How I Met Your Mother Review- "Dowistrepla"

Dowistrepla (3x07)

Directed by Pam Fryman

Written by Brenda Hsueh

One Paragraph Synopsis: According to Future Ted, there are 3 things Marshall seriously regretted doing in his life- one is a cute childhood gag, one of them is the unfortunate haircut he gave himself in "Something Borrowed", but the biggest regret has to be pushing Lily to buy an apartment of their own, rather than just renting one out. A big reason, probably the biggest, for Marshall's regret involves Lily's massive credit card debt, which Lily is still hiding from him until they go to apply for a mortgage and the insurance rate is through the roof. Now that Marshall knows, the two seriously fight until a sweet, if misguided attempt from Lily to divorce so Marshall can apply for a lower rate makes him realize that she's worth fixing this with her. They buy the apartment, anyway, until they discover what the street name, same as the title, stands for- and see my pic for that.

I almost doubled this up with the next episode since I don't see this being a big review, but what the hell, I want to go to sleep soon and likely won't find time to write tomorrow. If this is a short one, so be it.

The thing is, "Dowistrepla" is hardly a bad episode. If this is the worst the show is capable of, How I Met Your Mother really must be an incredible series (this isn't the worst by a long mile, but the pros still outweigh the cons for the show). But besides some essential story development, the episode feels a little unimportant. Just rather light.

I think the lack of a cohesive sideplot hurts the episode, especially since there are ideas used for potentially good ones that are washed away by the end. Barney gets pretty close to having a fun, full storyline with his attempt to hook a romantic woman up with false hopes. Barney relies on an excessive amount of lying by even his standards, which does lead into some witty replies, such as his cover-up of the original apartment owner's picture.

But all of this comes off as afterthought anecdotes, unessential to the story despite how Barney uses the Dowistrepla's apartment. There's little interest in expanding on the concept, which is best exemplified in its conclusion- he just leaves her in the apartment. We don't often see Barney's women return after his rejections, but this is a case where I wish we could have, especially if she was caught and arrested in the apartment. Barney deserves some kind of retribution for his actions, but nothing of the sort happens, nor do Fryman or Hsueh seem interested in it. Although in hindsight, the lack of closure might have helped if the timing was a little better, as the ending slam is all too sudden to crack in. A shame, really.

Even more disappointing is the initial idea of Marshall and Lily growing apart from Ted as they're settling into married life. What's disappointing is that this could have made for a great plot for Ted, but is mostly forgotten early into the first act. Ted's grief has driven good episodes before, and even relegated to a B story would make for a welcome addition. But there's no room for that right now, it seems, which is a shame.

I do compliment the scene with the stag trio as they attempt to solve Lily and Marshall's mystery, however. It gives Robin her most substantial dialogue beyond reminding Lily of her debt, as well as gives Barney a unique role for him to play. The role, of course, is being Ted's yes man, as Detective Mosby is on the case. And boy is he fun. The joke behind Detective Mosby is that he reads the clues well, but misinterprets them for the end game, which is all too true for Ted's character. Just look at the last season for proof of that.

It also allows for the best camerawork of the episode, as the mise en scene briefly changes to almost documentary film work as Ted's take on the clues is shared. This is refreshing to look at to break away from the show's likable, but familiar typical structure, with a striking, welcome new tone taking place instead. And this sequence also allows for the show's traditional quick pacing to return, as the episode takes a bit of a slower turn for a change.

The slower pacing comes from this episode's reliance on Lily and Marshall's decisions, which as expected make for good conflict, even if it drags a little too much. The funniest moments come from Future Ted's "that's what they should have said" running gag, offering logical solutions alongside less logical conclusions. The power of hindsight makes for a sad laugh all too often, as these prove tonight. And of course the non-related "that's what they should have said"'s are uniformly funny as well as the plot relevant ones are informative. Oh, and I have to give props for Mr. Mosby's appearance in the episode. I'm sure he was just happy to not have to deal with kids in the lobby.

There aren't that many great jokes aside from the aforementioned in the A plot, but good conflict should make up for that. As also mentioned, Marshall's discovery of Lily's debt is effective. While their full fight isn't shown, it is telling that Marshall doesn't get too mad at her from what we see, even though he has all the reason in the world to. This is a serious problem on Lily's part, but Marshall is still his loving country boy self, and it's not enough to destroy their newly minted marriage.

Lily didn't mean to hurt Marshall with her shopping addiction. No one means to hurt others with addiction- it's just a sad but natural way of life for people with addictive personalities. Lily is still reeling over her disappointment in San Francisco and it appears that shopping eased a hole in her heart that continually became more of a problem for her as she went along, and it's high time that it caught up to her. At least she has a husband that supports and wishes to help her through this hard time.

Lily's mixed results with her artistic passions is evident in her familial cutaway, as she's seen teaching her future little girls to paint as well as their mama. This is the future Lily hopes for, what she sees in the apartment, even if it isn't coming to life anytime soon. And it just may not be practical, at least depending on their current situation. But Marshall's isn't any more practical, even if it is harder to read in his character.

One thing is for sure- no matter how much Marshall and Lily love each other, nor however strong they are in terms of facing obstacles, it will take a lot to make a home out of theirs. Not only are they living by a sewer, but let's be honest, the place doesn't even look that nice.

But quality and location aren't what seem to be important here. Fate is what appears to be at play for the episode. Marshall felt the need to move out, which he does to the first place he finds. That's not exactly ideal, but something big must be going on for it to occur. Marshall must have needed to know about Lily's financial state at this time, and they must have needed to move out right then. Let's see how that builds later on.

There is enough good to not skip over the episode, and even if there wasn't, this is an important episode for the ongoing story. This just isn't among the best, though. It's also hardly the worst, but there is more story to tell this season, and we can only hope it gets better from here.

How I Met Your Mother Review- "I'm Not That Guy"

I'm Not That Guy (3x06)

Directed by Pam Fryman

Written by Jonathan Groff

One Paragraph Synopsis: When Marshall's offered his dream job at the NRDC (National Resources Defense Council), he's ready to take it and forget his planned interview for the slimey Nicholson, Hewitt, & West, until Lily suggests that he gives it a try anyway. While Marshall still has his heart set on the NRDC, his interviewer slowly wins Marshall over with moves that Barney uses himself for women at the bar. While she shouldn't be rooting for Marshall to take a job he'll likely hate, Lily has been secretly pushing him towards it the entire time, as it turns out that she is putting the two of them into serious credit debt with her shopping addiction, and they'll need the big paycheck NH&W will offer. But at the end of the episode, she suggests to Marshall that it's not worth taking the job, before he goes through with it anyway. Meanwhile, Barney discovers that a porn star is using Ted's name, which Ted attempts to get to the bottom (or top?) of.

The challenge: write a review before I head to work. But let's see how this goes, as "I'm Not That Guy" is a solid episode, but hardly as strong as the past couple. Those are usually the toughest to write for.

Although, this is definitely an important episode, as it introduces another of the key storylines of the season- Lily's financial woes, and how they affect hers and Marshall's marriage. Keep in mind, though, that Marshall still doesn't know of her credit issues.

But that's the thing, Marshall and Lily share most everything. In the decade that they have been together, the two are in synch to most everything, which is what makes Lily's decision to shelter this so fascinating. There's a guilt factor, yes, as Lily's bad monetary habits are likely to ruin them for a long time, and it's entirely her fault. While Marshall is known to be accepting in instances like this, it's still likely a little too rough for him to handle.

