How I Met Your Mother Review- "Happily Ever After"

Happily Ever After (4x06)

Directed by Pam Fryman

Written by Jamie Rhonheimer

One Paragraph Synopsis: After Stella left him at the altar, Ted seems to be taking it pretty well. Or not really, since he seems to be taking it TOO well. In fact, Ted has chosen to not blow off steam, instead maintaining a relaxed state. It turns out that Ted has made a map of places in Manhattan that he'll be likely to run into Stella, in hopes of avoiding her, which the gang uses to find a place to have dinner at. Lily chooses a tapas place that she got a recommendation for... from Stella, who arrives that night. When Ted has the gang hide under the table to avoid her, they share stories people that each would personally do the same for, which has Ted end up deciding to track Stella down and tell her how he feels, especially after finding out that she and Lucy moved downtown for Tony. As Ted goes up to tell her off, he sees how happy the family is, and Ted decides to leave it at that.

One of my favorite things about Robin is her penchant for making bad jokes, and laughing at them to compensate. It's very adorable, and helps her to keep a dorky exterior inbetween everything else. Smulders always gets the laugh down right, while the rest do a good job at maintain their unimpressed faces without coming off as too mean.

Even though this is Ted's episode (and his material is definitely good, as I'll get to soon), I feel like Robin is this episode's underdog. Her flashback is the most pertinent after all, as Robin's description of her relationship is a great indicator of just what Robin, Sr. is like. Robin has mentioned before that her father wanted a boy, but this episode helps to explore this, as we get a glimpse of him.

Eric Braeden (of The Young and the Restless and Titanic fame, and sadly won't reprise the role for much longer) succeeds at keeping a cold demeanor, as he maintains his own serious face, but isn't so far removed from the show's structure as to not have a little fun with his material. Robin Sr. doesn't get many jokes, but he is allowed for nice delivery as he plays a stereotypical man's man. What makes this characteristic work is how it collides with Robin, who is clearly not a man, but in all of her flashbacks does her best to be what her dad wants, despite clearly not being too fond of it.

It is similarly cliched to have a female character's fate questioned by a romantic moment with a guy, but this also isn't a bad idea, as Robin was of the right age to allow her hormones to get the best of her. She doesn't do anything wrong at all, as opposed to her father's continued repressing of Robin's femininity. Even though she's no longer a teenager and never went very far with the guy (her take on moves as compared to hockey statistics is an understated highlight), it's clear that this is more than just a father not wanting his daughter to hook up with her teammate. It really does seem as if Robin, Sr. wants his junior to not blossom or address her girlhood, which is something Robin had to do herself in the decade+ since, with no support from her father. Damn.

Of course, Lily and Barney's stories are also cute, if less emotionally important. Lily's makes sense for her age, or in general, because let's face it, ripping one in public is pretty embarrassing no matter how old you are. Lily has done some less-than-great stuff, but she does find remorse in giving Gasser his name, which is at least a good call on her part.

Meanwhile, Barney's typically gross, not for his conjugal visits, but for his callous response to the incarcerated woman's disgust. He's definitely in the wrong here, just as she has a right to be angry, but at least the scene has its moments. Some sexism aside, primarily the way the fight between her and the other inmate is shot. While there was also a fight about to brew between Robin and Lily in "Intervention", that was in a different context, where it comes off as funnier. Here, there's an almost erotic response in the direction, not helped by Barney's gaze.

As for Ted, on the one hand, I do agree with his friends. It's best to embrace your emotions. Talk about what's wrong, and don't be afraid to confide in whoever hurt you. This isn't weak, but rather a sign of maturity. When you're hurting as obviously as Ted is, this is the best way to help let go of the pain.

But I do give Ted credit for trying his best to not show how saddened he is. Ted has every right to be sad, or mad, or bitter about Stella's decision, but it takes some kind of commitment to not show it to even your closest friends. It makes for some interesting character insight, but he almost contradicts everything by hiding away from Stella. Choosing to not show your grief off is one thing, but complete isolation so rarely works. Sorry, Ted.

