How I Met Your Mother Review- "The Pineapple Incident"

The Pineapple Incident (1x10)

Directed by Pam Fryman

Written by Carter Bays

One Paragraph Synopsis: No subplot here- the entire episode is about what kind of crazy night Ted had after being goaded into trying out Carl the Bartender's new shots. All five, bitch. Lily, Marshall, Barney, and Carl all help Ted retrace his tracks after he wakes up next to a girl he doesn't recognize and a pineapple nobody can explain. It's a roller coaster ride from start to finish as we see what Ted is like without his thinking cap on.

One of the best feelings of getting into a TV series is landing onto that first incredible episode. Not just the pilot that drew you in, but felt incomplete. Not just the good to passable following episodes that show that the series still has some kinks to work on. But when you feel like you just obtained a fantastic orgasm, where seemingly everything fits and the promise that you've been hoping for in the show has landed. Some series take until its second or even third season to hit that point, but here we are, 10 episodes in.

My word, where do I even begin? This time, I'll get straight to the episode's strong point- the show's pacing. In the previous review, I talked about how tighter the editing and timing has become on the show, which is definitely true here. Keep in mind how the episode cuts between present time in the core apartment and the past via flashbacks. I can't recall a scene at the apartment lasting two minutes or longer, wisely allowing more time into Ted's various incidents at night. The use of the swoosh sound in between cuts is another strong factor in the show's favor, usually helping to keep we the audience on our feet as the timeframe switches as rapidly as it does.

Timing is key here, since if the episode took too much or spent too little time on the mystery, it wouldn't work. Thankfully, Bays and Fryman both understood what needed to happen for the sake of story, cutting out any resemblance of a subplot. This forces every character in the episode to be an essential part of the tale, as they should be.

Somehow, despite the razor sharp approach, the episode doesn't feel lightweight at all. I'd say that it's perfectly timed myself, giving the audience a plethora of plot, memorable character moments, and great dialogue to fit in a tight half hour package. Everything is in its right place, and I wouldn't dare cut a single bit out, which might just be the best thing you can say about a piece of fiction.

Before I get to the plot itself, I do want to mention one more thing. Many a person has considered HIMYM to be derivative of Friends, and while there are some similarities (Bays and Thomas themselves admit that Friends and Cheers were the primary influences on the show, and I plan to delve into why the latter certainly is at some point), I always considered the series to be a spiritual successor to Seinfeld more than anything. Both were made by writers with no experience in sitcom writing, and both quickly took to messing with the situational comedy format as they started to find their groove. It's weird to say, since I've never heard the creators namedrop Seinfeld before, but if any show is worthy of being called the next Seinfeld, HIMYM is it.

Especially consider how the series is shot. This is clearly a multi-camera setup, but there's no live-studio audience. The show can switch from point A to B at rapid fire, often between an inside set to a quick moment outside and back in. Even the shots move quicker than in most shows. "The Pineapple Incident" brings in added flashbacks to the show, helping to build a unique groove that it will maintain until the very end. HIMYM is as quickly paced as it is witted, but seldom ever cuts from a joke too soon. There just isn't anything like it, and that's why I'm glad to be here writing about it.

As for the plot itself, on the one hand, part of me feels annoyed that Ted's feelings for Robin are front and center again. At the same time, the rest of the gang seems even more annoyed than I am, and thankfully this has taken a few episodes off.

Ted's crush on Robin makes for much of the mystery, as despite his attempt to erase his thoughts, Robin just can't escape his mind. As the night gets longer, Ted's calls to her become increasingly desperate and increasingly pathetic, which, while this must be painful for the both of them to deal with, it's gold for the audience. There's little topping seeing Ted sing Robin Cheap Trick, only to fall mid-verse.

It's also a pain for poor Winnie Trudy, whose booty call ended up being an accident that Ted doesn't even remember. It's a shame too, since despite her little bit of screentime, Trudy seems like a good cookie. I usually applaud anyone who doesn't fall for Barney's bull, though. But Danica McKellar is a terrific actress, maintaining a sweet disposition on top of an obvious edge throughout. She also taught me the definition of karaoke, so of course I liked her!

And wow, Josh Radnor is great here. He really is starting to nail down the Ted Mosby character. While he's usually great as a straight man, here Ted is the joke, so Radnor brings an eclectic sense of energy to the character that keeps him alive. While Ted is drunk, Radnor bumps it up to eleven and allows Ted to build up into a ball of energy until it fizzles out in the morning. Watching the story switch back and forth from calm, albeit still active Ted to blasted out of his mind Mosby is a delight.

The rest of the gang aren't slouches, either. Robin plays the straight man this week, as she plays the choir and reminds us that the audience isn't alone in finding Ted's pining tiresome. Even in another part of the city, she's great at the role, keeping her eyes in tune to the right motions. Marshall continues his admission into his belief of the world of the paranormal, resulting in a great opening bit where he considers Carl to be a vampire. Lily meanwhile is able to play the game, if slightly bored, cohort that both keeps Marshall's theory entertained and helps to convince Ted to take the shots. Barney, meanwhile, is pure Barney in this episode, and that is not a bad thing at all tonight.

The cast help to live up to the fantastic writing and direction of the episode, which only continues the winning streak the previous episode started. Many a fan consider "The Pineapple Incident" to be the starting point of the show's excellence, which I couldn't dare to argue with. And there's much more to come!

How I Met Your Mother Review- "Belly Full of Turkey"

Belly Full of Turkey (1x09)

Directed by Pam Fryman

Written by Chris Miller 

One Paragraph Synopsis: Lily has Thanksgiving in St. Cloud, Minnesota with Marshall's family, as the notion of the couple moving to St. Cloud after getting married scares Lily. Although not as much as her potential pregnancy... Back in New York, Ted and Robin go out to volunteer at a soup kitchen this year, and are surprised to find Barney being the place's star volunteer. They become even more surprised when the three of them get kicked out, and end up spending their Thanksgiving at a strip club instead.

Practically every fairly long-running American sitcom worth their weight in, idk, the metric system (?) has at least one memorable Thanksgiving episode of their own. Even if the show's Christmas, Halloween, Valentine's Day or what have you episodes outshine them, you're bound to find a fan favorite Thanksgiving episode in your average comedy. Friends is probably the most famous example of them, with a Thanksgiving episode every season (I believe- I'm actually not a Friends fan, so don't bother quizzing me here), but HIMYM has a few notable ones itself. This is a good example of such.

But really, this is an episode full of firsts! For starters, this episode gives us a brief idea of what Ted does for a living. Key word, brief- he tells Robin that he's working on a new wing for someone, which quickly hints that he's an architect. It isn't much, but I do find it surprising that we're only now discovering what the series' main character profession is.

Also undeniably important is the discovery of Robin's national origin- she's Canadian! This is a great running gag that lasts until the very end of the show, and thankfully Cobie Smulders is game to allow herself some fun. Hers and Ted's opening argument has some of the liveliest conversation the series has had to date, which is a big plus that helps to make this one of the strongest episodes thus far.

