Whatever the precise or mercurial causes, it does seem that the 10:50 syndrome has returned -- that there are a larger number of 10 o'clock dramas that one hates to see end than there have been in years. And since the Fox network stops programming an hour earlier than its predecessors, there are shows that prompt the 9:50 syndrome as well -- none more proficiently or artfully than "House," perhaps the most recklessly ambitious variation on medical drama ever -- although "Grey's Anatomy," on ABC's Sunday nights, runs a close and provocative second.

"House" is distinguished, elevated and made riveting not only by superior writing and a top-notch supporting class but, especially, by Hugh Laurie in the title role -- no, not that of a building but of a doctor whose last name is House. TV has seen cantankerous antiheroes before, but Laurie's House may be the most uncompromised and least sentimentalized ever. He can have you on the edge of your seat just waiting for a smile, even a half smile, just the merest hint of a twinkle in one eye (of course, that could be the symptom of a disease picked up from a patient).

"House," with its graphic displays of hospital gore, can be difficult viewing, but the show has consistently placed among Nielsen's Top 10 or 20 this season. Of course, a skeptic would be justified in pointing out, it can't hurt "House" that it follows "American Idol," the most talked-about sensation in all of prime-time television (and after five seasons yet!). But the fact that a huge percentage of those who watch "Idol," the epitome of all that's (relatively) bright and shiny in television, stick around for "House" is an awe-inspiring tribute to the power of the show and, particularly, Laurie's ferocious performance.