How I Met Your Mother Review- "Sandcastles in the Sand"

Sandcastles in the Sand (3x16)

Directed by Pam Fryman

Written by Kourtney Kang

One Paragraph Synopsis: Robin's ex, Simon (James Van Der Beek) comes to New York for the week, and despite being a clear loser, Robin's smitten all over again. When Simon asks if they can get back together, Robin says yes with no hesitation, and things go about the same as they did back when they were in high school, down to the same ending. Things almost end there, except that Simon reveals that he was in Robin Sparkle's other music video, which she shows Barney at the end of the episode. Followed by a passionate night between the two friends. Before this, the rest of the gang discuss "revertigo", as Marshall likes to call it.

I'm not sure how to take Lily and Michelle's material. On the one hand, it does allow for some funny moments between the two of them, but honestly, seeing Lily's ghetto impression is uncomfortable. I found this to be funnier when I first saw the episode and didn't view moments like this as critically as I do now, but as I watch the episode again, huh.

Racism can work in comedy if the joke is against the person being racist. If a white person is being offensive or appropriating without realizing, then it's just unpleasant. While the gang do find Lily to be embarrassing as she speaks slang that I don't think is even accurate, there isn't enough of a biting commentary against her to really make the joke land.

Although I do give Kang props for writing a moment where Michelle speaks "normally". Not only does this allow for the character to prove to be more than a stereotype (although one must wonder if a person of color choosing to embrace cultural attributes they're identified with is wrong to begin with. You can be just as productive a member of society if you're obtaining a Ph.D in behavioral psychology no matter if you like rap or not. Let's not limit ourselves to anything), but her analysis of Lily's regressive state brings up an interesting concept. Lily reverts to her high school self, a white girl pretending to be black, whenever her high school best friend is around, which is something that Michelle recognizes and seems to find more funny than offensive.

If Michelle's okay with it, does that make it okay in general? I'm not black, so I can't say, nor should I think we should let any one black person speak for all of black culture. If Kang added in something just a little more deeper to the subtext of Lily's behavior, I think this could have worked better. Instead, it's an awkward low light to an otherwise fine episode.

Robin's associative regression is something that's all too common. There are always those people that can make you tick with no effort, even if no one else can determine why. It's a unique psychological question that, while contrasting with Robin's usual awesome self, helps to bring some light to her character.

I feel that Robin didn't get to fully embrace her teenage years, between her father's strict upbringing and brief success as Sparkles. This is a part of her life that's missing, and might be what Simon triggers. When he's around, Robin seems to revert to your basic teenage girl, further highlighted by her humorous argument between Lily and Marshall. Besides the three of them playing strict parent/rebellious teenager cliches well for people their age, this continues to play into the concept. Missing a phase like this is enough to cause regression of any sort, and there have been moments earlier in the series where it seems like Robin is compensating for some things.

Similarly, Simon doesn't seem to have matured at all in the decade since they last dated, which is only sad on her part. Robin is pining for a 17-year-old in a 42-year-old's body, which thankfully Van Der Beek was game to pull off in every conceivable way. It makes their inevitable fall before all the more depressing, never mind the lack of real rise. Sadly, the heart wants what the heart wants, so logic doesn't seem to matter to Robin here.

I'd like to think that Robin does know better here, despite whatever psychological issues are holding her back. Something bigger is building up on her mind, although honestly, I can't spot it right now. But there are four more episodes in the season, so let's see...

That ending, though. First of all, the "Sandcastles in the Sand" video is excellent, a hilarious play on sappy love ballads that artists of Sparkles' kind are want to release. Tiffany and Alan Thicke make for great cameos, as the video is a treat to watch to see which cliche is pulled off next. Barney's tampon commercial comment is dead-on, right down to the video's cold cinematography.

But what follows right after is a long time coming, but I plan to save it for my next review, since there will be more to get into then. I needed to pull out this quicky to keep things going. That said, "Sandcastles in the Sand" is another solid stepping stone towards the end of a strong season. It's near-impossible to top "Slap Bet", but there is enough to like, racism aside, to make this a worthy follow-up.

How I Met Your Mother Review- "The Chain of Screaming"

The Chain of Screaming (3x15)

Directed by Pam Fryman

Written by Carter Bays & Craig Thomas

One Paragraph Synopsis: After getting caught with his pants down in regards to a report he's late on, Marshall is subject to a terrible screaming session from his boss, Arthur (Bob Odenkirk). As someone who doesn't take well to screaming, Marshall ends up crying during the ordeal and tries to come up with a scenario to avoid another succession of screaming from Arthur. Barney's suggestion is for Marshall to blow off some steam himself first, to embrace his so-called chain of screaming, but all it does is allow Marshall the bright idea to yell off to Arthur before he quits, ending this chapter of his life. But the book's far from over.

Screaming is a helpful form of catharsis. It doesn't matter if you're always on like Barney, or a generally likable, respectful person like Marshall, there are times when it's not only okay, but beneficial to yell it out. Probably not at your boss, though.

While it really is a dumb idea to shout at your boss, Marshall is a character that doesn't allow himself for much selfish cathartic bliss, which makes his otherwise boneheaded decision a strangely logical and certainly enticing one. This allows for Marshall to express himself in a way that's downright foreign to him, as well as ignore the shoddy suggestions his friends gave him earlier.