Ted's character arc is strong in this episode, as he goes from one verse of "Let It Go" to the next, although I do believe everyone already knew how he was feeling. Still, his brief expressions of anger are almost cathartic, considering how long Ted has been holding it in, contrasting well with his lame approach to hiding everything earlier on.

This flash of anger is exemplified during his taxi drive to wherever Stella is going, right after finding out that she moved in with Tony. One of the biggest fights Ted and Stella ever got into was her unwillingness to move into the city with him, something Tony seemed to get her to agree with no problem. Now that's cold.

Or maybe not. Radnor's reaction to the scene of Stella, Tony, and Lucy happily embracing as she returns with tapas is wonderful, showing his honest regret of the moment. I mentioned in the last review that this isn't Ted's love story, and it really isn't. He was the nice guy who wasn't Mr. Right that you'd find in any given screwball comedy, and played the role well. Well enough to deserve his own Katharine Hepburn or Rosalind Russell. I'm sure she'll come soon, but this is a good way to end a solid to great episode. I only wish that I had the time and energy to write more, but we're still on a roll this season.

How I Met Your Mother Review- "Shelter Island"

Shelter Island (4x05)

Directed by Pam Fryman

Written by Chris Harris

One Paragraph Synopsis: Never invite your ex to your wedding. When Stella's sister has her wedding called off about a week before it happens, Ted and Stella end up taking her ceremony, pushing their date way up in advance. They head over to Shutter Island, when Stella discovers that her ex, Tony, refuses to bring Lucy up to the wedding. Ted drives back to New York and ends up convincing Tony to join him and Lucy to the wedding, while Robin heads over from Japan, after just quitting her new job there. As both Tony and Robin appear at the same time, Stella starts to freak out and tells Ted that she doesn't feel comfortable having either of them at their wedding. Ted suggests that they tell their exes that the should go, which Robin takes amicably from Ted. But to prove the point of this lesson, Stella doesn't exactly get a chance to tell Tony. She doesn't, because they end up getting married instead, leaving Ted alone

Ho boy. This is one of the rough ones. Sadly, the ending isn't much of a surprise, but it's still so rough to see Ted's heart broken. "Shelter Island" paints a sad ending for Ted and Stella's relationship, and while the ending result is strong, in truth the story is a little rushed.

Then again, I think this may have been the intent. After all, Ted and Stella weren't together for long when he proposed, and the gang almost threw him an intervention because of this. Robin's speech to Ted, especially, delves into what was wrong here, as she reminds Ted of how visionary he is, and a quick wedding is a disappointing way to end his escapades.

I believe that Bays and Thomas initially wanted Ted and Stella to have a little more time together before the surprise proposal at the end of season 3, but the writer's strike and Chalke's commitment to Scrubs prevented them from doing much more. Thanks to the lighter schedule for the show's eighth season, Chalke was able to appear in the first few episodes of this season, but it's possible that she didn't have more time for another episode or two, which makes Stella's time feel all too brief.

This really is a shame, because I did enjoy Stella's character, and felt that Chalke brought a welcome, challenging sense of wit and heart similar to Ted's, while being less wistful than him, but slightly more than Robin. It's a good mix, one that I was rooting for. But in hindsight, Stella deserved at least one or two more episodes where she is front and center, to further establish her relationship with Ted, rather than to be almost periphery to the story, which ends up happening in too many of these episodes.

Additionally, there is next to no emotion felt for her daughter, Lucy. Her actress does well enough, but she barely does anything at all to justify her existence as more than just a side note. I don't believe she even speaks in the episode beyond shouting "Mommy!" when arriving on Shelter Island, as I think about it. Considering how badly Ted wants to become a father, to see so little time put into his potential stepdaughter is a disappointment.

