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
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!
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