"The Chain of Screaming" is he fifth episode in a row that's almost entirely A-plot, which isn't surprising when you consider that it's the fifth episode in a row written by the creators. Especially as of this point, Bays and Thomas' intent seems more focused on finding one strong story and sticking to it, even if other characters are cast aside. This was more common far before HIMYM was made, when sideplots weren't really a part of sitcoms, but this format has often been cut back post-Seinfeld. Nowadays, your average sitcom half hour usually has 2 or 3, or sometimes even more, stories to tell, or in some cases one big tale with most of the core cast involved.

Of course, part of the fun of HIMYM is that it isn't most sitcoms. Not only are Bays & Thomas willing to cut time away from even their most popular characters if the story requires it, they can still stick to the show's traditionally quick pacing. Scenes at MacLaren's or Marshall's firm can stick for a while, but cut frames fast when a punch is needed, as the dialogue remains brisk throughout.

And of course, cutaways are rampant throughout, but never lacking in use. When the episode feels light on Ted and Robin, memorable sequences in which they replace Marshall's job, right down to his suit (Cobie in a suit is muy caliente, btw), take place, and allow for the characters to show off their typical charms. Robin's possessive gun admiration makes for a fun chance to see Arthur almost shit his pants, while there may not be anything more joyful than seeing Ted struggle to come up with a compelling speech to win Arthur over. In truth, the collection of words he strings up is actually kind of shoddy, but it's the thought that counts, as both Radnor and Odenkirk (post-Mr. Show, pre-Breaking Bad, always excellent) play their expressions well.

Another good scene for both Ted and Robin takes place in Ted's new Camry Hybrid (huh, product placement? On a broadcast show? Who would have thought!). It's a great bit of expanding comedy, as Ted's friends continue to come into his new car with increasingly messy items, paying no mind to Ted's wishes. The result is obvious, but this is a good callback to the golden rule from Marshall's Fiero days, something the gang should have remembered well, but at least for Barney, Robin, and even Marshall's sake, don't care about.

Just like "The Bracket", however, Lily surprisingly gets some of the most substantial material in this episode, getting the closest thing to a B-plot. Unlike some other sitcom women, Lily isn't afraid of embracing her sexuality, as she has no trouble letting her friends know that Marshall's time away at work is making her unbelievably horny. Every scene Lily has allows for this little detail, right down to her own take on trying on Marshall's suit and tie, giving Odenkirk even more great bits as he keeps a straight face while supporting her libido. All in a dream, but this is among the funniest aspects of the episode, just as the ending makes for welcome resolution in a callback to the pilot.

Barney does good himself, helping Marshall to blow off some steam by screaming for himself. It's a noble effort that takes time to pan out, but Barney's persistence pays off. He also gives the episode its title, as he introduces his chaincirclepyramid of screaming, a logical enough concept that he fails to land in the presentation

My random subversion of my original point for Marshall's character was placed for a specific reason, to spell out the absurdity of his friends' placement in this episode. Because as much as I love the gang, and while they contributed enough to the episode, this is all for his character.

Marshall has every right to yell. His work here is the antithesis of what he was hoping to do in law. The work is long, tedious, and stressful. His new apartment is a junkyard that he can't even afford, since Lily put the two of them way in debt. This is enough to make anyone's hair fall out.

But Marshall Eriksen isn't anyone. His welcoming disposition can only last for so long, and it takes a good cry for him to want to put an end to this. Marshall can be assertive, as shown previously in the series, but it takes a lot of courage for him to stand up, especially if his job is on the line.

This is why, even though I still say that screaming at your boss isn't a great idea, it's a welcoming moment for Marshall. Tired of being pushed around and not taking control, he finally does and walks out in a rough fashion. It's a good way to bring this arc, and this review, to an end. We've got a lot more HIMYM, and Marshall Eriksen, to go over, but if the upcoming episodes are as good as "The Chain of Screaming", right on. This isn't the series at its absolute best, but there is more than enough to like. Now bring on the rest!

How I Met Your Mother Review- "The Bracket"

The Bracket (3x14)

Directed by Pam Fryman

Written by Joe Kelly

One Paragraph Synopsis: Before getting a chance to step out of line with other women, let alone sleep with them, Barney is getting stopped cold, usually with a slap to the face, and he doesn't know why. Until a random blonde woman comes to Lily and tells her to beware of Barney, having previously slept with him. As Lily didn't get to know the woman, Barney takes it upon himself to make a bracket of the 64 most likely candidates to sabotage his future, leading him to meet the top 4 possibilities and make amends. When none of them end up being the women in question, Barney eventually apologizes to a mystery woman that he thinks is her, but is merely just a friend of Robin's. Ah well, he'll find out who is responsible some other day.

In hindsight, I should have done this review side-by-side with "Ten Sessions". While they don't have much in common in terms of material, there is one thing that they definitely share that would be worth critiquing together- the lack of a b-plot.

The series has been sticking to one-story episodes for a surprising amount of episodes this season, without losing much in the process. On the one hand, "The Bracket" is a little slower than your average episode in spots (the moments with flashbacks bring the show to its more common place speed), but the show's fast editing and quick, but succinct timing is still in tact. Instead of taking away from making more plots where the other characters can have their own allotted time, this episode keeps the rest of the gang in tow and allows for their time to shine even if Barney and Lily dominate this particular story.

Ted and Marshall, in particular, have a great sequence in the opening that explains how they get the blackboard, excellently brought back by a passing line from Lily later on. While their story is solved early on, it is for a good cause, as Ted's delivery of "I didn't know they were playing today" is uncanny, all you really need to settle the plot.