I shouldn't demonize Lily, since overspending happens to many (hell, I'm getting there myself), especially since it's being portrayed that she has an issue with shopping. It's not responsible at all, but to Lily, shopping is therapeutic when she needs a breather, which doesn't justify her bad money management, but in the twoish years the audience has known her to this point, she deserves some sort of relaxation. It would have just been better if her tastes were cheaper, but I still give points to the show for addressing how someone with a salary like Lily's is paying for her clothes. The same was never done for Mary Richards.

Thus is the woes of a capitalist society, that we're obligated to spend so much at retail when we only learn so little. Sadly, Lily has to deal with the repercussions firsthand, but it is good that Robin confronted her about her spending. If she had to wait much longer to address it, her debt would not be salvageable.

Lily's attempt to push Marshall into the Nicholson, Hewitt, & West job may not be the best mentally for him, but makes sense fiscally. The NRDC won't offer nearly as much as NH&W does, and there isn't exactly a room for improvement in kindergarten teaching for Lily. Since her art is mostly a dead end, for the two to help take care of their financial issues, it makes the most sense for Marshall to stay at a job that pays higher, at least for a while. Who's to say the NRDC won't be hiring again in a year or so, after all?

But it's nice on Lily's part that she decides to root for Marshall to not force himself into a job he's not interested in. The money would definitely help, but Marshall didn't go to law school to do bullshit work for a crooked firm. His goal is to help save the environment, which he couldn't do at NH&W. And he probably won't, even after he takes the job afterall. Still, I welcome the sacrifice Lily attempts to make, even if it's for moot.

So obviously Marshall's material with Coatsworth isn't a waste. Even if Marshall turned him down, though, it would still have been fun to see the exec try to seduce Marshall, as his methods became increasingly more elaborate and promising.

Although if there's one problem with it, I don't think that John Cho (one of Neil Patrick Harris' Harold & Kumar costars, among numerous other roles he's become known for in the years since) is entirely consistent as Coatsworth. His comic delivery is strong in places, redeeming Cho for enough of his time, but he also does some uninspired readings in just as many places, shockingly so. On top of that, Cho isn't all that convincing as a law firm executive, especially as oftentimes he still sounds like the stoner he's famed for playing. It's weird to see a misfire in terms of guest performances for HIMYM, but I don't buy Cho for most of it.

But what I really like about Marshall and Coatsworth's time together is the implication Barney brings into it, that Marshall is being treated like a date. Awesome dinners, great drinking sessions together, the candlelight's, the fancy dress. That's more than enough to win any good guy over, but what seems to seal the deal for Marshall is the promise of being in charge of the legal department for Tuckahoe Funland, which I've learned is based off of an actual landmark amusement park in New York where similar bad things have occurred over the years. Coatsworth clearly knows this, but uses it to his advantage anyway. As you can see, it works for Marshall, as he doesn't really know or care about the deaths or E. coli outbursts the park is famous for as he accepts. Selfishness or ignorance? You decide.

But also keep in mind how Coatsworth gets under Marshall's skin previously in the episode. As Barney mentions, the exec uses trademark sympathy devices, such as pretending to share interests and maintaining an open ear for Marshall. While we don't really learn about NH&W in this episode, it seems pretty clear that few of the people involved in the place, let alone Coatsworth, really cares about the environment. They care about money and success, which Marshall promises to be able to deliver.

Even more telling, though, is when Coatsworth talks money to Marshall. Before we know about Lily's credit issues, he cuts right to the punch that Marshall wouldn't be able to support Lily nearly as well if he went to the NRDC, while she similarly doesn't bring a whole lot in at her current job. An obvious truth, which Coatsworth doubles up on by making sure that Marshall's family has little to offer them, as is true. We're never really sure how Marshall made it to college with his smalltown roots (I just assume that some financial aid and a lot of loans are involved- that's how most people get in), but he's pretty far from flushed right now. There really aren't many better ways to dig into a guy than through his wallet.

That undercut works well towards constantly funny moments, that are somewhat reminiscent of "World's Greatest Couple", but work better here. The lack of enforcing dated gender roles and the reliance on good-humored winks is a very welcome change, as each of the flashbacks to Marshall's time with Coatsworth results in entertaining little vignettes, right down to Marshall's eventual walk of shame. Even his brief dialogue with a woman in similar shoes is humorous without reverting to sexism.

As for Ted and Barney's material, it's all good itself. It's been shown that Ted isn't much for pornography, at least on the surface, so his response to discovering that his name is being used for a porn star's name is natural, and it leads into solid ribbing from the gang. Less solid, however, is the reveal of Ted's phone interview mishap, which is a little too broad for its length. If a little bit was cut off and left to the imagination, it'd ring better for me.

Although really, this whole B plot is broad, which is the point. I just think there was more fun to be had in the convention, with the humorous reveal of Bizarro Ted. This allows for a likable and surprising story of Ted's bravery, and leads into a great exchange between a potential replacement name. All fine and good, but my favorite part of the scene comes from the beginning, with Ted's awkward wave to the guy in his human resources center at work. Damn.

"How I Met Everyone Else" is an A episode (I don't really believe in A+'s, but "Slap Bet" might come closer to one than any other episode), while this isn't. Despite some issues with "I"m Not That Guy", though, there is much to like and promises of something more to come for the show. That makes it pretty far from a misstep in my eyes. It also helps keep the winning streak season 3 has been on going, which keeps it a a step above the previous 2 thus far. Let's just hope it stays this strong as the year goes along.

By the way, challenge won. With over an hour to spare.

Continuity Notes: Not an error, but it's funny how doppelgangers are brought up in this episode, when the concept will show up later on in the series in a different manner. You'll see soon enough.

How I Met Your Mother Review- "How I Met Everyone Else"

How I Met Everyone Else (3x05)

Directed by Pam Fryman

Written by Gloria Calderon Kellett

One Paragraph Synopsis: When Ted introduces the gang to his new date, Blah Blah, Ted promises to please her by not telling them that they met online, which he divulges to his friends before she arrives anyway. While they pretend to go along with Blah Blah's story, everybody starts sharing the stories of how they all met, from Marshall and Lily's Wesleyan freshman introduction to Ted's secret sabotage of his first wingman endeavor for Barney. One more bombshell is revealed tonight though, at least as it seems- apparently Ted and Lily made out at a party just before she'd meet Marshall. That doesn't end up being the case, but nothing will keep Blah Blah around, anyway.

Well, I hope you guys had a great Christmas. Mine was just fine, and I'm going to cap it off with reviewing one of my favorite episodes!

The flashback device has been used fairly regularly on the show since it started, but this is among the first eps to use it to carry a story, which Kellett, who won an ALMA for her script, does wonderfully. A good cutaway expands on character and mythology, rather than just adding in unneeded random humor, which is what HIMYM does to a T. Nary a bad note is shared throughout.

Each look back at the character's introductions only continue to ring true for each as their definitions are becoming tighter. Take Ted and Barney's, for example. Barney's rules of how to live were initially shown in the pilot, but everything before and after is new to the audience, as thankfully all the pieces fit.

It's strangely logical, if a little gross, to see Barney practicing his story to pick up the woman at the bar while at the urinal, given how cocky he is. But Barney isn't too cocky to go for an untested scheme, which makes his midstream confession to Ted seem logical, as fresh ears would give him the answer he hopes for. While that's a funny sequence, even better is seeing how Ted "helps" Barney get the woman's number, probing to Barney Ted's natural skills, such as his knowledge of sign language. Ted's anthropologic appreciation for universal things such as language is something that Barney can admire, both as someone who appreciates culture himself, and as a way to help him score even more women.