But the first that makes up the bulk of the episode comes from the introduction of the Eriksen clan, the first time we've seen any of the main characters family members. While I don't recall seeing Marshall's sisters-in-law again in the show, we'll see a good deal of his immediate family in the coming years, his parents especially leaving a mark. Marshall's brothers and their wives don't leave much of an impact this time, but dad Marvin has a few decent lines, as mom Judy is delightfully small town in her material.

There's even a hint of her not-so-subtle disapproval of Lily sprinkled in, which, despite being a cliche, does bring a solid angle to her character. Judy is overprotective of the family's runt, and wants to be sure that he lives the happy life he deserves. Ultimately, Judy admires Lily on some level, since her devotion to Marshall is beyond apparent, but there will always be some resent of Lily not fitting in with the Eriksen's small town morals. Lily herself seems to understand this, and I'd argue that she seems conflicted. On the one hand, Judy is clearly an important part of Marshall's life, so Lily does want to be on good terms with her, yet at the same time, Lily knows that she doesn't need her soon to be mother-in-laws approval, and doesn't ask for it. This is a great balance that helps maintain an edge to this episode.

Lily's upbringing is an important facet to the story, as Marshall's family just doesn't relate to it. By now, it has been referenced that Lily was actually raised in New York, clearly contrasting from Marshall's small town roots. Practically everything that Marshall has seen in Manhattan since he and Ted decided to move to there for Marshall's law school and Ted's work at his architecture firm, Lily has known for her whole life. Lily is aware of the crime, pollution, and noise.

Somehow, Marshall hasn't been infected by the city and is still his sweet self even now, proving that they should be just fine without having to locate to St. Cloud. The exact reason why Lily and Marshall love each other isn't entirely clear, but it seems obvious that Marshall's hospitality is a big part of why she admires him so. This is why I wouldn't be afraid of Marshall settling in the city. Being mugged, though, is another story, and that may or may not come back...

Before I get to the rest of the episode, I want to delve into Marshall and Lily's relationship a little. What has always fascinated me about the two is that they don't seem to share that many interests. Both like a decent amount of the same 90's music, but that's relative to their timeframe. Marshall's fascinated by the paranormal, which Lily tolerates more than anything. Lily is artistic by nature, as Marshall is more of a pure logical mindset. Marshall could probably think of a third thing, while Lily would slide her underwear out of her skirt by now.

What passion do they honestly share with each other? Well, both like sex. A lot. They definitely seem to connect sexually, but I think that's because the two of them just click. Sometimes, that's all you really need to keep a relationship going, some kind of spark, and they clearly have one. Even from the very beginning, I could tell that Jason Segel and Alyson Hannigan had fantastic chemistry with each other, and as both become increasingly comfortable in their roles, their bond similarly tightened. It also helps that the writers are usually good at giving the two characters agreeable dialogue to share, which Hannigan and Segel pull off like magic.

That bit of magic comes right back in during the jail scene, which itself isn't particularly special, but thanks to Segel and Hannigan's performances, I saw a sincere conversation about a couple's future, potentially with child, come to life. Right in Jason Segel's eye came a glimpse of love, which I take with me now as I write this review. The show has done a great job at making me care about the outcome of Lily and Marshall, despite having seen it all years ago. Always thank good writing and performances for this.

I'm also favorable towards Ted, Robin, and Barney's story. It's fascinating to see there be "too much" good will spirit on Thanksgiving, which is actually something that never occurred to me before this episode. There must be a huge supply of more fortunate people who go to soup kitchens to help the less during this festive day, but the other 364? Not so much. Ted and Robin's intentions are good, but I can see why the organizer felt swamped when they arrived.

The rest of their story is pretty funny, even if it is shit that the three of them get kicked out for ratting on the volunteers stealing the kitchen's food. Thankfully it ends better for them, complete with a lovely buffet at the strip club and Ted doing his good deed of the night by paying for a homeless man's lap dance. It's just fun to see unravel from beginning to end. And even though I've been trying to avoid turning these reviews into highlight reels, I'd be remiss if I don't mention that Ted's delivery of "But you're Satan" to Barney after his reveal always cracks me up in a big way.

Truthfully, I'm happy to see the characters manage material that isn't the same old thing we've seen them tackle before. Ted drops his romantic self to bring some good to the world, which a welcome change in my book. I also enjoy seeing Robin play wingman to Ted, another surprising, but likable, move as she's truthfully a little underused in comparison. Even Barney cuts back on his womanizing ways in hopes to finish his community service, but still has decent gags abound. But really, who pisses on a church?

The rapid fire editing is still here, and thankfully never makes us stay at one scene for too long in favor of another. The transitions work well enough to keep the pacing in check, rather than leaving too much or too little leeway into a sequence. This makes for a well-paced, strong entry into the show. The best thing is, there are yet better stories to come!

Album Review- Godflesh- Streetcleaner

I've been listening to Birmingham legends (alongside Zeppelin, Sabbath, Priest, and... Duran Duran wut) Godflesh a lot lately. As gods of industrial and post-metal, you rally should get a sampling of their work down if you want to gain an interest in the music. While I'm waiting for the new album to come out, I've been listening to their other stuff a lot. While I considered giving a reapprasial to their previous record, 2001's Hymns, let's look at their first LP and arguably most iconic work, 1989's Streetcleaner.

It's weird that I have such an appreciation for industrial metal, since I'm not one for drum machines. Give me a real, honest to God drumbeat any day. Yet Godflesh masterminds Justion Broadrick and G.C. Green are very astute with their songwriting, and make the synthetic drumming come off as completely natural for them. While their own guitar work is fantastic in their own rights, the programming adds wonders to the music, coming in at exactly the right time and sweeping whenever the heavy music needs a lift. It's smart musicianship from beginning to end, and proves that the duo know what they're doing in terms of songwriting.

And oh, are Broadrick and Green excellent at what they do! I've been following Broadrick for a while in particular, primarily his work in the awesome band Jesu, and his guitar work is extremely rough and big, a perfect combination. He has Iommi chops, perfectly reflecting Broadrick's Birmingham roots, while also containing a bit of Robert Smith's hooks, which makes his work come off as a unique blend. There isn't much shredding, rather plenty of atmosphere to take its place, as it comes off perfectly from Broadrick.

Green meanwhile, doesn't relent on his bass work, and has an equally big sound that compliments Broadrick's tone quite well, and makes for some tight music. The whole album is bass heavy, a notion that becomes perfectly realized when sampling out Green's work, as he frets on miraculously. I've found isolated bass tracks of some of songs on here before, and it's a thing of beauty. Everything is in place, as the album works with just his work alone.

The back half also has guitar work from Paul Neville, a fellow artist from the scene who'd tour with the band and appear on their later Slavestate EP, and his work is a little more playful, but still heavy, which makes for a good mix on the album, helping to make the second half sound unique from the beginning. The general sound is consistent throughout, but there is a difference in guitar tone that makes repeat listens worthy.

Wow, this album just sounds so good. The production is as bleak as it needs to be, fitting the feelings of doom and dread reflected onto the music. There's a sense of filth present throughout the music, which fits with the title, a street that needs to be cleansed from the slime of today's society. Despite the lack of blast beats and grind riffs, the album remains heavy 25 years on from a sheer use of atmosphere on top of slow, creepy aggression. This is beyond essential for fans of metal music.

And I'll end my reflection with a link to the classic track "Pulp".