Robin, meanwhile, has some strong delivery of her own, first with some necessary screaming during the bracket breakdown that comes out funnier and more jubilantly than the rest of the gang, which not only shows Smulders' comic abilities, but also gives an idea of just how much fun the gang has on the show. Also strong from Robin's part is her giggling from lying that occurs when Ted calls her out on it, a trait she carries well into the last act and doesn't come off as forced. Considering how often laughing can indeed come off as forced, this is a thing to be proud of. Along with her look from Barney's whisper. Damn.

Of course, that's something which makes the episode so fascinating, that the gang, while still morally against Barney's actions, seem to have a lot of fun partaking in the bracket. Despite the general grossness of Barney's attitude towards women, the gang do seem to enjoy him. Or perhaps inspite, as delving into some of the awful things Barney has done to women remind them, and even ourselves, that no matter how badly we may screw up, we're not as awful as Barney Stinson.

This is important to consider, since Barney confesses to some terrible things in this episode. The character still remains to be the fan favorite even after saying that he might have traded a woman for a car. As a feminist, I find this absolutely disgusting. Yet the line still gives me a dirty laugh.

When I think about it, the joy of experiencing entertainment, be it literature, film, music, or in this case, television, is discovering something we don't necessarily relate to, but can find human logic in the idea. This is a big part of the appeal of science fiction, and also makes for a big part of comedic lasting power. People enjoy laughing at the idiosyncrasies of the Seinfeld gang, the depravity of It's Always Sunny in Philadelphia's cast, and Barney Stinson's disturbing take on ethics. As long as the jokes aren't too tasteless, and there are times where that can be an issue, and done well, it's easy to enjoy laughing at, or even sometimes with, an unlikable character.

This is important to consider, not just for comedy, but all media. If the problematic character's actions aren't meant to be rewarded, but to show how problematic they are, then it's less of an issue of standards, but just how it's presented. A white character that is meant to be likable wouldn't use a racial slur, for instance- when it's shown that Quentin Tarantino's character in Pulp Fiction has a black wife after he repeatedly uses an offensive term in regards to the color of her skin, it becomes more than clear that he's a miserable piece of shit, and nothing is made to prove otherwise during the movie. Similar logic is made for Barney's misogynistic lifestyle, at least in this episode.

I also give Barney some credit for the show's attempt to change him, even if it isn't complete yet. While his apology at the end comes off as completely sincere, thanks to NPH's consistently excellent performance, his lack of interest in apologizing prior says enough. It is fun to see the conflicting mindset that Barney portrays, but also surprising to remember what Barney was like a decade prior. It's almost day and night.

But the episode gets a lot of mileage out of the aforementioned apology. Seeing Barney realize how terrible he has been to women over the years, to the point that someone he doesn't even remember is hurting, wow. Of course, he doesn't remember the woman because they've never met, but this little reflection must have been an eye opener to Barney, one that all of the women he did screw over wasn't enough for yet. It's a bittersweet coda, but all the more effective.

And also effective for Lily, who might be the episode's VIP. She revels at every time Barney's ass is about to be, and finally is, handed to him, feeding her desire to see Barney get his comeuppance. After his gross history, it's totally rational to want to see it, which is why Lily makes a scrap book out of the best moments. But after all of their time together, bad and good, Lily really does still seem to care for Barney, which is why she becomes so elated to see him come up and admit that he must have done wrong.

The Barney and Lily friendship is an oddity on the show that isn't explored enough, but always welcome whenever present. As the other three characters are only given so much to do, this allows for the two to have more time together, resulting in a fun endeavor between two oddly-matched friends.

But overall, while there are moments when I feel bad for enjoying such an episode as much as I do, this is a very fun episode. I'm not sure if I'd call it among the show's finest, as more than one outlet has, but the third season really has been keeping itself steady throughout. Unlike Ted and Marshall's March Madness statistics.

How I Met Your Mother Review- "Ten Sessions"

Ten Sessions (3x13)

Written by Carter Bays & Craig Thomas

Directed by Pam Fryman

One Paragraph Synopsis: Remember hearing about Ted's "date" with his doctor, Stella back in "The Platinum Rule"? Ted is still attracted to her, despite it being against her profession to date a patient. In Ted's favor, though, is the fact that he's only scheduled for 10 sessions with Stella, then he is no longer a patient. During these sessions, Ted pulls out all the tricks to win Stella over, but even though she shows interest in him, Stella just doesn't have the time or ability to try to date someone now, especially with Stella's daughter still being her top responsibility after work. It takes pure magic and ingenuity to win her over, which Ted does succinctly.

Let's get the best part out of the way now, shall we? Britney Spears, huh?

But in all seriousness, I'll save that particular scene for last. As for Miss Spears, however, she really was quite good as Abby. Definitely broad, but she serves the material well and brings sincerity to her role. I always get a few good laughs out of Abby, since she isn't drawn so far as to be a caricature of people with anxiety, but rather just a highly emotional person with some well-made comedic points. She could have been a lot worse.

Just like this episode could have been a lot worse. Because in truth, it's kind a of creepy concept to constantly ask a woman out until she says yes. Actually, it can be really creepy depending on the circumstance, and while Ted's determination borders on obsessive at a certain point, I think what makes this story work is that it's pretty clear that Stella does like Ted.

I say this as Sarah Chalke, herself on loan from Scrubs at the time, is great as Stella. She's given a little more personality than Ted's usual dates, which makes sense as it should surprise no one that she won't be a one-off. Stella is rightfully challenging, having her opinions and sticking to them, which culminates early on with her Plan 9 vs. Manos debate from Ted at the beginning. Stella's determination to win the argument becomes apparent along with her playing with Ted, almost trying to get him to join her girl's night out viewing of Ed Wood's famous flop. Almost like a trial date, but as casual as possible.