But Ted's silent sabotage is the important piece of the puzzle, proving that while he instantly seems to realize that Barney's a nut job, he's a fun one, which can build into a great friendship easily. It's a respectable culmination of a handful of concepts that ring true to the future relationship of these two, done under 3 minutes while not cutting out anything important to sell the point.

This sequence also fits beautifully with Marshall and Barney's introduction, which is even shorter but contains all the information you'll need. It's a brilliant reminder of their core relationship- Barney respects Marshall's usual chill and ability to win over a woman as great as Lily, while Marshall finds Barney to be often entertaining and surprisingly a good friend when he chooses to be. This time added in with more kissing, which as expected, Fryman frames excellently as Barney watches on. And only Barney would constantly retell a story that ends in his humiliation, only because he's so involved in it. To be fair though, this is pretty minor on his embarrassment scale.

Of course, those re nothing compared to the Wesleyan material. Not only is everything told about Ted, Lily and Marshall important, which I'll get to soon, but there are just some hilarious moments abound. My favorite might be the whole of Ted and Marshall's origin story, which is just a hoot. One thing Marshall and Ted share is an respect for the rules, which stops when it comes to "sandwich" time. This explains Marshall freaking out about thinking Ted the dean, but only makes the realization that he isn't all the more hilarious. As humorous as it would be to see the actual dean "eating" in Marshall's apartment, Segel's delivery keeps the bit all the more perfect.

Lily's introduction to Ted isn't as memorable, but does keep towards Ted's mixed relationship with Karen at the time. While we haven't met her yet, it's been heavily implied that she's not all that great (most of Ted's exes aren't, and don't worry, I'll get to Blah Blah soon enough), and Ted's, not anyone else's, description of their relationship makes it all the more obvious. It's also funny just to see Radnor play defeated so well, which thankfully he keeps together.

We saw hints of Lily and Marshall's first meeting before, including brief bits from that first visit in "Best Prom Ever". The story of how they met has already been ingrained into the show since the beginning. As an estimation of how it all happened, their scene is great. Fryman has her crew keep the atmosphere dead on as Lily makes her pilgrimage to her future husband and best friend's room, as the framing and lighting are right on. This isn't shot like a holy moment, but a sweet one, with just enough melodrama to make the importance stick.

Does this contrast with the illusion Ted keeps in his head? Nope, since there isn't very much romantic about a college boozer, as the show doesn't even intend to go for. Keeping true to future Ted's narrative, this sequence doesn't exactly keep Ted especially likable, as his university douchiness is showing, enough to please a wide-eyed liberal Lily. Or rather, who freakishly small mouthed girl really is, which is revealed when Marshall is told the story.

What if Ted did make out with Lily before she met Marshall, though? Well, besides pissing in the wrong shampoo bottle, it really doesn't matter now. Lily and Marshall are clearly in love, while Ted is clearly fine as being their greatest friends. The story can still be told as a funny side anecdote of what could have been, but that's it. And it isn't even the truth. That just wasn't meant to happen.

Bad form, Blah Blah. And while I have to admit that Barney's crazy::hot scale does stink of ableism, I really do enjoy this part of the episode regardless. Abigail Spencer (who has gone on to be an award-nominated actress for Rectify and has a role in the upcoming season of True Detective, among other performances. Also, we'll see her again here, but I dare not reveal when for newbies) plays game quite well, never hiding for a second that she isn't ideal, but still makes herself pleasant in a strange way. At least enough to keep the night going.

She is so obviously wrong about forcing Ted to reveal his belief to Lily, but it adds to the conflict, which is actually strong. While Blah Blah's jealously is unfounded, she does at least accurately pinpoint Ted's complicated history with Robin, something she also recognizes but tries her best to ignore. While they keep their distance tonight, Radnor and Smulders both respectfully maintain some of their awkward tension together as it's brought up. Good acting on their part, and much fun comes from Blah Blah's calling out of the awkwardness. One of my favorites comes from her referencing said awkwardness upfront without realizing who's responsible for it at the time. Because that's so Blah Blah.

Blah Blah's contemplation of Ted and Robin's past is what makes her decision to focus on Ted's history with Lily worthwhile. The tension between the two of them is totally nonexistent compared to Ted's with Robin, but that's the fun that brings itself into rewarding future watches- seeing how wrong Blah Blah is, and reveling in it. Even if Ted and Lily did make out, that should simply be kept in the past at this point. There's nothing to go forward with here.

Just as there's nothing to go forward with by still playing WOW. I'm not calling the reference dated, since there are still people logging in today, but it's funny to see how this is the two met up. It says that although Ted's over Robin, there is still loneliness that he deals with. A nice MMO should at least help the situation, ever so slightly.

It's just a shame that Blah Blah was a wash of a date. But she allows for a hell of an episode, one that contains fantastic pacing and character beats that only continue to impress in numerous repeat viewings. This is more of a funny than sad episode, but that's just fine. How I Met Your Mother is a comedy, and when it aims for jokes, the show often excels beautifully. This is merely among the best that it offers. And while there are issues with mental health representation, it'd be crazy to not enjoy the episode for what it is. Crazy. Crazy. I said crazy.

How I Met Your Mother Review- "Little Boys"

Little Boys (3x04)

Directed by Rob Greenberg

Written by Kourtney Kang

One Paragraph Synopsis: Lily sets Robin up with the father of one of her kindergarten students, which sounds pleasing... until she realizes that he has a son. Despite her dislike of children, Robin decides to date him, anyway, and even tries her hardest to warm up to little Doug (fun fact- this is also the same kid that harassed Marshall in "Monday Night Football"). Just when Robin starts to really like the kid, though, she starts to feel smothered, which results in an awkward, surprising break-up. Meanwhile, Barney and Ted compete to see who has more game, as Ted wins over a girl that Barney had previously slept with. All Ted has to do is sleep with her himself to win, but something else happens- he really starts to fall for Stacey, the girl in question. Visions of Barney's exploits ruin that chance for Ted to win, however. Except, Barney lied, and damn.

"One, we agreed to never say 'brah'. It was a good week, we had fun, it's over."

You know you're in for a good episode when a line like this is dropped. But really, the episode is full of choice dialogue, another knock-out for Kang. She may not be the show's most consistent writer, but she has definitely made some winners, this one being up there.

So what do I like about "Little Boys"? For one, Robin gets the A story for a change, which has almost nothing to do with Ted and results in important development for her. While she's still not completely ready for raising children, her take on warming up to Doug proves that the idea may not be such a scary one in the foreseeable future.

It's been proven before that Robin has just never been great with kids, with an earlier flashback in this episode proving that to be true even when she was a kid (this is the last we'll see or hear from Katie in a LONG time, btw). Robin is a fairly high-maintenance person, and while that makes for good parental skills for some, children only seem to just annoy her. This can likely be attributed to her father's raising of Robin, in which she was treated as a boy in many ways, and such feminine ideals were taken away from her. Parenting isn't just a feminine ideal, though, which only proves sexism on her father, and Robin's own childhood's, part. It's a fascinating, if incorrect, method of thought to consider.

Some people were born with a maternal or paternal instinct, always having that push towards raising and bettering children for the future in them. Others take their time to grow into such instincts, and yet some others never obtain it at all. There is nothing wrong with any of this. You aren't required by anything to procreate, but the world is always welcome for well-raised children. For Robin, there's no appeal to childbearing, and when you put it the way she does by comparing birthing a child to pushing a Ferrari out of her vagina, I completely get her viewpoint.