How I Met Your Mother Review- "The Duel" + Brief Retrospective of Season 1 Thus Far

The Duel (1x08)

Directed by Pam Fryman

Written by Gloria Calderon Kellett

One Paragraph Synopsis: When Lily's apartment is turned into a Chinese restaurant, a fact she didn't find out until months later as she mostly lives at Marshall and Ted's place anyway, she moves in for good. Feeling that they're edging Ted out for when they get married, he becomes increasingly antagonist until things edge up into a fight between himself and Marshall with their decorative swords. The end result cuts Lily right in the arm. This episode also introduces the Lemon Law, Barney's concept that you can decide if a date is worth taking in five minutes.

It's funny, I didn't remember have as little use for "Matchmaker" as I do, while "The Duel" is a little better than I remember it to be. It's still pretty far from my favorites, but I got into some of the jokes some more, and there's some good to share for sure.

The worst part of the episode has to be the waitress' fluctuating Engrish from the beginning of the episode. Well, that's not fair- I can't really find much on the actress, but I wouldn't be surprised if she actually is from China and this is her accent, and she barely misuses the English language for comedic value. But it's a tired trend that rarely ceases to roll my eyes when it shows up. But hey, at least oriental chimes didn't make their way into the soundtrack when she appeared ala Sherlock.

I also can't help but wonder how Lily was able to keep a decent wardrobe in check if she doesn't live at her main domicile. Then again, I remember a particular storyline from a couple of years later that would easily explain this. It's also possible that Lily knows that she's going to spend enough time at Marshall's place, and keeps enough clothes there to have to avoid the commute from his place to hers and over to her school. I hope that the crew considered this potential plot hole as well, or more than I have.

Now, onto the core story- it works well enough, but really, I like that this is a change of pace for Ted beyond his typical yearning. It actually helps him have a little more to his character, as it's out in the open just how selfish Ted can really be. While his fear of replacement is understandable, Ted is forgetting that Lily is also Ted's college BFF, a fact she reminds him of. The three of them met around the same time, as we'll soon know, and they've been inseparable ever since. There is no way that Lily and Marshall would truly want Ted to move out, either during their long wait for the wedding or after the fact.

Although I don't blame Marshall when he gets annoyed at Ted and accepts the titular duel. When Ted becomes increasingly pissy about his situation, it similarly becomes harder to defend him. Hey, it's Marshall's place, too, and the two of them should have agreeably talked about this earlier. This is also logically brought up during Barney and Robin's arguing during the episode, as Robin brings up this and more in hopes to get Ted to accept responsibility, while Barney goads him into claiming territory. It brings back memories of the angel/devil gag from "Slutty Pumpkin", only without the obvious, humorous symbolism.

This episode, like a good many of the show's episodes, is about growing up, and it takes a reckless sword fight to help give Ted and Marshall a clue to do so. I can't complain, since it's delightfully wacky without shoving anyone's face in the fact, and more importantly, Josh Radnor and Jason Segel seem to have so much fun during it. I fully believe that Marshall's shout of amazement after his jump is Segel's, so much so that I ended up watching that little bit more than once to get my fill of it.

Now granted, this isn't a fully-realized duel, so the choreography obviously isn't perfect, but to me, the sequence is about energy, which it definitely exudes in abundance. It's a strong bit for two characters that are coming into their all, and I wish that the rest of the episode was as tight as it.

I mentioned how Barney and Robin were at opposing view points earlier, which is the bulk of this episode's subplot. Besides their conflicting advice to Ted, the two have different beliefs of Barney's Lemon Law. I can't really tell whose side I'm on. On the one hand, five minutes is never really enough to decide if a date is worth sticking to, but at the same time, if a red flag is dropped that early, you have every right to panic. A lot of seemingly one-off bits make their way back into the show as it goes along, but I don't recall a Lemon Law return on the top of my head, which might make Robin's side the correct one.

Yet I can't help but find her date sequence to come off as entirely awkward. The joke that this guy is so nerdy that Robin should be obviously uninterested never lands. This just comes off as an attempt to have the audience laugh at a man who's probably a little too into Star Trek, which is tired enough as it is. That it ends with Robin having to leave after all to go to Lily at the hospital becomes unfair, as we know why she's calling the date off, and it isn't to write this guy off like he thinks. It can definitely be funny to become unfavorable to one of your characters, but this comes off as half-assed and needlessly mean to me.

I bring up things that I don't like in the episode, but I really don't think "The Duel" is all that bad. There are jokes that work, and I do find the sword fight to be a memorable aspect. But I'm hardly in love. Let's just hope for more duels in the future!

Season 1, Disc 1 Reflections: Heh, I made it this far! Awesome! I wanted to take a quick look at what I've reviewed so far after wrapping up the first disc, and I have to say that I'm not too surprised that it's been uneven so far. Very few shows instantly get it right, and HIMYM is hardly an exception. While Robin has been growing as a character since her flat beginning and Marshall is getting into his groove, the other characters are still in need of further smoothing out. Ted isn't lacking in story material, but it's mostly the same thing so far, this episode aside- Ted wants to find the right girl and fall in love, but he's not in the right place to right now. It's going to take a teeny stretch of more time to find more for him to do, just like they crew is in need of finding more substantial stories for everyone else. Especially Lily and Barney, who are two-note at best. Although if memory serves me right, my next review will be better for both of them.

The production is quite solid at this stage. Fryman usually seems to be one step ahead of everyone else, as the direction is greatly queued. The writing can still use some fine tuning, since not everything is set well yet, but I can't recall too many scenes going by without at least one strong joke. There is often enough going on in each episode to make the show worth sitting through, which is key. And the editing is rather tight, never a problem to my recollection. Editing and cinematography have always been things the show has done well, as you can see even this early on.

Overall, it's hard to be too harsh on the show this early in its run, although it definitely could have been better. But I'm happy to be back in the beginning, before tragedy struck. And I hope whoever is reading along with me is happy, as well.

How I Met Your Mother Review- "Matchmaker"

Matchmaker  (1x07)

Directed by Pam Fryman

Written by Sam Johnson and Chris Marcil

One Paragraph Synopsis: Per the request of Robin, Ted accepts a matchmaker program... only to find out that there are no available women in the area that's right for him. The one match he found is dating another man with a lower compatibility rate. Ted makes a run for it anyway, in hopes that they're not that serious. At the same time, Marshall and Lily have discovered a new, terrifying creation- the Cockamouse.

The HIMYM crew have taken pride in being a gay friendly show, and in truth, it has done some good with non-straight people over the course of its run. An important supporting gay character will appear before too long, while other gay and bi characters make their way through the show as well. I'd even argue that at least two of the core five characters are pan or bi, even if they're closeted.

But damn if the show doesn't have issues with homophobic or transphobic lines over its nine year run. Sadly, many a writer will call a man a girl to make a laugh without thinking about the repercussions, even now as we're becoming more trans inclusive in the coming years, and that's just not funny. I've mentioned one or two lines like this from the previous few episodes that don't work now. This episode has a few more, and only a little to make it a better episode.

I couldn't get into this episode not just because Barney called Ted potential girlfriend material or a confused line about a trans person who thinks Ted looks like John Cusack. "Matchmaker" is uncomfortable in another way entirely- Ted comes off as kind of creepy.