Stella really is proven to be quite smart. She figures out most of Ted's plays as he's going along, even as she seems to revel at them. But what she seems to enjoy more is Ted's own nerdy eccentricities, a point that his future self points out as the speak in French for one of his sessions, a little facet that I think both of them enjoyed. Her rejection of the cheesy self-help books that Marshall enjoys continues to further both of my mentioned traits, as Stella proves to be too self respectful for such a fad. Plus, she agrees that Ted can't rock a mustache. While Stella could have still deserved more time for character development, it's easy to see why Ted likes her.

It's also worth noting, again for Ted's defense, that he's right by pointing out that Stella does not say no when asked. This may not always be the best sign, but the points add up to her having interest in dating Ted, with this little tidbit being the final confirmation. It really does seem that Stella is simply unsure of dating again to go back into the game with Ted, a point he takes into consideration.

The rest of the gang don't get much to do in this episode, since there isn't a b-plot at all. The women especially are given little, although both of them have strong moments. Robin calls out how Stella's initial shooting down Ted's hopes is indicative that this is a tough fight in a cute, straight to the point way that I appreciate. Smulders has more than proven her ability to embrace without much warmness now, a point that comes across well throughout thanks to dry delivery. Lily, meanwhile, has a funny bit about her nail-biting habit, portrayed in a humorously tasteful manner by Hannigan.

Marshall is a little more helpful, as he actually gets to meet with Stella. Not only is his freaking out over the mole funny, this sequence brings up one of the episode's strongest points, its framework. Everything is where its meant to be, and no accidents are present. A big example of this is Ted discovering The Power of Me in Stella's office isn't a throwaway moment, as is revealed when it turns out to be Marshall's copy, further highlighted at the time when he mentions losing his copy.

Similarly important is the call that brings Spears' Abby to tears, which was an important scene in its own right, as it shows the character's emotional streak and how it'll effect Ted throughout the episode. The reveal of Barney being the instigator behind the call brings his great scheme into play, making him the most important main character of the episode besides Ted. As you see, his two schemes work out in the end- Barney wins that $10 bet from Ted, and he gets to nail the receptionist. All thanks to some unfortunate meddling. The ending tag is a scream in particular, with Spears' final delivery making for a great way to close the episode, and Barney's arc.

But when it comes to endings, wow, that two minute date. Beautifully orchestrated by Big Star's "Thirteen", the entire sequence takes place on one massive tracking shot as it sticks to the song's innocuous portrayal of youthful romance. Ted has done some crazy things to win a woman over, but he crams a night's worth of magic into a little over two minutes, losing nothing in the process, which is something to behold. As is Fryman's direction, as her ability to keep the shot going without a trace of editing to be found is astonishing. The show's New York Street is actually quite small, but looks gigantic and intimate all at once, as everything necessary is kept to maintain the emotion.

God, what a beautiful scene. A great way to start a relationship and finish a fantastic episode, despite some misgivings. The two minute date is among the show's most iconic moments, usurping Britney Spears' appearance towards the episode's legacy. But Spears definitely did help to bring people to the series, as this gave it some of the show's best ratings yet. And many of those viewers never left as the show continued beyond this high note.

How I Met Your Mother Review- "No Tomorrow"

No Tomorrow (3x12)

Directed by Pam Fryman

Written by Craig Thomas & Carter Bays

One Paragraph Synopsis: This is the year that the gang decides to retire from any crazy St. Patrick's Day activities... aside from Barney, who convinces Ted to join him on a wild night with a compelling "end of the world" speech. Things appear to be in their favor, as they head to a club mostly full of women, as the two ditch their dates and lead to Ted deciding on something new- instead of trying to be good as he normally does, screw it and go crazy. He ends up using a stranger's tab for drinks and meets with a married woman that he almost scores, until karma comes back and punches him in the face. So there does end up to be a tomorrow, and a moment of clarity from Marshall allows Ted to realize how much of a tool he was the previous night. But this is a day full of promises, as besides a vow Ted does his best to take seriously, the future love of Ted's life was somehow at the same party as he was. But while this was happening, Lily and Marshall discover something about their new apartment with Robin- it's crooked.

Thanks to the Writers' Strike of 07-08, this is the shortest season of HIMYM, clocking in at a slightly smaller-than-usual 20 episodes. But 20 is still a fine production number, and not only does the show have more episodes than the average network series airing that season did, but it was also one of the first to return to TV with new episodes. Fans only had to wait about 3 months between "The Platinum Rule" and this, which aired conveniently by St. Patrick's Day.

That's a blessing and a curse from Thomas & Bays, who wrote this, as well as the previous episode. They're able to pull out a good script very quickly, but there are some cases where it really does feel that they needed to go through at least one more draft. Although this isn't one of those, as "No Tomorrow" comes off pretty well for a return to the show.

Right away, the showrunners come up with an effective storyline for Ted, in which he tests his inhibitions out ala Barney, keeps a consistent rise and fall for him to deal with. Ted is proven to be an asshole this week, but it fits quite well for the story.

Because in truth, Ted is an asshole. Whether he realizes it or not, he seriously can be cruel. The gang do seem to realize this at least somewhat, but his actions are usually less demented than Barney's, which is why he's given a free pass. But his actions in this episode really do seem to cross a line, as Ted says and does some bad things.

In "No Tomorrow", Ted's ethical factors are questioned as he continuously acts against respectable mannerisms, coming off as a complete douche. And of course, it starts with Ted agreeing with Barney to leave their dates behind, an unfair move to the women, despite the guy to girl ratio being so in their favor. It's just not right to make plans with someone, only to ditch them right in their face.

