The Tritter plotline, once over and done with, must have released them to write interesting scripts. The core problem with plotlines like the Vogel one in season 1 and the Tritter/Vicodin addiction story is that they come up hard against the basic premises of these television shows: The setup is static. House cannot be fired from PPTH, because the moment he's gone the show ends. House cannot be in jail for more than a day, because the moment he's not doing his medical detection the show ends.
Threats of big changes aren't taken seriously by the viewing audience, because we all know the producers can't deliver on them. When you're JMS and you're writing Babylon 5, you can deliver: the premise of the show allows for change and development. But not these situation dramas.
But character exploration can happen, as can slow development of the relationships among them. And that's what these scripts do.
House/Cameron kiss: Hawt. Guh. I'm with House on this one: no women should die without that experience.
Wilson/Cuddy date: Cute! Doomed!
Cameron/Chase fling: Are the fans beating up on Cameron about this? I bet they are. I'm just envying her. Chase is cute. Also, patient.
"House Training" and the Foreman story in it was moving. Wrenching to watch.
Also moving was the rape victim episode, "One Day, One Room". House's philosophy must stand on its own. And we get a bit of his personal history.
And the episode with the photographer, at 21 weeks pregnant, "Fetal Position", ur, was difficult for me to take. She gets the unlikely fairy-tale ending, lucky her.
And now I go home from work in time to watch Heroes.