All of this becomes an apparent issue when Tony arrives, and is attempted to be sold as this big roadblock in between Stella and Ted. The conflict itself is interesting, even effective in some parts, which I'll get to shortly, but the fact that he doesn't appear before this episode is a weird and destructive choice. I understand that Jason Jones had a commitment to The Daily Show, but surely some time could have spent to expand on his character. Besides an obligatory reference to Lucy's father here or there, the character isn't referenced before this point, let alone given the chance to spend time with Stella to show their chemistry. This just isn't a good call creatively.

That said, I buy the conflict. Chalke does a great job of maintaining beaten facial expressions as anything remotely close to Tony is brought up. Her eyes linger as her chin and jaw start to recede, helping to make it clear what she's thinking in repeat viewings. This works as the culmination arrives, with Stella and Tony arriving as one, set to a gorgeous, albeit sad, sunset shot by Fryman. Robin does a good job of making a shocked facial expression, but the image of Stella reuniting with her former love is all that needed to be said.

I believe in the change, as it there have and will always be relationships that weren't meant to be in one place, but probably could and should collide later in life. Compatibility can be weird like this sometimes, but as Stella tells Ted, Tony wasn't ready to make a full commitment when they were together earlier. Whatever had been going on in the years since was enough to fix this, while Ted just couldn't be enough for Stella. This doesn't make him wrong, but merely just not Mr. Right.

This hurts to viewers, as by now, Ted is more than just a character. He has become a way of life, almost like a real friend. His thoughts, his interests, his desires are present to us by now, to the point that we can forgive his idiosyncrasies for the merits of Ted as a person. He isn't my favorite character, but when he sits there and reads Stella's note, I grieve with Ted.

Does this mean that Ted was wrong for inviting his and Stella's exes to their wedding? I don't know, maybe. Whatever happened though, it is clear that Stella and Tony had unfinished business, and what's done is done.

Again, I do think that Robin was right. Ted was rushing in, and he does deserve a bigger ending than a quick wedding. Maybe someday, when he meets the actual mother (who, based on the alternate reality clip here, has got to be a brunette), he'll get it. Stella seemed to only be a roadblock, but an important one. A lesson Ted will never forget, and an experience that, as painful as it seems, was irreplaceable.

The rest of the characters have important parts, although this is almost entirely Ted's episode. I've written about most of Robin's material earlier, but as for her leaving the new job, it really does seem like she made the right decision. That gig did not seem to be any kind of help for her, so I can't really argue or expand on it beyond. It might be a little fast for her to return, but I would leave quickly if I was being made an ass of like that, as well.

Lily and Marshall's material is a little more superfluous, but there's nothing really wrong with that. They both offer good lines, and do help Ted out with their acknowledgement of Lily's bridal rushes, itself a great flashback montage. It's hard to mess up dialogue confusion moments like these, though. And also consider the shock of discovering that Shelter Island is a dry, vegan place. I see real disgust and disappointment in Hannigan and Segel, just as they should be embracing.

Barney, meanwhile, has an actual story here, with his hope to win Robin over during the wedding. This actually works... until he loses his promiscuous streak too soon. As sad as this may seem, it is telling that Barney still isn't quite mature enough to handle anything serious with Robin, nor is he really as ready as he thinks he is. Barney has every right to embrace the single life, as long as that is what he wants. Because you can't get it both ways.

I stand by what I said earlier. "Shelter Island", and the Stella arc in full, has a lot of things that work, but a rushed pacing ultimately prevents it from being much more. There are worse ways the arc could have ended, but we should have had some more time to get here first, especially to give Lucy and Tony a little more life before they're written off. But at least now, Ted is one step closer to finding his own love story, since this was not his. A bittersweet end, which is sometimes the best.