People change their minds, though. Many people who never planned to have kids, but didn't use protection correctly end up as great, loving parents, while many people who do want children are actually rotten at parenthood and end up regretting their decisions. And you never know what you can have until you find out that you can't. Robin still has time before anything like this can become an issue, so it's interesting to watch her timeline from the show's beginning, and see how, or if, her mindset has changed. As evident here, I do think that Robin is a little open to being a mother.

Although, I think this is only the case as Robin doesn't really act motherly to Doug. She makes him cereal and keeps him company, but almost like Robin is a big sister, or even a babysitter. Robin doesn't drive, make any more complicated food, clean, etc. We don't even see the two of them together with Doug's father, to indicate what they would be like as a parental unit. The lack of serious responsibility is what helps Robin warm up to the kid, but give her more to do and see how she'll react.

Although I think Robin recognizes this, which is why she tries to call off her time with Doug and his father. Right now, Robin knows that she can enjoy the company of a little kid sporadically, but regularly is another issue. Ted digs on Robin earlier for not liking kids, but that isn't necessarily true. She likes kids, at least now, but the birth and daily responsibility might be too much for her right now. Again, there is nothing wrong with this, as it's only a human reaction. Not everyone is as fatherly as Ted is. Also, she deserves better than being a side hoe.

This is a strong concept to build a story on, and Greenberg, returning to replace Fryman since his endeavors in the previous season, does a good job of pacing Kang's script. There are many great jokes added into their time together, but the emotional core isn't forgotten when needed, right down to the tight ending conversation between Robin and Lily, which is framed wonderfully. Greenberg keeps the camerawork traditionally strong while Fryman is away, just as he gets the right idea behind his actors' various inflections. Almost nothing is left out of place.

Particularly Future Ted's ending delivery, which is wonderfully edited with shots of drawings featuring the future aunt and Ted's kids. This is an adorable sequence that is paced considerably well, and again contains great narration from Saget. I wouldn't call this a tearjerker by any means, but there's no denying that when HIMYM goes for a gentle moment, it often succeeds. Now if we can only learn a little more about their mother.

Which clearly is Stacey, but who was expecting that to begin with? Still, Ted and Barney's B plot is similarly great, even if it is much less meaty. But the jokes almost entirely land, which is all you can ask for.

It is interesting to see how Ted and Robin are coexisting after the break up, though. Robin is successfully brought into a blind date, while Ted is dared to hook up with a girl, only for both to become serious relationships before long. Different methods, not so different results. But that is how life works.

Like most one-off dates, there isn't much to discern from Stacey as a character. It's established that she does yoga and plays bass in a reggae band, the latter of which being a big plus for Ted (the bass, not so much reggae). Otherwise, it takes context clues to see what Ted sees in her, and she does seem rightfully sentimental for him, which on top of her bass skills is good enough for Ted's sake.

But how is this funny? Ted and Barney's opening discussion about their wooing skills is written quite well, not allowing either one of them to come off as favorably, but does give them both a chance to share choice lines. You can't ask for much more than great dialogue sometimes, which is sprinkled throughout in the episode.

Especially when you factor in Marshall's contribution to the episode, which is clearly more tied to Ted and Barney than Robin and Lily. His quest for game affirmation is pathetically hilarious, while keeping true to Marshall's increasingly shattered hopes of being one of the boys. He still is, but Marshall's duty as a husband comes before dickwaving with Ted and Barney. To be fair, though, one of the funniest bits of the episode comes from Marshall's confirmation from the man in the nice shoes, which is how you do a funny, tasteful gay joke. Take note, writers.

Also hilarious is Barney's twist, which as dark as it may seem, makes sense for the character and works as a useful twist against Ted. While Stacey seems lovely, it wasn't fun to see Ted win so well in the episode, especially since the framing makes it clear that their relationship wasn't meant to last. But a reminder of Barney's intuitiveness and charismatic devilishness is always welcome.

Although I don't think much would have been lost if the scene of miniature Barneys dancing on Stacey's body was removed. Same with a miniature Ted doing the same in the tag, especially since it's obvious that the two of them never made intercourse, but it is good vengeance for Barney's sake.

Still, talk about a hell of an episode. HIMYM is only continuing to get smarter and likable with its characters, as "Little Boys" is evidence of. This doesn't appear on many people's favorite episodes list, but it's gold worth digging through.

A Crash Course to the Treasures in the Disney Vault- December 2014 Edition

If there's one thing I love besides How I Met Your Mother and metal music, it's Disney. Thank living in Central Florida for all of my life and appreciating animation for just as long, but I admire much of the company's output, mainly during Walt's time.

And if there's something else I love, it's Turner Classic Movies. Keep in mind that I'm a film major, and the movies only continue to amaze me today, so TCM's vast library and out pour of support never ceases to amaze me.

So naturally, seeing Disney and Turner combine forces makes me happy, as now the channel is helping to maintain The Great Movie Ride at Disney's Hollywood Studios, while Disney is allowing TCM to show material from their vast history in various installments. This isn't the first time the two have combined forces- TCM used to own the broadcast rights to many of Disney's films up into the early 80's, and they usually show at least a couple of the studio's movies during TCM's Classic Film Festival every April (this year included The Jungle Book, along with anniversary screenings of Mary Poppins and The Muppet Movie).

But on this scale? Dude. Besides, TCM is also going to air classic shorts and even episodes from Walt's television program, both of which are completely welcome, years removed from TV.

Since a surprising amount of people aren't as familiar with the studio's older output, I figured that I'd make introduction posts to these various blocks that TCM plans to air. These won't be heavily detailed, but I hope to give readers the basic gist of what to expect, and whet your appetite for a night of classic Disney. Expect these tomorrow, Sunday December 21st, starting at 8 PM!

8:00- Classic Short Showcase

Three winter-themed shorts from the studio's massive animated library start this block up. First is the 1947 short "Chip an' Dale", which features the first named appearance of the two chipmunks, as they protect their acorn stash from Donald Duck during a winter storm. The two had appeared twice before to mess with Pluto and Mickey in other cartoons, but they're probably best known for, besides being a pair of Rescue Rangers, their feuds against the easily temperamental Donald. As I'm actually working while the block starts, I watched the short again to refresh myself, and it's still a fun, if typical for Donald, cartoon that'll please those hoping for a nice laugh. This short was originally put out on the third Chronological Donald set from the Disney Treasures line.

Next is "Santa's Workshop", the 1932 Silly Symphony short that, as you can guess by the title, shows Santa Claus working on this year's toys for all the good girls and boys. This is a cute enough short, but like many cartoons of its kind from the early 30's, there isn't that much to it besides nice animation and music. But if that's what you like to see in a cartoon, especially during Christmas time, this will please, and it's hardly a dud worth skipping in between the half hour.

Although, the original print does contain Jewish and black stereotypes, which the print I viewed doesn't have, but don't be surprised if TCM, who pride themselves on showing unedited content, doesn't skip over these. In Scandinavian countries that still annually show their Disney Christmas special, the short is still routinely played, even though the aforementioned caricatures are removed. This short was placed in the More Silly Symphonies Disney Treasures set, as a "From the Vault" option.

And rounding out this set is "On Ice", a Mickey and the gang short from 1935. This was just before Donald and Goofy were starting to eclipse Mickey in popularity, but still when they were being given good placement in his shorts. But it's a fun bit where the three of them, along with Minnie and Pluto, go ice skating together. There isn't much else to it, besides Donald being a major dick to Pluto, but that's the fun, I'd figure. Being one of the first Mickey shorts to be done in color, this is properly a part of the first Mickey Mouse in Color Treasures set, as well as the first Chronological Pluto set.