I understand being disappointed if you've been told that there is nobody compatible for you. I would be too, although I honestly wouldn't be surprised if I was told the same thing. Ted has every right to feel down about the results. What I'm less okay with is his tracking down his highest compatible match after being told that she's in a relationship, then trying to get her to leave her fiance. With Barney, it would still be despicable, but it's not like he cares about the implication, and the joke would end up being on him. In Ted's story, he's being sold as his usual romantic self while bugging this obviously happily engaged woman, which is a conflict of intent to my eyes.

I'll save this rant for later, since Sarah (whose name I didn't remember before checking Wiki, since the episode barely mentioned it) does shoot Ted down. It's also important to remember that Ted and Sarah's compatibility was a 9.6 out of 10, while Sarah's compatibility with her fiance is only an 8.5. This is the clincher to me, as there's an interesting concept to it- perhaps if they had met sooner, Ted and Sarah would have clicked and she would have been the mother. But life doesn't always work like that. Perhaps there isn't just the one, but maybe any given person is likely to have a few great loves in their life, but destiny doesn't allow you to end up some or most of them. This could have been a love story, but Ted missed his chance to make it happen, so we'll never know. I could go more into this, but the script doesn't, so why bother?

If the rest of the episode was as fascinating as this concept, I'd be more favorable to it. But truthfully, I'm tired of Ted's quest right now. We're just treading water in this plotline right now, while there is much to look forward to in the show as it goes along.

Like the rest of the gang! Barney gets a good lashing out from Ellen, the matchmaker lady, as she calls his bullshit a mile away. It's a great bit, as it becomes believable that she is just tired of dealing with sleazeballs like him every day at the place. He and Robin also offer some good jokes to Marshall and Lily's material, which keeps things going a little.

The Cockamouse story has got to be the most memorable part about the episode, although I don't think it's all that strong by itself. Marshall and Lily's quest for the disgusting creature barely fits in with Ted's story, and comes off as disjointed. I also just don't find their descriptions of the fact to be particularly strong, which comes off as disappointing.

But what I am thankful for in their storyline, and for this episode in general, is setting up Marshall's belief of the paranormal into the series. We're really starting to get to know these characters now, and it's hardly surprising to see that Marshall has an extensive knowledge of the Loch Ness Monster and Bigfoot. This is true to his character, as Marshall continues to keep an open mind to just about anything for all of his life, which becomes especially true about the possibility of the incredibly bizarre. It also makes for great jokes to come, although his lines come off as a touch cliche here.

Even in an episode that I don't care much for, I can still easily find good. But make no mistake, I consider this to be the show's first full misfire. There are some interesting ideas behind it which I find to be underdeveloped, and the handful of jokes that work aren't enough for me rank this higher. But one mediocre episode after six decent to quite good ones is hardly something worth jumping ship for.

Side note: In case anyone cares, I just picked up the ninth season today. In hopes that I go the distance with this blog (and I'll try my damnedest to), I won't touch the set until I get to that point in the series. This means I'll have only seen each episode from the last season once. No more, no less. So it may not be too fresh on my mind at that point, but that should be a good thing, all things considered.

Edit!: You know, while watching this episode, I couldn't help but notice how the quantity of Barney's glass of scotch fluctuated after Lily drank from it the third time in this episode. I didn't mention this in the review, since whatever, continuity flaws happen in film and TV all the time. My mind came back to it after my professor talked about continuity today, though. I actually came to tell him about this little bit after class, and he told me something that's very true- if you start to pay attention to the quantity of a drink during a scene, the production must have far more issues than just continuity. So I feel validated about not liking this episode.

How I Met Your Mother Review- "Slutty Pumpkin"

Slutty Pumpkin (1x06)

Directed by Pam Fryman

Written by Brenda Hsueh

One Paragraph Synopsis: As per usual, Ted spends his Halloween wearing his increasingly dated Hanging Chad costume at the same annual party he's been going to for five years now. Why? In hopes of meeting his "perfect girl" again, the Slutty Pumpkin. Barney hopes to break Ted out of his Halloween funk, to no avail. Downstairs, Marshall and Lily go on a double date with Robin and her current beau, and get a taste of her romantic tendencies, or lack thereof.

This is probably the strongest episode since the pilot, mainly since it gives everyone something important to do, and just about everything will keep true to the characters in the years to come. It's also a mighty funny episode, but at the same time, I don't think any of the previous ones have been empty on laughs, either.

Granted, Ted's story isn't all that unique, as it continues his trend on being a hopeless romantic, but it works well enough to justify the slight bit of repetition. This is the biggest act of commitment to his passion yet in the series, as we get a glimpse into his mindset during that lonely, disappointing Halloween night. This isn't the first year that he'll come up to this party and wait for a girl that ultimately won't show up, and (spoiler alert) it won't be his last. Even before he confesses it to Robin at the end of the episode, it becomes slightly apparent that he knows that the Slutty Pumpkin won't return, in her original costume or not. 

It's the concept that keeps Ted alive, not just hope. This is something that has been on the surface for a while, and comes full center here. Ted acts like he only believes in absolutes, but in reality, he prefers the fable to the fact. In his mind, Ted may know that he won't meet the Pumpkin, or the one, that night, but in his heart, something good is bound to happen regardless. Delusion can break a person, but it can sometimes also keep them going.

But enough about Ted, let's talk about Barney for a change! He's still being given bit parts in the story, but NPH continues to show off his massive charm as the character despite the less meaty material. His subplot of changing costumes to get a second and third impression on the girl he flubbed on before reeks of an unwarranted attempt to turn a no into a yes, but I can't help but find it funny anyway, especially as he rightfully screws up by letting his perverse side come in too soon. The fact that the joke is more on him rather than on her doesn't necessarily make his method okay, but it does allow for sincere laughter to come out without having to ponder the repercussions of supporting an outdated trend. In other words, the joke is that Barney is making an ass out of himself, not that he's manipulating this woman, which is less creepy.

It's also worth noting that for just as much purpose as to get the luau girl, Barney stays at the party to help get Ted out of his funk. Whether or not he understand Ted's psychological reasons for staying at the party, Barney does show true concern and aspiration to help Ted live life, and even when he fails, you can see Barney stay around until the very end. This girl wasn't coming, but he'll still be there for Ted when he needs someone around. Before this episode, Thomas, Bays and crew have attempted to explain to the audience that the reason Ted and the gang are friends with Barney is because he keeps things exciting for the gang, but that isn't the only reason- Barney really does care about his friends. He may have dark, obsessive traits, yet I don't have a doubt in my mind that Barney means well to these people.

On the other side of the spectrum, let's look at Robin's storyline with Marshall and Lily. This is the first we've been given substantial romantic time with the show's core couple, and it helps to give the audience of how they function together- Lily and Marshall are equally dependent on each other, and at this time, there isn't a hierarchy in the relationship. In the real world, Lily may be the one who's working, but Marshall won't be in law school forever, and he'll soon be pulling more of his weight around. Together, both just click marvelously. At this point, the two know practically every thing about each other to the point that they'll prepare for what the other has for dinner in the prospects of food sharing, they coordinate Halloween costumes together remarkably well, and they don't have to force any awkward coupley activities into their mannerisms- their activities are completely genuine.