Granted, that's nothing unusual for Barney, but I think the way that even he objected to Ted using another guy's tab is telling of just how far he's going that night. When Barney told Ted that today could be their last day, it was only meant to give him a slight boost in energy to have a good night with his bro, not ruin a stranger's bank account. The logic that is going on in Ted's head is icky.

But this isn't some new discovery for Ted, in the same way that Walter White didn't just become an evil mastermind. The filters in Ted's mind has just turned off for the night, and he's loving it. But it does say a lot that Radnor plays Ted straight, and doesn't play up on the absurdness of this change of pace. I see it as intentional, which is why Radnor gives a performance consistent of his usual for the show.

This also proves true of Ted's chemistry with Ashlee, which is fine but ultimately vanilla. Victoria she ain't. But she isn't meant to be, as evident by her lack of character. She's cute enough for Ted, which is what matters in the show, but it does become tiresome to see the various women who come and go in his life be so thin in personality.

But the thing about Ashlee is that her "oh moment" isn't a personality trait, but rather a life choice- her husband. Now this is something Barney is familiar with, but even despite Ted's not-so-nice side, he's too ethical to sleep with a married woman. The realization creates for good conflict, which ultimately gets side stepped for a deserved punch in the face from the man's tab that Ted was using. That isn't a complaint, though, since Ted really did deserve the punch.

Which is a point Marshall brings up wonderfully at the end, as he rails on Ted for his actions. Being his best friend and a person closer in life to where he wants to be, Marshall is the perfect choice for this discussion, as Thomas and Bays gives him a strong piece to share with Ted. While Marshall does have his own problematic behavior, he works well as a voice of reason, and his devotion to Lily gives him good incentive to tell Ted what he did wrong the previous night.

This moment also allows for an excellent creative move from Thomas and Bays, where we get to see something a little closer to what Ted was like that night, as Radnor plays up his drunk inhibitions. It's a strong contrast to what we've heard from Future Ted, and not only proves that he isn't too reliable of a narrator (or maybe not, since the audience is shown this bit anyway. There have been other moments where Ted needed more citations, though), but that drinking is a way to identify your true desires, and Ted really is a bit of an asshole.

Which is something Ted acknowledges himself, thanks to Saget's narration. There is real remorse and sincerity in his voice, which indicates that the Ted of 2008 saw something about himself that needed to change, and most likely did by 2030. It's a good cap-off to a great episode.

But not as great as that clue towards the mother at the end, huh? As a first-time viewer half a decade ago, this definitely kept me interested in the mythology of the story after a long period of stalling, and I can see it still do so for new viewers today. Considering its icon status, I'm sure it won't surprise you to say that this isn't the last that we see of the yellow umbrella, either. Also keep an eye on the shot of the umbrella as the camera pans away. Truly gorgeous.

I shouldn't end the review without mentioning the subplot, though. It really is cute, and the way that the ghost angle is played is not only a silly bit of fun, but also gives the idea across that Lily is falling into Marshall's paranoia herself.

But it is believable to see a crooked apartment be something that breaks down Lily, since hell, I'd be pissed off if the place I fought to get a decent mortgage on turned out to be such a travesty. Props must be given to Marshall and Robin for doing their best to soften the blow, but it wouldn't be as fun if they didn't fail, which makes for even more fun. But not as much as their ending decision to lunging in the apartment. Good thinking!

How I Met Your Mother Review- "The Yips"/"The Platinum Rule"

The Yips (3x10)

Directed by Pam Fryman

Written by Jamie Rhonheimer

One Paragraph Synopsis: Things become weird for Barney when he meets up with Rhonda, the woman he lost his virginity to after the Shannon fiasco, for the first time since. It turns out that while Barney thought that he totally rocked her world, the whole event was initiated by his brother James to help Barney get over the rough break-up, and he in fact did not rock her world. This causes Barney to receive the yips, in that he has no game to speak of even more, even when Victoria's Secret models are on the line (yep, there they are on the front). It takes another shot at rocking Rhonda's world for Barney to get his mojo back. But while Barney is sorting out his issues, the rest of the gang are spending their time at the new local gym, with mixed results all around.

The Platinum Rule (3x11)

Directed by Pam Fryman

Written by Craig Thomas & Carter Bays

One Paragraph Synopsis: As Ted is getting ready for a date with his doctor, the rest of the gang try to warn him to not go through with it, as dating someone you're in close proximity to often ends in disaster, and each of the gang has a story to prove this. Using Ted's preparation as a background, each story is told simultaneously, as we see Robin's disastrous time dating her sports anchor piled on with Lily and Marshall wooing their new next-door couple (featuring Kristen Schaal!) until being smothered, just after Barney sleeps with and unwittingly wins over Wendy the Waitress. Despite the stories, Ted goes on with his date as planned, only to learn that it wasn't a date, as doctors can't date their patients. Swing and a miss.

I wanted to make my next review a combination, to make up for my lack of time to work on these recently, but I wish that I picked a better pair. Not that either of these are bad at all (far from it, in fact), but they don't really fit.

Still, there's enough to work on both episodes that I'm glad to take them on here. "The Yips" isn't all that important to the season't current story, fitting almost like a side story for Barney than anything, but it's a welcome story to the character.

The Shannon story is a legend that surprisingly hasn't been mentioned since its appearance in "Game Night". I guess it makes sense since even I felt some second-hand embarrassment for Barney that might just be too much for the gang to constantly bring back, and he gave the story his own closure. There wasn't all that much for the show to do with this part of his life, as welcome as it would be.