8:30- Disneyland- "The Disneyland Story"

Well, it's been 60 years since Walt's iconic Disneyland program premiered on ABC, and since this is the first block in TCM's Disney series, why not air the first episode of this iconic program? I'll also be missing this, but I've seen the episode a few times before, anyway. In fact, I actually got to see a bit of color footage of Walt rehearsing for the opening speech he presents when I went to the D23 Fanniversary event from this year. This footage was actually silent, but the Archivists used audio from the speech in question to bring the illusion to life.

But beyond that, though, the episode had Walt introduce the concept of the show to audiences, telling them about the Disneyland park, which was the real reason he made the show, as ABC promised to help fund its making if Walt sold them the show. You can see a gleam in his eyes as Walt talks about his aspirations for the park, and the hope that it would arrive that year

But besides the Disneyland park, the first half of the episode also contained previews of some of the episodes to air later that year, as well as movies currently in production. The second worked as a telling of the story of Mickey Mouse, and how everyone's favorite rodent (unless you're more of a Tom & Jerry person, of course!) came to life. Like many of the show's hourlong episodes, it's a fun watch, trading advertisement with sincere entertainment. This was released on the Disneyland, USA Treasures set.

9:30- The Reluctant Dragon

This 1941 film contained a totally scripted, yet enjoyable and informative, look into the studio's animation department at the time, as Robert Benchley goes through the studio in hopes of finding Walt to convince him to make a film out of the Reluctant Dragon story. Containing memorable looks at the animation process, as well as little trinkets from future animated films and even a performance of Donald and Clara Cluck by Clarence Nash and Florence Gill themselves, there is much to admire about the live-action portions. Although keep in mind that this was made and released around the time animators for the company were striking, so more "employees" were merely actors than not.

Even if the animated ones are better remembered. The film contains a few shorts, including a brief look at one featuring Casey Junior, the train from Dumbo, before more substantial cartoons are shown. Such as "Baby Weems", a cartoon about a baby senator that never made it past storyboard, but is still present here. This actually was Jay Ward's inspiration for Rocky & Bullwinkle, as he admired the way an entertaining story was made without being fully animated by Disney's usual top standards. Then there's the classic "How to Ride a Horse" Goofy short, which shows him trying to, well, ride a horse. This is such a fun short, in the typical instructional Goofy fashion, that it was eventually released as its own short.

But the key piece here is The Reluctant Dragon itself, a featurtte in which a young boy coerces a dragon to fight a "brave" knight, to prove its existence. This is a delightful story, so much so that it has been released and shown on its own in the years since the film's disappointing release. Which is a shame that the film didn't become a hit, since there's much to enjoy. Definitely worth a look for fans of the era, and it was the centerpiece of the Behind the Scenes at the Walt Disney Studios Treasure release. The film was also recently pushed on as a bonus feature for the Blu-Ray double feature of Fun and Fancy Free and The Adventures of Ichabod and Mr. Toad, a release that I own, which makes the fact that I'm arriving home a half hour or so in not sting that much.

11:00- Davy Crockett, King of the Wild Frontier

Easily the biggest phenomenon to premiere not only in the first season of Disneyland, but on the show as a whole were the Davy Crockett episodes, showing the occasionally frantic, always interesting, life of this frontier icon. Wonderfully brought to life by Fess Parker, Crockett's tales take us around the US, up into a final battle at the Alamo, complete with a congress trip, to boot!

The Crockett phenomenon sold an obscene amount of coon skin hats and kept its theme song on the top of the charts for a long time, and would later inspire two rides that both US Disney coasts would obtain- while neither Disneyland or Magic Kingdom still have the Mike Fink Keel Boats (although Disneyland Paris has a similar attraction, not tied to Crockett), Disneyland still has the Davy Crockett Explorer Canoes, which they usually save for busy summer days. Keep that in mind the next time you want to row a canoe while in Anaheim!

The first three episodes that aired during the show's inaugural season were later sliced into a 90 minute film, released into theaters and making a lot in the box-office, despite having aired to big ratings not too long ago. Maybe fans just wanted to see it in color, as it was originally filmed in. This version is what is going to show tonight, and is worth sticking around for, even if the original episodes are where it's at. A Treasures set containing all 5 episodes was released, but a cheaper DVD containing both edited films is still around to find.

12:45- The Vanishing Prairie

Disney's second True-Life Adventure, which contained fascinating documented looks at wild life with almost no bullshit, introduces audiences to animal life in the prairie, or what little can still be found. This Academy Award winning film is going to be new to me, as much of their True-Life films are, so I hope you enjoy it yourselves. You can find this in the second of four True-Life Adventure DVD releases.

2:00- Third Man on the Mountain

This 1959 release is probably best known for being the inspiration behind the Matterhorn at Disneyland, the first roller coaster for the park, and the only one Walt got to see made in his lifetime (although he had a helping hand during the very early stages of Space Mountain). This is a likable, inspirational film about a young Swiss man who trains to climb the Citadel, a giant mountain that killed his father during his attempt to climb it. This was made before every live-action film Disney made would either become a juvenile yukfest or an attempt to build a franchise for testosterone-filled boys who want action they can see in theaters. Or the fairy tale revisionist thing Disney has been cashing in on above all else, even using their own films.

Walt had a great time traveling to Switzerland to shoot the film, even though similarly to The Reluctant Dragon, it wasn't quite a hit. But in terms of entertainment and importance to the parks, Third Man on the Mountain has some staying power, enough for me to recommend staying up for if you can. It is also available on DVD, though.

4:00- Walt Disney Presents- "Perilous Assignment"

Aired during the sixth season of Walt's program, this episode was used to promote the film by featuring its mountain climbing guide, Gaston Rebuffat, as he shows the audience some of his mountain climbing know-how. I actually haven't seen this before as it just doesn't show up that often, nor is it on DVD, but it sounds like a nice cap-off to an awesome night of classic Disney.

How I Met Your Mother Review- "The Third Wheel"

The Third Wheel (3x03)

Directed by Pam Fryman

Written by David Hemingson

One Paragraph Synopsis: Remember Trudy from "The Pineapple Incident"? Ted runs into her at MacLarens after Barney and Marshall bail on their guys night out, and just when they're about to hit things off again, Trudy's Cappa sister, Rachel, arrives. That would normally be the end of things, but Rachel seems interested in Ted as well, which turns things over into a competition between the two for his affection, finally culminating into a potential threeway. Yeah, that was gonna happen. Maybe. On the other spectrum, though, Robin has a date of her own with an attractive British surgeon, who's hitting all of the right marks to make Robin break her "no sex until the third date" rule, which requires a shave. She doesn't quite make it, though.

Is this episode sexist? While the plot isn't all that interested in the feelings behind the women Ted's entangled with, that's not much of a surprise, since they aren't main characters, but Ted is. It would be a good idea to see a story like this from one of the women's perspective, there isn't much to be mad at Ted for in his plot. From what we can tell about Rachel and Trudy,, they are completely consenting into a threeway, while Ted never pushes them. He's hardly a gentleman, but he isn't despicable at all here. I do think it's a problem that Lily refers to sorority girls as sluts in more than one instance, however.

I have to admit, I was a little worried when I hit "The Third Wheel" up again. It's been a while since I've seen the episode, and I was afraid that there would be creepier aspects about it, but this is still a fun ep.