Everything they have, Robin and Mike obviously don't yet. To be fair, they don't have 9 years of experience at dating as Marshall and Lily do, so it's definitely a fair point that Mike was trying too hard to force sweet nothings on Robin during their date. I'd say more than fair in fact, as Robin clearly does like Mike, but doesn't seem to feel or know how to recuperate the emotions she has for him in the way he'd want her to. It becomes increasingly painful to see Mike come on way too strong, while Robin doesn't seem sure about doing so with him. Like many a relationship on the show, Robin and Mike don't make it past the episode, and while it's meant to show that she's at fault for having to leave the bar alone, I'd say that it's a 50-50 split. Robin may need to open herself up to PDA a little more, but Mike obviously needed to back down after a certain point.

But I think it's here that Ted and Robin do correlate, in the way that they're both, disappointingly, going home alone tonight. Their reasons are different, since Ted clearly likes being a team player, while Robin has more of a foot set into reality, but these two young people are walking in the wrong direction if they want to further their chance of a happy relationship. Ted needs to let his mind speak for him moreso than his heart, as Robin should learn to compromise in some ways. Both will, at some point. Tonight, another Halloween goes by without the Hanging Chad winning over the rightly curved Pumpkin.

Continuity Errors: According to this episode, Robin never played team sports, only singles tennis. It becomes a part of her character that she did play hockey into her teens, however. But let's give the crew the benefit of the doubt, since they haven't nailed down Robin's Canadianisms yet. Also, in season 8, it's revealed that Ted is supposed to dress up in coordination with Marshall and Lily every year, which we obviously see that he's hanging on each year to the Pumpkin. Or maybe he only dressed up with the two before 2001, I haven't seen that episode in a while.

Hey, it's 2005!: Well, in 2005, a Hanging Chad was already an incredibly dated reference. Hell, it was dated in 2001, when Ted first wore it (imagine how it must have looked in 2001!). The camera that Robin used also looks vintage. As for Marshall's costume, I'd call his Jack Sparrow look timely, but I'm pretty sure it's still a common look for Halloween and cosplay today, but this was just before the crappy sequels started coming out to soil any good taste in the franchise.

How I Met Your Mother Review- "Okay Awesome"

Okay Awesome (1x05)

Directed by Pam Fryman

Written by Chris Harris

One Paragraph Synopsis: Nobody's night goes as they plan after Robin gets invited into the VIP room of a happening club- Robin comes to the realization that she isn't a big deal yet, Ted mucks up his blind date, and Barney ends up spending the night grinding on his cousin. Meanwhile, Lily and Marshall's wine tasting party bores both of them to the point that the two of them end up sneaking out separately.

To sum this episode up, "Okay Awesome" is more okay than awesome. It definitely isn't bad, but it isn't a masterpiece of comedy.

I started off with an ending summary since I couldn't think of a way to start off a review. Which makes sense, since while there's enough to like in this episode, it feels a little confused in ways.

Let me tell a story instead, then. I used to go to clubs fairly regularly, for about a year or so. I'm not much of a dancer or a fan of dance music, and like Ted, I'd rather spend a less intense night with some friends, or hopefully, a lover, but hey, the club was really close to my house, and the company was fun. I went out, danced with some friends, sometimes other girls, and afterwords, we'd go to a nearby Dennys and actually talk. The club eventually closed down after the owner fled without keeping up with his payments, so the people who were more into the dance scene started finding other clubs around town, and usually alternate between a handful, while myself and some of the quieter people mostly retired from the scene.

Going out to dance to dubstep, hardstyle, and whatever else was popular at the time taught myself a few things- 1) fedoras (or tribs, or whatever) suck. Besides being an anti-aphrodisiac to women and an MRA breathing ground, they gather sweat FAST. 2) just because you don't actively listen to dance music doesn't mean you can't go out and enjoy the beat. Many others share your struggle, and don't consider it a struggle, so neither should you. 3) it sucks to be the one of the only single people in a group of friends, at least if your other single friends are ones you have no interest in doing anything with. 4) for some, the club is a way of release from a dull life that you just can't escape.

Strangely enough, all of these show up in this episode in one way or another.

1- Marshall briefly dons a lame hat during his cathartic dance sequence, and quickly (thankfully) retires it. Good on ya, mate.

2- Ted may be too much of a Type A personality to really get into the club life, but he does end up enjoying himself in another way near the end when he spends time and lists other overrated activities with the coat check girl (and yes, that is... what's-her-face from Glee). The unusual way this works is a perfect character moment for Ted, as he keeps his kooky, yet honest, straight man approach to enjoy himself and make time with a cute girl all at once. The show is increasingly building itself up to be one of the most unconventional comedies of its time, and one clever way is by letting Ted crack jokes and expand on his character almost to the side, as to allow the other characters' stories take center.

3- While Barney is enjoying the single life, and Robin has her own issues to deal with (mostly a retread from the previous episode, although her lament is believable; she does deserve better), Ted is still struggling with the single life now that his best friends are engaged. It still doesn't seem like he's as ready to settle down now, though. Not only because he hasn't found anyone to settle down with, but at this point, Ted has proven to be all talk and no show. He may be the great romantic soul he believes himself to be, but the dude doesn't even call the coat check girl back. It seems that Ted prefers the idea of the domestic life rather than the actual results, which are two different things entirely.

4- But forget Ted, let's talk about Lily and Marshall! In this episode, Lily attempts to bring herself and Marshall into the world of the married life, by trying out a popular stable in their wine tasting party. What they both learn is that even though the two love each other, they're not ready to become the boring couple that force their friends to watch their ultrasound or snuggle up to some Norah Jones (hey, it's 2005 or surprisingly relevant? I'll leave that for you to decide). Lily may be a kindergarten teacher, but she still has her artistic riot grrl streak waiting to be let out again, as Marshall is just as fine with being one of the boys as he is dedicating his life to his dream girl. You actually can have it both ways, as Robin tells Lily in the gutter.

This is why I consider Marshall's dance sequence, as well as Lily's joint flashing with Robin, to be so important. While these two may be the first to grow up in the eyes of society, that doesn't mean that Marshall and Lily should sacrifice fun by doing so. Lily lifting up her shirt to allow herself access into the club brings her back to her college self, when she freed her nipples more frequently (for fun!), as Marshall letting steam off on the dance floor takes him away from the tedium of law school and allows him some fun. I'd also argue that this is the moment where Jason Segel almost fully GETS Marshall, as he allows the character a chance to release his inhibitions.

The episode has some good material all around, some unfunny homophobia and nerd-bashing humor that The Big Bang Theory would make a living off of years later aside. Still, it's hard to fault an episode that brings up how difficult it is to talk in a club, or the ridiculous prices of drinks at a New York dance hall. $17 for a domestic beer? Pass.

How I Met Your Mother Review- "Return of the Shirt"

Return of the Shirt (1x04)

Directed by Pam Fryman

Written by Kourtney Kang

One-Paragraph Synopsis: The appearance of an old, forgotten shirt brings memories back to Ted- including the scattered thoughts of how things happened with one of his exes, Natalie. In hopes of being a new Ted, he tries things out with her again, only to remember just why they didn't work out, as things end disastrously. Meanwhile, Barney convinces Robin to indulge in increasingly outlandish acts during her fluff pieces on the news for cash prizes.