Now seems like a good idea to bring the story back, as we've been seeing Barney's character progression in the two years since- there actually isn't that much of it, but it's clear that there is more to Barney than just a skirt chaser. The idealist that defined Barney's social justice days is mostly, but not entirely gone, and while he's quite childish, there's still an honest loyalty to his character which pushes beyond his issues.

But just imagine how Barney must have felt to know that the lie he's been living for the past 10 years, well, really is a lie. Already, a good deal of his stories are missing the citations to be taken credibly (this episode takes note of Barney's obvious fibbing when he tries to get Ted to go along with the fabrication of how he made out with Heidi Klum, which SO did not happen), but to have such a story blown up in his face must be rough.

Especially since it really seems like Barney did not think that he barely passed this test. Like Rhonda says, no one is good in their first time, and there's no reason to assume why Barney would be an exception. But the fact that he doesn't breaks him, going beyond Barney's typical male association into straight ego. Healthy or not, it makes for a fun watch.

While the rest of this story is mostly predictable and less fun to write about, I do think it makes a good compliment to the following episode, as both revolve around accepting the truth and improving yourself however possible. "The Yips" has Barney come to grips that he hasn't always been the sex beast he was, while "The Platinum Rule" bends him and the other 3 friends as they warn Ted of his date.

The thing about "The Platinum Rule" that makes it such a unique experience is the way the episode nixes the show's traditional sitcom structure by taking place, flashbacks aside, entirely in the apartment in the course of a night. The plot is minimal, the stakes are quite low, and (seemingly) everything is resolved by the end of the episode.

This is almost taking the show back to All in the Family or Everybody Loves Raymond, shows that often took place in one building, occasionally even in real time. But HIMYM is a little too layered to stick to that formula, as instead the meat of the story comes from flashbacks.

The set-up of the flashbacks are, as expected, well-organized. Lily and Marshall's are always right in the middle, being the second to deal with the Platinum Rule themselves, while Barney and Robin's stories alternate. Everyone gets equal time, though, as their stories are being unfolded to the audience, but really Ted, all at once.

The theme of each story becomes that each of the attempted couples work initially, becoming exactly what the characters were hoping for, with just a little bit of bargaining to make it. Barney wanted a hot fling with Wendy; Lily and Marshall wanted a nice couple to interact with on lonely nights; Robin wanted a fun dating experience with someone convenient and with hockey ties. All of these became true right away.

Obviously, there's more to this. Just as there's more to "The Yips", with the gang's exercise attempt being the core subplot. Marshall's is easily the most substantial, as his fitness instructor is a joy to watch in her random anger. Marshall may have been proud of his fluff, but he really must have wanted some of it gone if he stuck around with her long enough, but I also see a sadistic side in him, as her instructions almost go over the line more often than not. Only a moron or someone who enjoys the pain would have taken as many lessons as he did.

Lily's attempt to make Marshall jealous doesn't work as well, the main reason being, well, her instructor didn't actually work there. This is actually a very funny idea, one that doesn't overstay its welcome as Rhonheimer realizes that there's more to the episode than some funny gag plots. Although she still finds room for good material with Ted and Robin. Robin's lack of attempt towards physical beauty normally would have made for unfortunate transphobic or body shaming jokes, but that doesn't seem to be the attempt here. What I see with her work is one more chance for Ted to get over his ex, seeing her at her least desirable and finding a chance to laugh along.

But Robin does get her vengeance, as she gets to see Ted at his most pathetic, and gets a good laugh herself. The concept of Ted going to the gym, but not actually doing any exercise, is a great one that is present throughout, never being overstated until the end, when he's called out on it. Ted is a doof, but a sly one when he wants to be, and can hide away just when necessary. Albeit not for long, as shown.

But for the bulk of "The Platinum Rule", what the four also share are unfortunately clingy significant others, and this is where the problem for each comes from. As it's become clear, Robin isn't clingy at all, and while Barney sticks closely to his ties, he was not looking for anything serious with Wendy. Lily and Marshall are definitely close to each other, but that's love, bitch. A love they can't share with anyone else, maybe aside from Ted. Seeing Wendy make herself closer to Barney, the Girards constantly plan charade nights with Lily and Marshall, and Curt freak out about Robin forgetting to call is all you need to know where this is going.

And that's when the ugliness kicks in, showing why they made the right decision to call things off. Curt is understandably angry about Robin's decision to break up, going as far as to (in an uncool decision) embarrass Robin on screen, which proves how childish the character clearly was when context clues weren't enough. Marshall and Lily have some stalking to deal with, itself a creepy tactic. And Wendy... respected Barney's decision and remained ethical about it, meaning that Barney might (well, totally) be the problem here, especially when he questions her every move after.

This is where Barney and the gang try to end their story, but there's more. Just as there's more to "The Yips", such as the Victoria Secret party, where Barney's titular yips are front and center. After three seasons of grossly winning over overqualified women, it's nice to see him so utterly fail to impress Miranda Kerr and Adriana Lima, women he clearly has no right to spend a night, or even five minutes with. Ted and Marshall do their best to be his wingman, but this must be equally cathartic to them, as he so deserves such a loss after too many undeserved wins.

Also important is James' material, who is only seen in flashback but has his own story to tell. This is his coming out, as whatever facade James held to prove unnecessary masculine credit is slowly fading. James' winking nods to his true sexuality are becoming less subtle, just as he openly admits to enjoying figure skating, itself a cliche gay stereotype, but at least one that helps to get the point across. When he takes one for the team to sleep with Rhonda, that has to be it. No more vagina for Barney's brother, just as Barney gets all plenty of the vagina that he wants from then on out.