For one thing, it's nice to see Ted and Robin date other people again, without pounding onto the audience's head how awkward it should be. Because it shouldn't; Robin and Ted are reasonable adults and have more than enough time to deal with a logical healing process after their break up. This shouldn't even be a problem. Besides, Robin had her fling with Gael, which was a welcome endeavor for her to fix the pain she still must have been feeling at the time. But both relationships are over and Robin is out of Argentina, so it's fair for her to move on.

It also helps that both stories are just fun. Robin's is less substantial, since her biggest issue until her concussion at the end (is it wrong to laugh at that? Well, okay, I'll admit that I didn't get too big of a laugh out of the bit anyway- it's almost hackish, something I'd expect from a lesser show, maybe) is that she wants to shave her legs. But who says that this is a bad idea for a subplot? A lot of what comes out of Robin's desire is solid material.

Robin's date isn't given much to do here, but I can get an idea of why she's willing to break her rule for him. Neil Jackson is pretty charming in the role, even making the fact that he's never given an actual joke not distract from him too much. His British dedication allows for a welcome balance to Robin's mantra, as she just eats him up.

But the real fun comes from Robin's communication with the waitress, which I just realized may not have even been theirs, which makes her presence all the more welcome. It's not the most original concept to see a character argue with a difficult hired help, but in an episode with a somewhat disappointing lack of fantastic dialogue on par with the series' best, their material contains some of the winners. A great performance form Smulders, combining desire, determination, lust, and anger, all without batting an eye, is another saving grace for their time, as the waitress doesn't do much to warrant a happy motion for Robin.

Not to say that Ted's story isn't fun, though. Being the bulk of the episode, it had to please in some way, and thankfully his story works well as classic hornball shtick. While as I mentioned before, Ted remains pretty likable through, never coming off as desperate or pushy. He wants to sleep with both women, but doesn't throw anything at their face.

Trudy and Rachel (played well by Busy Phillips, and while I'm saddened that she didn't get to reunite with Segel, they were hardly an essential duo on Freaks and Geeks) are given a little more to do than Robin's date, as they play flirtatious wonderfully. The range in octave of these women's voices makes for a fun contrast during the first act, as they continue their game to win Ted over, while keeping their lines straight and believable. They keep the game going throughout, as both actresses maintain a sense of drunken fun right to the very end. There's even a solid bond set between Ted and the women, which only adds to the cause of this story working.

As for the quest, more good comes from it as Barney's rationale adds to the experience. Helpful flashbacks are used throughout, with an earlier one introducing the belt humorously selling the idea of he or Ted being able to make it into a threeway is an award-worthy pursuit. Because as shown in later flashbacks, as well as Ted's own flubbing, it's not the desirability of these men that make a threesome seem unlikely, it's their impulses fighting with them. That's a funny concept, and logical, considering how intense the concept might seem. But seeing Barney's initial fabrication to the actual truth behind his failure is hilarious.

But Barney is always fun! How about Lily and Marshall? Well, keep an eye on Lily's shopping trip here, this will show up later on. But you know it's a good time when Marshall's pants come off. But other than his and Barney's bailing on Ted, he's not that important to the episode, a great quip about how a threeway for him and Lily is out of the question aside. Lily, meanwhile, is a part of both stories, and while she isn't necessarily essential either, she's a good fit for both. Her friendship to Ted and Robin is undeniable, even if she decides to blow one off for another. It's the luck of the draw, but if she went to help Robin, her material wouldn't be as fun.

Now, as I end off this review of a fun episode, I have one more question- do you think Ted rightfully won the belt? Personally, I don't think it's pertinent. Although Ted sure loves to fuck and tell.

Hey, It's 2007!: Oh, the Wii. I have no regrets getting it opening night, even if it wasn't as powerful as the PS3 or 360. But I never did find Wii Sports as fun as many others did. But maybe it's not Wii Sports, since you can't compete in Wimbledon on it. Oh, but I'm pretty sure that you'll never see the Wii in the show again.

How I Met Your Mother Review- "Wait for It"/"We're Not from Here"

Wait for It (3x01)

Directed by Pam Fryman

Written by Craig Thomas & Carter Bays

One Paragraph Synopsis: Despite Barney's hopes to wingman for Ted again, Ted decides to take the summer at a lackadaisical pace, and doesn't go back into the dating game for long- until Robin returns from Argentina, with her new man Gael (Enrique Iglesias). Feeling like Robin is "winning" the break up, Ted gets back into the game, and quickly finds an interest in Amy (Mandy Moore), a wild girl he meets at the bar, and convinces him to get a tattoo. When a hungover Ted wakes up to find that tattoo ended up as a tramp stamp, he realizes that no matter how hard he tries, it's just not easy to get over a break up, a feeling Robin agrees with.

We're Not from Here (3x02)

Directed by Pam Fryman

Written by Chris Harris

One Paragraph Synopsis: While seeing Gael impress all the ladies in MacLaren's, Barney and Ted decide to try a new way to hook up with women- pretend to be tourists! They find two cute women, but just about everything that could go wrong happens, right down to them actually being Jersey natives. As for Gael, Robin's honeymoon phase is over for him, as she becomes increasingly distant from her relaxed vacation self and has all but lost interest in Gael's lifestyle. Inviting a bunch of boarders to her place didn't score him any points, either. On top of all of this, Marshall feels offended when he reads Lily's pre-death letter, a part of their separate wills, and finds it to be lacking.

Okay, I didn't decide to do both of these episodes since they feature Enrique Iglesias. I remembered that Gael came and left in the third season's premiere episodes, but I mainly chose to combine them together to make up for lost time after my trip. It's a good call, since even though they're not exactly connected, both episodes fit well together.

While not every episode directly addresses this, especially not to the extent of "Wait for It", this season is about how Ted and Robin move on from their break up. Similarly, the latter, albeit less significantly, shows the other core theme of season 3- Lily and Marshall's adaptation into married life.

Both are fine storylines to devote a season to, as each of these relationships, and the characters in question, are rich enough to further explore. Marshall and Lily's importance is obvious, but since it's all but clear that Robin isn't the Mother, but she still isn't going anywhere, this will be a good chance to further explore her character as an independent. Meanwhile, Ted's present issues continue to show themselves as a fit to his core quest.

Neither episodes are about Ted's quest, although the first does well i showing his current emotional state. Clearly, he still cares greatly for Robin, and it does hurt that they didn't last as a couple, but in a sense, he is over it. When Ted comes to Robin's place, he doesn't ask for her back, merely just for another chance to talk about their situation. This is done in a humorous manner that has continually works for the show, especially since it leads into more substantial material, backed up by strong writing from the creators. Radnor's honest delivery nails the scene here.

Robin, meanwhile, doesn't seem to be taking the split as badly as Ted does at first sight, but her reveal around this aforementioned speech does indicate that she had her own grief to deal with. Similarly, she still cares for Ted and part of her questions their break up as a mistake, to the point that she barely enjoys her trip without Gael. It's a complicated split, one that is so apparently rough for her.

I think this is such a good, human story for Robin, as the show is continuing to find ways to allow her to emote. While she's pretty far from a robot, Robin's emotionally ambivalent past is hardly a secret. Years of repression from her father had taken a toll on Robin's psyche, to the point that while she clearly felt sadness, she never seemed to address it as well as you and I would. She has learned to move on from this in the year since moving and moving up in the world of broadcast journalism, but it does seem that her circle of friends, Ted in particular, have helped to open her up more. This is what makes Ted, and the gang, so important to Robin, and her to the show as a whole. We all learn and grow together.