Honest confession: of the first 4-and-a-half seasons that I caught up with online so I would be able to watch HIMYM live on TV those 4 years ago, I'm pretty sure that this is the only episode that my online link didn't work for. So I didn't end up seeing it until I got the first 2 seasons on DVD for Christmas later that year. Since then, I doubt that I've seen "Return of the Shirt" more than once since then. It's kind of a shame, since this isn't a bad episode, even if the parts are greater than the final sum.

What are probably the strongest and most memorable bits have to be Barney's delivery of "friendship over", followed by its immediate reprisal, and the crappy end to Robin's on-air stunts, the latter of which won't be forgotten over the course of the series. Besides that, Kang's script, whom will late become one of the show's most prolific writers, has some other decent jokes and good ideas to go around, although the episode ultimately suffers from moderate pacing.

I say moderate, since the timing isn't entirely off, but it does seem that Kang doesn't fully grasp the sense of energy that Bays and Thomas have got down so far, as scenes come and go less effortlessly than any episode thus far. The direction should also be held at fault, at least to an extent, but I do feel that Fryman is keeping a consistent job here, as the actors and camerawork are hitting their marks. I'm going over some scenes again, and the action is fractured. Kang's dialogue and themes work well enough to give the episode a pass, but the end results are a little disappointing.

As for the themes behind the episode, I like the idea of Ted actually doing something to attempt growing up, rather than just talking about it. He sees that he made a mistake with Natalie, and hopes to make amends from it. The fact that he's still a bit of a tool, and doesn't realize when it is a bad idea to break-up with someone just shows that he isn't ready to yet. Seriously dude, wait until at least a few days, if not a week, after their birthday...

This is a problem of Ted's that is on the surface here, and will come back over the course of the show- his belief of entitlement. I don't want to get into a patriarchal rant here, but Ted is quite obviously a slave, whether he knows it or not. Of course he doesn't though, so he may not notice that it was kind of creepy to wait for Natalie to pick up her sock monkey gift just to coerce her to give him another chance. Granted, there have been far sleazier ways to turn a no into a yes, but the scene still rubs me the wrong way. Too many romanticized stalkers in both the media and real life have made me become harsher on acts like this, even if is a Hollywood stable.

What I do like about Ted and Natalie's story does come after this exchange, however. It's a classic case of the missing spark, this time taking three years to fully realize. From the little bit we see of Natalie's personality, I can kind of see it- she's pretty rash, which at the same time, is deserved based on Ted's history I can't truly rank their relationship based on what we've seen over the course of the episode, but then again, Ted did call it ineffable, which fits. Sometimes you just can't explain why something doesn't work, so the idea of the two just not fitting despite their best efforts gets to me. Life often gives vague answers like these, even though it sucks to hear.

Barney and Robin's subplot, however superfluous it may seem, fits stronger. Their story helps to expand on character for both, as it becomes more apparent just how childish Barney can become, while also suggesting that Robin's bored in her current position in life. Barney's childish tendencies contribute to his womanizing, although like most excuses, doesn't necessarily defend his actions. And as for Robin, although she is the youngest of the group, one can easily see just how tiresome she is about discussing hot dog stands and doggies on the news, as opposed to more pressing matters. The reveal at the end hints at the realization that Robin takes her job for granted, but the ending result is more showing, as no amount of horseshit is worth doing such pointless tasks, when this isn't her destiny. So far, the two characters have been treated as lesser side characters, and even though on the surface it seems that this is just another wacky story, it hints at there being more beneath the surface of the two of them.

Four episodes in, and HIMYM hasn't fully embraced its strongest work. There are definitely touches of the show to come, but despite all of the strong points in "Return of the Shirt', the end result is mixed to positive at best.

How I Met Your Mother Review- "Sweet Taste of Liberty"

Sweet Taste of Liberty 1x03

Directed by- Pam Fryman

Written by- Phil Lord & Chris Miller

One Paragraph Synopsis: Hoping to break monotony, Barney proposes that Ted joins him at the airport to hit on women. One hopeful pair of prospects sends them on a flight to Philadelphia, only for a reveal that the girls in question both have boyfriends. The night only gets crazier for Ted and Barney afterwords. Meanwhile, a night by Robin's side has Lily contemplate permanently leaving the single life.

This is an important episode for a couple of reasons, both being in relation to the two main storylines.

While Ted and Barney's is the more memorable one to the average HIMYM fan, I'd rather get into Lily and Robin's first. Three episodes in, and Robin is slowly starting to gain her own identity. Notice how Ted isn't mentioned at all while she and Lily are together, which is one of the best things to happen to the show yet. As the character of Robin started off as the traditional desirable woman, exhibiting traits that are likable not just to Ted but also scantly to the audience as well, taking her away from this concept and out of Ted's hands completely should make or break her character. In this case, I'm willing to say it helped to make the Robin Scherbatsky persona.

Here, she's given a chance to express wit and expertly use sarcasm to shoo off potential suitors, and while this may not be something that's truly unique to female characters on television, Cobie Smulders plays her part well. There are touches of annoyance, familiarity, and disappointment melded together in her tone, all of which come off as completely authentic. Robin has already shown signs of wit in her conversations with Ted, but during her time with Lily (this is the first episode to pass the Bechdel test if you care- and this will most likely be my last reference to said text over the course of my reviews for the series) and deflecting bar boys, there is a great character ready to bloom here.

Lily's material is also important, as her lack of response from men and disappointment from such brings up a point that will become a big issue over the course of the season- Marshall and Lily have been together for a LONG time. It's been mentioned before that the two have been dating since they started college, and we're given a closer time reference to 9 years in the episode, which means that they both missed out on experimenting in dating of any kind. It's only practical for either one to feel antsy now that they're both confirmed to stay together for the long run.

This also comes into Marshall's subplot. Between staying in law school and maintaining a serious relationship, Marshall doesn't get as much of a chance to have fun with Ted and Barney as often, particularly not if women are involved. From what we've seen so far, Marshall is happy with his place in life, although it becomes apparent that there are some dumb male activities that he wishes to be a part of, which just isn't liable to happen at this point in time. It can even be determined if Ted constantly telling Marshall to stay in New York and Barney's rebuttle of meeting them in Philly is an angel-devil battle going on in his head to decide which path to take. While Marshall ultimately takes Ted's advice, the fact that he gives this such serious thought does indicate that this has been on his mind.

Lily seems to be less sure of herself, though. Over the course of the first three episodes, there has definitely been a spark that she and Marshall share, and that even remains when the two are away, but she does seem legitimately interested in being the center attention of at least some man other than her husband, which if it doesn't relate to doubt, might rather suggest that she wants validation of some sort. Perhaps validation that Lily is still desirable, no matter what her relationship status is.

There will be more to this series of events later on, yet I haven't even touched Ted and Barney's material. The most memorable part of the episode comes from Barney's introduction of his most iconic phrase, "legend, wait for it...", but besides that, the duo get the bulk of the most stand-out funny material for obvious reasons. Ted keeps a good hold on the straight man routine as he handles Barney's wackier bits, which are strong enough to transcend basic inanity as we get an idea of just how depraved he really is. Barney even goes as far as to blame Ted's disinterest in tucking in his shirt as the reason they're taken into security, which is just hilarious! dary.