How I Met Your Mother Review- "Intervention"

Intervention (4x04)

Directed by Pam Fryman

Written by Carter Bays & Craig Thomas

One Paragraph Synopsis: With Ted planning to move in with Stella and Lucy after the wedding, Lily and Marshall just about ready to move into their new place for good, and Robin heading to Japan in a couple of days, the four of them are doing their best to get ready for the next exciting chapter of their lives. Digging through the apartment, Ted finds an intervention banner, what could have been a relic of the past when the group were consistently throwing interventions for each other. The thing is, Barney burned their original banner, as the events were all but retired after this point. It turns out that a new one was made for Ted after his fast engagement to Stella, but was pulled away shortly after they decided the marriage was a good call. Ted initially shows confusion towards the potential intervention, but soon starts to realize that this is actually a good idea, since he really is heading into this too fast, as the other three soon start to have second thoughts on their changes. It takes the sight of Barney in old man make-up smacking on a young woman to change their minds. Fast forward to a year later, as the group is shown at their typical booth together, with  the acknowledgement that they still have the apartment upstairs intact. Some things never change.

Or rather, some things should never change. In my last review, I wrote about how change is necessary to mature in life, but some things can and probably should remain constant. Oftentimes, it's just discovering the what and how that matters.

Change can be scary. Living one constant truth, one specific method of reaching point A to point B, can be so ingrained into your mind that altering said path can be almost unfathomable, but sometimes, it's good to try another path instead. As long as it gets you there.

Ted grew some  cold feet as he realized just what he stepped into with his engagement, and how soon he made it in his relationship. This is natural, no matter how telling it may or may not be towards his future with Stella. Even Marshall and Lily had their doubts before their marriage, after all. This is a big step forward for Ted, and he did jump quite fast.

It might be telling in a positive manner that the gang changed their mind about throwing an intervention for him, however. Clearly, they see why Ted likes her, and probably all find something that each of them likes themselves. Close friends can be just as subjective as family members can towards partners. Ted's quick resolution away from these fears is also a good sign, as he realizes just why he pushed forward.

Marshall and Lily's moment of doubt comes from the fact that their new apartment isn't all that it's cracked up to be. In fact, it kind of stinks. Literally! But while the place isn't all that great so far, it's a new home, a new start for their bright new future. A good place to live on their own, just before they're ready to have children. The Lily and Marshall of today aren't willing to hear this right now, but this really can become a better place if they're up for fighting for it to be.

Robin, meanwhile, is moving away to a whole other continent. That is freaky to think about, but at this moment, New York wasn't offering her any great opportunities. This job in Japan really can be a step in the right direction for her, even if she has to leave her friends for it to happen. A tough decision, but it seems like she made the right one.

Everyone eventually does, aside from Barney, who is content being his usual self. The fascinating thing about Barney is that he's the oldest of the group, but unabashedly the most immature. The Barney Stinson that was ready to sacrifice anything to make Robin happy isn't here, but the womanizing, scheming Barney that is better known to audiences comes up with one of his craziest ideas yet, and makes it work. We won't see the old man costume again, but it is a funny sight while present, and fun to see NPH pull off. It is possibly that Barney will still be this way when he turns 83, but for the sake of his person, I hope not.

The thing is, this episode hints at at least one thing not changing, as the apartment is still there. Do Marshall and Lily find a way out of their lease? Do Ted and Stella move to New York after all? Or do they not get married, period? It would be bad writing to reveal what the case is here, but it does show that while change is inevitable, it doesn't always happen the way you expect it. And it probably shouldn't, either.

If this telling statement about change was the only thing the episode was good for, it would be a great one. But my word, is it hilarious! Bays and Thomas find plenty of their best jokes here, and keep all three acts fresh. Not to mention the old Barney-lead teaser and closer, but everything else.

The intervention phase is one of the show's all-time great inventions, sticking to the character's undeniable bond towards each other while finding new ways to play with this sense of closeness. Each extremity that requires one of these typical interventions fits well into the character's respective molds, from Lily's British accent being nowhere near as classy as she thinks it is, to Ted's pretentiousness getting the worst of everyone. And Barney's magic tricks, come on.

