I don't think it is a coincidence that in "Forever" we have in the POTW a troubled mother who loses all reason for living when she kills her baby and in "Who's Your Daddy" a pair of troubled drifters who are seeking to create a family through willful disregard of the truth. In "No Reason," the hallucinating House continues to explore this question of meaning and purpose in one's life. Creating a baby, a family, and meaning are the threads braided through the final three episodes of Season 2. Cuddy's quest for a baby raises questions in House's mind which he then grapples with in the season finale. How can he find meaning without human connection, without valuing life in and of itself? Season 3 continued to draw on these powerful triple themes as TPTB are willing to let us thrash around with these complex ideas without telling us what to think about it all.

Just saw this again and it occurred to me that on the recordings of the master jazz pianist (the subject of Crandall's book) his piano playing sounds a lot like Hugh Laurie. I wonder if he might have played that music uncredited. Or maybe someone here knows who did play it: I don't remember seeing a credit... I enjoyed the House/Cuddy connection, his connoisseur-like enjoyment of her rear is fun, the Wilson stuff fun as ever, (and here I'm probably alone) I really liked Crandall and the peek into House's past that it gave us about his earlier only friend: a nice, clueless guy who, in his own way, stands up to House and knows what's right for himself. I like that this is one of the times House bows to someone else's wishes for how they run their own life and goes against his own best judgment to give them what they need (not what he wants)... others: Socratic Method, It's a Wonderful Lie. Not the best of House but even the least House is worthwhile (plus this one has some dreamy shots of those pretty cerulean peepers....)

No one knows who played it. Play House listed it as "to come" for a long time but finally gave up and put it down as unknown. I used to think it was Hugh but it might have been one of the two composers who create the original music for the series -- Jason Derlatka or Jon Ehrlich. I know HL said, in an interview, that Jon Ehrlich wrote the piece from Half-Wit that House supposedly wrote in Jr. HS.

I liked meeting an old friend of House's too, Boffle, though even now he still seems like a strange choice of friend for House. Maybe House was a different person back then?

I dunno, Taiga I can't see House ever having been a lot different. When Crandall came up to hug him, he knew that a real hug wouldn't be welcome, so he stopped just before actually touching him, trying to fake him out as a joke. G-man! Ha! Yet he also knew to come to House when he needed someone to solve a problem no one else could solve, so he appreciated House's abilities from way back. I think (wank) they may have both been outcasts and thrown together that way... House saw that he could easily use him (he had a car) and may have felt some Houseian-style empathy for how gullible he was (the equivalent of a puppy House could happily and regularly trick but couldn't quite bring himself to kick) and Crandall saw the good in House, how smart he was, and how clever, and that he is at heart on the side of doing good, and so Crandall just gave him credit for being a good person underneath the snarky facade. And he did stand up to House, so House does respect that. Yeah, probably dysfunctional, even mutually enabling friends, but what's new about that? Crandall did come to House for help after all those years, and House did help him and gave him what he thought he needed. In House's world, that's gold.

While I had issues with the episode there were so many great moments. Not the least being Georgia! I loved every scene with and about Georgia. I especially liked the end scene where House is nice to her for no other reason than to be nice. He was so sweet. A rare moment.

Hats off to Bobble! houserocket, I think you may be confusing this ep with a S1 one.