But this isn't just a funny story. This episode is meant to define Ted and Barney's friendship, and give insight to both Ted and the audience just why he's friends with some guy he met in the urinal years ago. The answer is, well, just who else would come up with the idea to go lick the Liberty Bell? Barney's eclectic way of thinking keeps life interesting for Ted and the gang, even when trouble comes their way. Barney Stinson is perverted and a bit deranged, but in a way, so is Ted, and he quite clearly respects Barney's lack of inhibition to do whatever the hell he wants. At the same time, it even does keep Ted young and alive some more, as while he and his college friends slowly start to grow up into the real world, Barney never stopped keeping many of his childhood traits around. Barney is pure id, which keeps everything afloat.

"Sweet Taste of Liberty" brings some interesting ideas to the table, as well as some damn fine jokes. I think there are still more cracks to fill in the show's basis right now, such as more need for structure, but I'd still consider this a solid episode, and a step-up from the similarly decent previous one.

Hey, it's 2005!: Flip phones. Flip phones everywhere! I wouldn't be surprised if you could actually pay to get those shots of Barney using his fingers to his eyes as backgrounds for your phone way back when.

Continuity Fluck-Ups: Marshall confesses to the gay man that helps fix Lily's stain that he's never been in a fight before, but in season 4's "The Fight", it is revealed that Marshall and his brothers actually have a history of intense roughhousing. It'll come in handy too, but that's way off!

How I Met Your Mother Review- "Purple Giraffe"

Purple Giraffe (1x02)

Directed by Pam Fryman

Written by Carter Bays and Craig Thomas

One Paragraph Synopsis: Ted hopes to rectify his disastrous first date with Robin by holding a "casual" encounter for the two to spend time at... by holding a party at his place that is continually revived for the next night after she has to bow out. Meanwhile, Marshall hopes to finish writing his paper on time, despite the constant interruptions, and Barney tries to figure out who the hell Carlos is.

There are good pilots, and there are bad pilots. Sometimes, creators are able to bring every idea they have for their show onto the screen right on their first try, which makes for a great sale to networks and audiences. But there are always first attempts which come off as ineffective, yet are picked up anyway, since the network executives who were won over in the initial pitch just know that their showrunners have some special ideas, even if they need time to expand on them. 

And of course, there are plenty of pilots that are right in the middle. As television episodes, they're nothing more than decently entertaining, but there's something there to make the show worth keeping around until everyone involved hit the right notes and don't let go, at least until they make enough money. And of course, usually even the strongest pilots to your standard long-running series feel almost foreign to what their show evolves into.

And even though it was pretty far from perfect, How I Met Your Mother had a great pilot. I expanded on much of why in my previous review, so I'll get to the point- it's one thing to make a good first impression to audiences, but it's a rarity to keep the next handful of episodes just as, if not more, entertaining than your premiere. "Purple Giraffe" is a fine half hour of HIMYM, but there's still roughness to be found.

The roughness comes from the kinks that are still being found in the show structure. Right now, it's still mostly Ted's story, and his infatuation with Robin just isn't all that interesting at this point. A big part of that comes from just how one-sided it is right now, as Ted's core issues, which are how he comes on so strongly, the fact that he can't read signals at all, and that he said "I love you" on the first date, a fact that history will never forget, are still fresh in Robin's mind. It's obvious that she can see the good in Ted, but that isn't always enough.

But the biggest drawback that the two have comes down to key issues- Ted wants to get married and have kids in the immediate future, while Robin isn't sure if she wants ether, at least not right now. This brings up the contrast in expectations between Ted and Barney that I mentioned in my review for the pilot, in that Ted thinks he's at the right place in his life to settle down, while Barney and Robin, two different creatures at this point in time, still see their twenties as a chance to enjoy single life and not look too seriously for answers that aren't there. Ted, by comparison, fancies himself as a wise father figure who hasn't even been married yet. It isn't a surprise in the slightest to see that Ted isn't willing to put his dreams on pause just for someone he is otherwise convinced isn't the one. This isn't the right time for either one at all.

Marshall, Lily, and Barney get shut out in comparison, since they're unfortunately being written as afterthoughts for Ted's story. Which is a shame, since Jason Segel and Alyson Hannigan have been building up on their comic potential, with Lily delightfully playing the tease. I can't say that Hannigan is my biggest celebrity crush, when I have Demi Lovato ticket stubs and a huge collection of Tatiana Maslany photos on my hard drive to prove otherwise, but she is fantastic at keeping Marshall's pants occupied. Segel, meanwhile, is given some great material over the course of the episode, which also isn't much of a surprise, as he's given the only real subplot of the episode. Marshall's law studies becomes a big part of the show, which this only hints at. As of now, Marshall's character doesn't reveal enough about him to explore just why this matters.

There are also two things that I noticed in this episode, which will change in due time. For one, the pacing is a little slower, as there isn't as much jumping around as there is in the pilot or later episodes. This can be attributed to most of the characters usually being in the same room together, which doesn't require for as many camera changes, let alone scenery swaps. Somehow, the episode doesn't feel all that tired. If anything, the relaxed approach makes "Purple Giraffe" a little unique. 

The other is how pronounced the laugh track feels. The laughs get big and there are even traces of applause present, which almost gives the show the impression of being one of CBS' other sitcoms. This was something the creators have never been crazy about, but if memory serves me right, the canned laughter won't die down until sometime near the end of this season, or the start of the next. I won't comment on the laugh track too much in these reviews, since there isn't all that much to say, but I've never been opposed to the show having one. Even as HIMYM used some single-camera techniques, it's just as rooted in the multi-camera format, which makes the laugh track fit. It also helps to keep the show as the fine line between The Office and Will & Grace that made it one of a kind.

I see traces of the show that I love here, but this is hardly more than a pretty okay episode. The jokes that work do so rather well, while Bays and Thomas' interests aren't at the right place just yet. It's a solid follow-up to a strong pilot, but I have much to go through.

How I Met Your Mother Review- Introduction + "Pilot"

I think everyone who takes their television series has one show that to them, even if they recognize isn't necessarily the best one ever made, is just theirs. A series that will be there to entertain for better or worse, in sickness and in health, that it's hard to see yourself ever get tired of watching your favorite episodes. 

Give or take a couple of animated series, mine was most likely How I Met Your Mother, which I discovered during my senior year, when the show was in its fifth season. I quickly gravitated towards the life lessons and wide range of humor Ted Mosby and his four best friends shared with the world, and didn't let go... until the conflicting series finale left me, like many, cold. I've watched episodes here or there again, and while I still enjoy the show and laugh at the right parts, there's still a bitter aftertaste that won't go away.

Later this month, the 9th and final season will make its way to DVD, and as I have the previous eight, I intend to complete my collection. Until then, I think now is a good time to watch every episode again, and see if I still like the series as much as ever, and if maybe I can warm up to the creator's original vision, or if I still maintain my beliefs on the fate of the characters. And no, I haven't seen the alternate ending yet, nor will I until I get to that point.