To Robin, Gael was a coping device rather than another partner. This isn't a great way to go into a relationship, but then again, I don't think that Robin was truly hoping to make Gael her next boyfriend. The reasons he came with her to Argentina were 1) guilt on Robin's part, to prove to Gael that she isn't shallow enough to drop him the moment her trip ends, as he must have taken an offer to go with her to New York seriously, and 2) an attempt to bring her vacation self back. As the second episode proves, neither of these end up working for her, though.

The first is an idea that indicates that Robin means well, but still reeks of selfishness on her part, as if her dedication was more important than Gael's actual feelings. I could be reading that wrong, but it really doesn't seem that Robin cares for Gael all that much on his own, which she only realizes when they're in New York.

That brings up my next point, that the Robin that lives her daily life in Manhattan isn't the same as the Robin that enjoyed casual sex and savored every morsel of food in Argentina. Whether or not she knows this subconsciously is brought by the end, when Robin does actually talk to herself from the summer again, and sees how lame she is. As fun as Argentina was, this isn't Robin. She can't be this relaxed. While not quite Type A, Robin has her own standards that she needs to continue to live up to in her regular life, which her vacation self didn't need to worry about. It was fun, but time to go.

There was no way Robin and Gael could have worked in New York. While he means well, Gael's relaxed viewpoints don't mesh well with society here, and while I'm admittedly ignorant in Argentinean culture (if I could get a certain someone to stop trolling my comments section, I'd hope for someone who is considerably less ignorant to tell me how, if at all, the show's brief flashbacks to Argentina remains relevant to the country's culture). This is a good chance for him to discover the city himself, but even with his license in physical therapy, he needs a more majestic location to spread his wings. New York is lovely, but maybe not for every romantic at heart.

It's funny how both romantic interests in the first episode are played by popular musicians, and they each pulled their performances off well. Iglesias, of course, has more to do though, even forgetting his presence in the preceding episode. In "Wait for It", he rightfully nails his foreign charm without coming off as offensive. Iglesias' natural accent (although he is personally Spanish) never comes off as over the top, nor does he utter any forced, awkward mixed English. Gael's passions also come off as universal, rather than stereotypical, which helps to make him the likable character that the actor aims for.

The one thing that executives hope for when suggesting musicians for acting roles is that their charisma makes its way off the concert stage and onto the screen. Even if they're not the best actors on the face of the earth, hardly the next Katharine Hepburn, a big part of your average vocalist's success comes from their stage presence, the way they command their environment. Similar to how convincing an actor that their performance is meant to have them be a singer, a good way to entice musical artists to arrive on screen is to tell them that this is a different concert hall with different rules.

And that works for Iglesias pretty well. He brings his usual charm that helped to make the singer a sensation to his performance as Gael, making his inevitable wooing of Lily and even Marshall come off as completely natural. It's a good romantic performance, especially as it contrasts from his increasingly depleting relationship with Robin, which even early on barely showed chemistry between the two. Whether this was an intentional decision from Fryman, or Smulders and Iglesias couldn't get it together isn't quite clear, but it is an important thing to consider, about both the performance of Gael and for the episodes as a whole.

Mandy Moore almost plays against type as Amy, as she doesn't adhere to the bubblegum-y self she introduced herself to the world as during her intentional pop star days, nor her less commercial, more honest indie turn. She's actually a rougher character than you'd expect Ted to date, which makes his time here fascinating. Ted usually prefers a cleaner cut woman, as Amy isn't really at all.

But that's the fun, and thankfully Moore is equally adept at playing along. Her material is brief and not as lengthy as Gael's, but she's a burst of energy during the second act. Note how she messes with Barney's traditional system, and the way it grabs his goat. A wonderful attempt at vengeance without her realizing it.

Ted and Barney do have some good stuff in both episodes. I got into the meat of their first story earlier, how it's Ted's wild but only modestly successful attempt at getting his mind off of Robin. There are some great jokes in between, with the best possibly being Barney's ambivalence towards his own date, as his only challenge tonight is to keep up with Ted. It shows Barney's dedication, that nothing matters to him as much as his goals, and surprisingly, his goals don't include getting laid that night. Although it's a great return when Barney does accept the woman's offer for sex at the end. Not only is the delivery perfect, but so is the timing, as he says yes just after failing to help Ted. Talk about nailing it.

The second is another fun plot, even if it takes from a Seinfeld episode. While George's endeavor as a faux tourist had some enjoyable material in its own right, I think this is a better usage of the plot. It helps that HIMYM is reaching its prime here, while Seinfeld was well past its when the story was done. Heck, Barney even references the show while he's with the girls!

But despite a slightly unoriginal premise (I only say slightly, because I can't think of another example of the plot on top of my head, and the execution is different), this works well for the two as it allows for Ted and Barney's pride towards New York come out. Ted is clearly a lover of New York, gladly supporting the state away from Jerseyers, while Barney, an actual NY native, shows obvious love for his own, but knows when to shut up. NPH's usually excellent mannerisms show more to the surface in Barney's performance, as he clearly isn't a big fan of these girls' taste in the area as well, but he sticks in character all the way through. And his southern accent is just a hoot!

Plus, it's always just a treat to see Ted and Barney interact. Both being young men that aren't tied down like Marshall, they have a niche that clicks well, no matter the circumstance. When they're arguing, it's fun to see, as Barney and Ted are high-strung people who aren't afraid to stick to their obvious biases  against each other. But as friends? Radnor and NPH have wonderful chemistry, completely making their kinship believable and always enjoyable to see blown out, whether at MacLaren's or one of... whatever number of... whatever restaurants.

Sadly, Lily and Marshall are the odd ones out here, as even though their bond is still undeniable, there just isn't that much for them to do in either episode. Well, their time with Gael was a fun moment in the first, with Marshall's reaction to Gael's serenade continues to be a classic, as meme and onscreen. Hannigan's childish responses to her admiration for Gael is another strong point, keeping itself delightful.

Less fun is their plot in "We're Not from Here', which comes off as broad. I've heard that the story is similar to a King of Queens episode, and as someone who doesn't care for the show and thus haven't seen the episode in question, I can't talk about how they compare, but there just isn't that much to it. There are better ways to open the can of worms about trust, and while the ending pay-off is cute, it's hardly worth what ends up as some of the more tedious parts of the episode, as Marshall complains about Lily's "lack of respect".

Still, "We're Not from New York" is a strong episode, but I think the premiere trumps it. However you spin it though, season 3 is off to a good start, and these eps only remind me of some of the highlights to come!

How I Met Your Mother Review- "Something Borrowed"/"Something Blue"

Something Borrowed (2x21)

Directed by Pam Fryman

Written by Greg Malins

Something Blue (2x22)

Directed by Pam Fryman

Written by Craig Thomas & Carter Bays

Two Paragraph Synopsis: It's wedding day for Lily and Marshall, and you name it, it happened to them. Many different wacky scenarios, from venue and entertainment changes to the return of a jealous ex to a horrible haircut attempt to ruin a peaceful ceremony for the two. Being the best friends in the world, Robin, Ted and Barney do their best to ease their friends during the crazy, until an even crazier idea hits them when Marshall and Lily meet before the ceremony- why don't they just get married separately, just the five of them (and some guy with an acoustic guitar) before their inevitably disastrous bigger ceremony occurs? With Barney given the power of priesthood days before the event, these close friends watch as their favorite couple exchange vows away from everyone else, in a wonderful sequence.