Vagina like Wendy's, for example. Although Barney is clearly under delusion of how their relationship went, the last addition to the Platinum Rule only proves that happy, or at least accepting, conclusions can happen. The Girards can find happiness with another couple, Robin and Curt can be on good terms again, and Barney just needs to get over himself, and not waste good alcohol.

As for Ted and this Stella, well, that's a story for another time, I'll reckon. These episodes are paced almost like day and night from each other, but both are strong endeavors into the show's canon, continuing a strong season. This is also the last taste of HIMYM that fans saw for a bit of time, as the 2007-2008 Writer's Guild of America Strike occurred. But thankfully not too long, nor disappointingly, as you'll see.

How I Met Your Mother Review- "Slapsgiving"

Slapsgiving  (3x09)

Directed by Pam Fryman

Written by Matt Kuhn

One Paragraph Synopsis: Lily and Marshall are preparing their first Thanksgiving as a married couple, initially just for the five of them until Robin invites her new boyfriend, Bob. As expected, this makes the upcoming event awkward for Ted, even moreso when he helps Robin make pies alone the night before, the first time they've been alone together since the premiere. After a heated argument, the two have sex and almost ruin Thanksgiving, until Lily makes them agreeably make a resolution just before dinner. Something else that almost ruins Thanksgiving is Marshall's plans to turn the holiday into Slapsgiving, torturing Barney until it's time to give him a big one at dinnertime.

How about that song, huh? It really is a thing of beauty, a great Elton John tribute which Segel is totally competent for as he proves his surprisingly strong vocal chops here. And Neil Patrick Harris, whose singing abilities were already known at this point, greatly adds to the piece with his whoas. It might be a silly scene, but this is a comedy, and it works wonderfully for the episode.

But pretty much everything about the episode works. "Slapsgiving" is a fantastic Thanksgiving episode, eclipsing season 1's strong "Belly Full of Turkey", with almost no effort needed. But first, let me get into the good of this episode, besides the aforementioned song.

For one, Lily's desire to host a successful Thanksgiving with her loved ones is a nice concept for an episode alone. American sitcoms and Thanksgiving episodes often do go hand-in-hand, and while this isn't an especially original idea, the timing works well. Now that she and Marshall are married together and are getting their apartment settled (I guess they're sticking to the old place for right now so they don't have to move their utensils over just yet while everything else is here? That or the production team just found it easier to stick to the main apartment than just set the new one up just yet), this is the right time to try new traditions, such as a small, welcoming Thanksgiving dinner. And it's not a bad idea at all.

The problem was trying to run this asylum on such a crazy day. Everything really did seem to go wrong for Lily in this scenario when you factor in the (unwelcome) surprise inviting of Bob, Ted and Robin's relapse, Marshall's slap bet prodding, and how everyone seem uninterested in helping Lily make dinner. Her tired delivery of "Nope, this sucks. Everyone eat and get out" makes all too much sense on her account. And you just can't top her gnawing on a turkey leg right after. That's just good, hungry humor.

It's funny, since Lily is often shown making mistakes despite her facade throughout the show, but here, she's not at fault, nor is there pretension in her account. Lily just wanted to have a nice Thanksgiving with the four people she loves most... and Bob. But until the end, it seems unlikely that this could happen. No one is trying to ruin the day, but it's just not getting together well. Although I wonder who the drunk aunt is in this scenario.

Marshall's material with Barney might be a nuisance to Lily, but it's a damn funny nuisance all the same. This subplot builds up to an expected conclusion, one that gets pretty far from overstaying its welcome in terms of execution. You can thank that on the performances of these two brilliant comedic actors, as Segel does a great job on making Marshall the initiator, increasingly digging into Barney about his eventual red-faced outcome. This may contrast from Marshall's usual loving attitude, but considering Barney's actions sometimes, it's not an unwelcome change. Just as NPH does a good job of playing frightened by Marshall's proposal, continuing his excellent take as a childish cause when needed to be. It's a beautiful balance rounded out by great performers.

The slap bet tension is well built and developed, in addition to never ceasing to be funny. Note Marshall's obvious nods to the event at the beginning, the way he owns the moment each time without drawing attention to it. Barney remembers the e-mail to the site in the premiere, and it's haunting him now. Meanwhile, Marshall's just loving it, as he loves teasing Barney throughout. Another great bit, of course, has to be Marshall's paper turkeys, which culminates in a hell of a delivery from him. All down to that thankful slap and the previously mentioned song, perfect closure.

Ted and Robin's story is the heart of the episode (even if Marshall and Barney's is the pulse), and it does help to address an issue that had been lingering over the show since their split- the awkwardness. The two had barely interacted this season, just as both of them had been successfully dating other people, with only a little hint of jealously being present when Robin came back from Argentina with Gael.

This is a case where the absence of evidence is indicative of there being something going on. While I'd like to think that Robin and Ted are good enough people to not still feel jealously towards each other, the way that they barely interact does indicate that they haven't done much to salvage their friendship. Sadly, there always is an awkward tension present among exes, especially early on. This can easily be fixed with open discussion and understanding of your place with your former partner, though.

But that's the thing, they don't really know how to do this. Ted and Robin's scene together at her apartment gives us an idea of what happens when they're alone- both of them get flabbergasted and come up with the first awkward thing to talk about to break the ice, then revert to silence in the hopes that someone else shows up. Tough but amicable.