Also keep in mind that since I hope to get people who haven't seen the show, or don't remember every single detail and want to rewatch with me, so I intend to make these reviews as spoiler free as possible. I won't ruin anything done after the episode I'm currently on is done, or I'll at least try to.

Pilot (1x01)

Written by Carter Bays and Craig Thomas
Directed by Pam Fryman

One Paragraph Synopsis: Ted Mosby promises his kids an incredible story, the story of how he met their mother. He takes them back to age 27, when he is about to lose his two best friends, Marshall Eriksen and Lily Aldrin, to the most fateful of all diseases- marriage. The recent engagement of the two has Ted realize that he's ready to settle down, but has no one to spend his life with. A night out with his other close buddy cum wingman, Barney Stinson, introduces him to what might just be the most beautiful woman he's ever met. Is she the one? Well...

The thing I always notice when I come back to the series' pilot is shortly after the future Ted Mosby's delivery of the classic movie protagonist's romantic yearning, present day Ted attempts something similar by asking Barney if he sees the girl across the bar. I don't think that I need to remind you of his response.

If anything explains the aesthetic of How I Met Your Mother, it's this. The series is consistently fighting between being the sweeping romantic comedy it wants to be, and the harsher slice of life it ultimately is. The balance of both is responsible for some of the show's best moments, as well as some of its worst, and is very present in the pilot. The juxtaposition shows some apparent weakness here, but at the same time, charm is present on the show since the very beginning.

Really, I can't fault this as a pilot all that much. The first thing I should look at is character, as the show does a good job of introducing Ted and Barney rather well, while certainly enough behind to their personalities to venture onward. Ted's romanticism is present abound, as is his calm wit, both traits that help to define the character along with his nerdy habits and entitlement, which the episode basically leaves hanging. Meanwhile, it's easy to see just why the world fell in love with Neil Patrick Harris as Barney Stinson, at least somewhat. His cool demeanor and eccentric lifestyle choices are laid right on the table, with NPH playing the role with relish, even though he doesn't seem to have every single idea for Barney planned out just yet. There's a sign of resistance that I haven't realized until recently, and that makes his turn in the pilot so fascinating.

Marshall and Lily aren't as explored yet, however. To say that they were afterthoughts sounds dismissive, especially since that isn't true- their engagement isn't forgotten over the course of the episode, and both are given some of the strongest gags around. I just don't have much to say about them as of yet, without spoiling later events.

As for the mystery lady herself, "Aunt" Robin mainly exists as a plot device here, rather than her own character. Cobie Smulders, who was the least experienced actor on here (or at least tied with Josh Radnor), tries her best to go behind her material, which isn't much more than your usual manic pixie dream girl dialogue. Sadly, this is a case where the writing succeeds over the performance, and despite Smulder's best attempts at extended charm or depth, Robin comes off as flat. A likable flat, but for the time being, I can only say that she has better days ahead of her.

Character is only one aspect of writing, though. The screenplay itself is fairly strong for a pilot, made by two writers with no sitcom experience. Thomas and Bays got their break writing for Letterman earlier in the decade, and come over with some knowledge of how the traditional situation comedy works, but mostly try things out differently. The two will continue to play with the sitcom format as the show develops, but what makes it feel so unique here is how fast the show moves from scene to scene. Most comedies, from the classic age to today, usually spend a good few minutes in one location before swapping over, while HIMYM has a rapid fire approach to its pacing. It's hard to find a scene that lasts more than two minutes in one specific location, which is crazy to think about, even for shows with bigger casts.

Thankfully, Pam Fryman, a more seasoned TV director, is fair game, and brings some great work into her direction. The set-ups are consistently solid, and the shots are magnificently framed. Sometimes a scene can live or die on the right camera angle, and Fryman nor her staff make any mistakes that I can note. If anything feels off here, it's not her fault at all.

But back to the writing, while the pacing is different, the comedy feels a little more traditional, going for a lighthearted sense of humor that isn't afraid to get a little dirty. There's more to be explored in terms of chemistry, but it is apparent that the group are close friends, and that Thomas and Bays want us to laugh with, and not at, the characters. Barney excepted, of course. Highlights often come from Barney; his early attempts at catchphrases ("suit up" and "this is so going in my blog- the former of which will make its way into the public lexicon soon, the latter not as much). Barney's attempts to get Ted to wear a suit, and not a blazer. And surprisingly enough, his laser tag appreciation is present here, which is something I can always get behind. More great jokes come from Lily's eyepatch in the episode, which of course lead to some.

There is more to talk about How I Met Your Mother as the show evolves, especially how it allows its characters to evolve with it. The pilot brings many ideas to center, and leaves enough mystique to it in hopes of keeping viewers around. This is primarily apparent with future Ted's reveal of how Robin isn't the kid's mother, a trick that for many seemed to help keep interest in seeing the whole story unfold. As a pilot, it works well, but there is much more to get into from here.

Album Review: Noisem- Agony Defined (2013)

Man, I'm kicking myself for not hitting Decibel's tour earlier this year. Of the 3 main acts, not counting the local supporting bands of course, the only one I don't care for much at all is The Black Dahlia Murder. But to see legends like Carcass and Gorguts on stage after seeing if new highlight Noisem lives up to their potential would have been divine.

I've listened to the Baltimore native's debut a few times by now, and it never fails to rip me in with its rapid-fire pacing. Agony Defined's 9 songs each never make it up to 4 minutes, which means the album consists of about 25 minutes of pure speed-death aggression.

It's no surprise that the band is still touring with Carcass now, since you can definitely hear the influence from Reek of Putrefaction abound, as guitarists Travis Stone and Sebastian Philips aren't afraid to trade intense riffs at 80 mph in the way of pure grind. But don't mistake their speed for inferiority- these shredders can hold their own among the most talented soloists of their era, which isn't a compliment to take lightly. These guys rock.

The rhythm section is similarly talented, with the drumming in particular being something to aspire to. Harley Philips, who is only 16 years old (fun fact- I'm older than the rest of the band. That makes me feel absolutely ancient) doesn't rely solely on blast beats, and is able to bring the right amount of energy and personality to his drum work, a feat that becomes taken for granted in today's climate. I also dig the bass, whenever I can hear it, since like many metal productions, the bass is usually the least important element in the mix. The scant touches of bass work shows smart uses of lines that are always welcome.

Vocalist Tyler Carnes holds his own just fine, even if his growls aren't anything truly earth shattering. Considering the material however, he definitely fits and does bring in enough energetic anger to compliment his band's power.

However, the band's lyrics are their weak point thus far. Reading through on their own, it's a lot of the same horror cliches present in death metal, which gets tiresome the more you get into the music. Lyrics thankfully aren't a deal breaker, and it does seem like the band is smart enough to evolve as they go along, hopefully still keeping their aggression while upping the ante lyrically.

Overall, Agony Defined was a highlight for me last year, and still gets decent play now. If you're in the mood for a quick skull crusher, you won't go wrong with Noisem. Below is a link to the album's closing title track.

Introduction

I've tried the blogging life out before in my own personal blog, and I still contribute elsewhere, but I think now is time for me to try it out again. I'm very passionate about music (heavy metal in particular, but more than just that), film, television, animation, and more. I hope to get into all of these, as well as whatever else gets into my head, before long.

So stick around!