But after all of that, Marshall and Lily fail to sit down and eat during the reception. Their plot in the second ep involves a constant promise and denial of food for them when everyone else interrupts their food search for various reasons. The main story here, though, is Ted and Robin's, as Barney demands a hinted secret out of them. As they delve into the story, many different possibilities are offered for their future, but the end reveals only one thing- Robin and Ted have split up, citing their differences in future plans being the reason they can't work together. The episode and the season ends with Barney offering to become Ted's wingman again, as Ted, who doesn't feel the desire to find "the one" after his time with Robin has ended, accepts.

When I think back on Marshall and Lily's relationship over the past two seasons, various little things comes back to mind. One scene in particular that plays in my head comes from "Atlantic City", when Lily discovers that Marshall had learned to cook while she was away. The thing is, he can only make pancakes, but even when he reveals this, the look in her eyes is completely sincere, and welcoming. This matches up perfectly to Marshall's widened up, embraced reaction. Even with his limited skills, Lily is just happy to be back with the love of her life, and Marshall is just blessed to have her back.

And that's the wonderful thing about their relationship. Despite every rough patch, Lily and Marshall love each other greatly, and no force in the world can change that. Even when they were away, their flame didn't burn out. As the two of them continue to live their life, it never will.

This is the thing that makes their love story so fascinating. At this point, Marshall and Lily are basically one. The previous episode built up that when one of them starts to feel sick, so does the other. Lily can't sleep without Marshall singing to her. They even tell each other about literally every single thing they do during the day. It's a love story for the ages, one that the show isn't afraid to play as saccharine, yet never comes off as too needy, as Segel and Hannigan are so pitch perfect at the roles that it couldn't.

There are cases where the chemistry fights the writing (a point that I hope to delve in as the show goes on), but although Thomas and Bays refuse to play them COMPLETELY straight, I never for a second doubt that Lily and Marshall were meant to love each other greatly, based on both the writing and these two wonderful performances. Whenever they're on screen, even when they don't see eye to eye on certain things, all I see is love.

A love that is present throughout in both of these episodes. But the most important moment comes at the end of the latter, even when Lily is out of frame. When she throws up at the burger place, as the cashier tells Marshall what his wife does, Marshall pauses. The camera closes in on him, and a remarkable shot of joy is shown on Jason Segel's voice as he says "My wife". Talk about a perfect, if silly and somewhat gross, way to present the season in a nutshell- that no matter what has, and will happen, they're meant to be. Lily and Marshall's future is going to be bright one, after Lily washes her face and sobers up a little, at least.

The drive that keeps Lily and Marshall's love alive is what keeps the second season going, and it's the force of the first of these episodes, while also being a present part of the latter. The force pushing "Something Blue", however, is Robin and Ted.

Now Robin and Ted, this is a relationship where love is absolutely present, but in a different manner. I'd say the key thing between their relationship and Lily and Marshall's is that Lily and Marshall only continue to love each other more each day, but while Ted and Robin's trust for each other grows throughout much of the season, it stops after a certain point. There are signs of deterioration present, but I'd consider that they're harder to find unless you see these episodes more than once. The key clues include Ted and Robin not feeling couple's fatigue at the end of "Single Stamina", as opposed to Marshall and Lily, how they called off moving in together before a full day had passed, and, well, what's present here.

While the constant faking outs may get tiresome to some viewers, I personally don't mind, as Barney's reaction to each possible reveal of Ted and Robin's news is worth it. Each fake out also brings a different possibility to what could have happened to them, each helping to potentially build to a unique start for the next season. Did Ted and Robin get married? Are they going to Argentina? Is Robin pregnant?

Nope. While there is ground for most of these ideas, there's only one clear-cut way to bring the characters forward- their separation. As much as I liked Robin and Ted together, it's for the best that they split. Throughout their whole charade, it becomes increasingly present that as much as the two like each other, this isn't meant to work.

Just note Robin's reaction when she finds the engagement ring in the champagne they were wrongly received (another thing to consider- like Lily and Marshall, they're above such cliches. Ted is more imaginative to try such a tired method as putting a ring in champagne. His idea would have been far more creative). As reasonable as it may seem to be as initially freaked out as she was, it's not exactly a positive foretelling that she melts down the way she does.

Ted's disappointed reply to Robin's reaction makes just as much sense. They've been together for a good year now, so I can see why he'd hope for something happier than a bunch of nos. Although, while Ted does say that some day he wants to get married, he doesn't seem all that ready to pop the question at this point. I think that deep down inside, he knows that they won't work together.

It's equally disappointing to think of, since they do work together as a fun, synced couple. Robin shares enough of Ted's passion to fit with him, just as they both are fresh enough to mesh well. Radnor and Smulders have also built up a strong bond as actors, making their every kiss and fight feel utterly believable. Maybe too believable in the latter department, which explains why the break-up is ultimately for the best. But what crackerjack performances they give as it happens. The show has had plenty of good dramatic moments up to this point, but the frame I chose for the episode just shows how good Smulders and Radnor are at building up on Thomas and Bays' ability to depress just as well as they can crack a joke.

Watching the steps towards Robin and Ted's dissolving is what makes "Something Blue" the stronger half of these episodes. "Something Borrowed" is hardly a dud, but it does get tiresome for me in parts. Ted's bargaining with the clearly bald uncle in particular goes on for too long as it reaches for an obvious conclusion that doesn't pay off as well as Fryman and Malins seemed to have hoped for. And while I enjoy seeing Neil Patrick Harris and David Burtka on screen together, Burtka's delivery as Scooter is fairly disappointing. I remembered him being stronger on "Best Prom Ever", but Burtka doesn't seem to be a strong enough actor here to make his lines work as he unsuccessfully sells his own bargain to Lily.

But what works still works. I enjoy Barney's "it's for the bride" subplot is enjoyable, and isn't used too often in the episode to come off as tedious. Call it a super power, if you will. I also like much of the material with the pregnant harp player, which doesn't come off as unfair to her as I'd expect, given the show's so-so track record with body positivity. Thankfully, many of Lily and Robin's lines are well done without being too mean.

And it goes without saying that the group's private ceremony is beautiful. Hannigan and Segel perfectly sell their vows, both wonderfully written and as full of life as this long-standing couple. Fryman's camera decisions are also excellent, and keeps the whole thing fresh as we're reminded of why they love each other. The ceremony the two do in front of the rest of their friends and family couldn't have been nearly as beautiful, so it's nice to see it shown in a highlight reel, so the audience can get an idea of how poorly it goes.

I've mentioned most of the material for "Something Blue" throughout, so I'll end this review by saying that the ending gave me hope for a closer step towards Ted meeting the mother as I began to start season 3 up. I was well in love with the show at this point, but Barney's closing "legen, wait for it..." got to me. I already knew of most of the gang's quirks by now, but there was much more to see for these five characters, and I couldn't wait to see what. I hope this is the reaction viewers still get, as we wrap up this wonderful season.

Final Season Score: Being as unbiased as possible, I'd consider this season to be a B+. Not every episode was truly a home run, and the stretch between Lily's return and her inevitable reconciliation in particular was a relative rough patch for the season, but just when she and Marshall get back together, the show gets into a particular high groove. There are still some rougher episodes, and an unfortunate touch of transphobia displayed sporadically, but much everything has improved here. The characters are increasingly being well-defined, as the actors are becoming more comfortable with the roles. And while not every concept work, the writing is sharp throughout. Perhaps if some episodes received at least one more draft, I would have been happier with the season as a whole, but that's still a fair score and reflective of a strong season.

How could I knock a season that produces something as brilliant as "Slap Bet", after all?