It's evident that it is time for them to move beyond this stage, however. Having Ted make a pie for Bob is a reasonable catalyst for this to happen, as his arrival allows for the two of them to discuss, hostile nonetheless, their current place since the break up. Whatever it took to get there, more power to it. It also helps that Bob, delightfully played by Orson Bean, is a great invention of Ted's mind. Seeing an 80-year-old speak like a 40-year-old attempting to sound like a high schooler is only something the psyche of a bitter storyteller can invent.

Of course, this leads to Robin and Ted sleeping together again, which honestly surprised me the first time I saw the episode. There wasn't much sexual tension still present in their chemistry at this point, but the signs prove it. But as shown before in media, random sex doesn't indicate a successful relationship, as the two of them realize when they're stuck in Ted's room, and finally have that talk. For whatever was meant to happen, this is it.

Thankfully, the episode ends with the two of them rebuliding their classic friendship again, with the new return of a General Favorite. A hell of a way to end a hell of an episode, on top of a hell of a song. This really is the show at its best.

How I Met Your Mother Review- "Spoiler Alert"

Spoiler Alert (3x08)

Directed by Pam Fryman

Written by Stephen Lloyd

One Paragraph Synopsis: Ted is anxious to introduce the gang to his new date, Cathy, but they aren't as crazy about her. The reason is pretty simple- Cathy talks. A lot. But until they tell him, Ted is unaware as he's too smitten to notice. As this glass shatters, other bits and pieces regarding the group's idiosyncrasies become increasingly revealed, ranging from Lily's loud chewing to Marshall's singing. While the sudden realizations almost break the group, more important matters prevail. Such as Marshall's score from the bar being ready, but he forgot his password to find out. But rest assured, by the end of the episode, he and everyone else finds out that Marshall is officially a lawyer.

*glass shatters*

The line about Cathy formerly having a penis isn't funny and further perpetuates the idea that it is meant to be shocking or even funny that anyone has the right to decide that the gender they're born with isn't right for them, which needs to stop and I don't care if this was made in 2007 or 2015 (happy New Year, btw), everyone involved should have known better to go on with this.

I'm sorry, that was a big one. But I promise to let the anti-transphobia crusade rest, since this is the only use of it in the episode. And it really is a good one besides that unfortunate line.

It happens all the time. That one person you spend a lot of time with, be it someone you're attracted to or just a really good friend, there's always one or two things they're prone to do that it takes a while to notice, but once it happens, it never stops. If you can tolerate it well enough, that shouldn't be a problem, right?

I can see why Ted has remained ignorant to his date being the living equivalent of a Chatty Cathy doll, in that he really wants to impress her. If they're cute enough, I might be in the same boat. It is entirely mental to block out or ignore such a fault as excessive talking in an instance like this, which seems to be what Ted has done. Notice in the flashback, for example, how he reacts accordingly to Cathy's frequent points of conversation. He's aware, subconsciously, but too far into the game to openly acknowledge it.. until Marshall tells him.

Sometimes the confirmation sucks, since living unaware is blissful. Other times, it really is best to know. Also keep in mind that Ted was literally begging the gang to tell him why they don't like Cathy. Literally, not figuratively.

But the secrets revealed about the gang? Most of this isn't exactly new. Only Lily's tendency to chew loudly seems like an invention of the episode, but it's pretty far from outlandish. Marshall singing every thing he says, though? Seen as early as the show's very third episode. Ted's incessant correcting? Happens all the time! Robin's over-reliance on the phrase literally? She literally does it quite often. And I'm sure that Barney's little details don't require a reminder.

It goes without saying that each flaw fits in and adds to the dynamic of each of the characters. As the least present, I'll address Lily's loud chewing first. This fits with her inability to see past the faults of her believed "perfect" personality, as she puts herself at a consistently high pedestal in hopes to correct her friends whenever they make mistakes. While Lily's pretty far from perfect on her own (keep in mind that this episode doesn't address her debt at all, but the story's not done yet), she fancies herself as the voice of reason among the group. Even when she's dead wrong, but she can drown out criticism with some chips.

Note Lily's reaction when Marshall mentions her chewing to her. Lily is shocked and frankly confused that someone, let alone someone she loves as much as Marshall, could point out a flaw this big that she somehow has missed. It digs at her, but it's not like she'll stop eating, right?

Marshall's singing is adjacent to his welcoming personality. He always has a song playing in his head, even when it's not one that everyone wants to hear. Ted feels inadequate in every other aspect of life, and tries to use his approximate knowledge of many things in ways to show superiority whenever possible. Robin's use of literally, well, this article explains it better than I could. As for Barney? His ability to drift off during a conversation shows immaturity and selfishness, something he has in spades. Saying things in falsetto and creating random buzz words reinforce his party nature, as he is want to do. To be fair though, all of these Barney quirks are rather harmless.

To be even more fair, all of these are pretty harmless. As the core gang continue to ignore when the good moments come by, such as the reveal of Marshall passing the bar. It's warming to see almost all of these tropes reinforced and embraced when they're at the bar celebrating. All except for Barney not paying attention, as he just has to for this moment.

Marshall's story of losing his online code is pretty simple, but has good moments throughout. Barney's attempts to help him out create a surprising tension to the show, which is quickly subsided when his true motives are revealed humorously.

Just as much of the episode is, as this is light on dramatic moments. That might be why this is a quick review (the fact that I've been working SO much and feel guilty about not posting up a new review in the past few days is another), but aside from some poor taste in humor, this is another great episode for the HIMYM gang. A definite step up from the past two episodes, which were hardly duds to begin with. Season 3 really is on a roll.