Allowing for the audience to laugh at, and along with the gang, has been the show's success thus far, and is in full effect here. While they're annoyed about many of these moments, the group still loves each other, and seem to find many of said moments funnier later on reflection, while we should be able to find humor in them to begin with. What isn't funny about Barney punching a wall after Ted breaks up a girl fight, where Robin speaks in full Canadianese, for example? It's an out of field moment that, while indeed absurd, is strangely clever enough to make the scene work like a glove. Not to mention that it's just hilarious to see Neil Patrick Harris hide his fist in his suit, in what seems like another take after his first impalement. Now, the group sees this as the moment where Barney made Lily and Marshall find a new place for their calender.

Even beyond the intervention excellence, great lines are thrown throughout. The group's realization that the expensive scotch they bought wasn't worth the big hike? Gold. Ted's response to the pricey scotch early on? Righteous. And Lily's description of the new apartment is perfect, at least for the time being. Bays and Thomas pull off all the stops here, allowing for some of the best material they've done to date.

"Intervention" is a hell of an episode. Revealing, warming, and hysterical all at once. What more can you ask for in HIMYM? And that's not the end of it from here.

How I Met Your Mother Review- "I Heart NJ"

I Heart NJ (4x03)

Directed by Pam Fryman

Written by Greg Malins

One Paragraph Synopsis: The commute between visiting Stella in New Jersey and returning to the rest of his life in New York is starting to take its toll on Ted, to the point that Stella suggests that they invite the gang to her place for a change. He reluctantly gets the gang to accept the offer, even though all of them, including Ted himself, really hates Jersey. The night is already showing bad signs before Stella hints that Ted will be moving in with them after they get married, a prospect that terrifies him. When Ted tries to talk Stella into moving into his apartment, the two quarrel, to the point that it almost seems as if they won't get married at all. It takes an encounter with Stella's daughter Lucy, the main reason she's adamant about staying, to make him consider moving after all. At the same time, Robin quits her job at Metro News 1 just before landing an audition that she may not get. The fear of rejection gives Robin cold feet, to the point that she does her best to make it back to her job the night after she quits. Commuting from NJ to NY. With only a half hour. She ends up quitting again, only to not land her audition in New York. But she is getting another job- in Japan.

Wow, people from New Jersey really seem to dislike this episode. Although, one of my very best friends is from Jersey himself, and he honestly hates the place, and sides with the gang here. As I've yet to visit NJ myself, I can't say that this bugged me at all. In fact, I quite like the episode.

Yes, it's a little broad (I personally took more offense at Barney's ploys to win a lesbian over, which I'd delve into more and would sour the episode a good deal more if it was a bigger part), but Ted's disapproval of New Jersey is par for the course of his New York residency. He's been living here for 8 years now, and has all but adapted into the NYC way of living, which means considering Jersey their gross, obnoxious, likely racist next-door neighbors. 

Cleveland isn't exactly a small town itself, but this is bigger game for Ted, who has all but adapted into the New York mindset. Something he strongly believes in, which is where the conflict comes from. For the most part, Ted does want change, but really just in his status. Ted's ready for his building to be made, to be married, be a good father to Lucy, and have children of his own. 

Otherwise, he likes consistency. To Ted, the ideal life is continuing to spend every night downstairs at MacLaren's with the gang, plus Stella. As well as a more rewarding day job and his own family, but the bar is the important part. And when you consider how the gang freaks out about not being at MacLaren's when their plans to leave Stella's place is throttled, you can see that this isn't just Ted's wish.

But life shouldn't be consistent. Personally, I can't even order the same thing two shifts in a row at work. I always alternate, because change is necessary. Ted probably COULD spend the rest of his life at MacLaren's, along with Marshall, Lily, Barney, Robin, and yes, Stella, but why should he? Ted could just as easily have stayed in Ohio with his parents, but he wouldn't have grown nearly as much as he has after going to Wesleyan.

So yes, change is good. Does this mean that Ted should be the one to move? Well, Stella brings up a good point, in that Lucy, and actually, Stella herself as well, has spent their entire lives in New Jersey, thus have roots and connections, so moving away wouldn't be fair to them. The only thing Ted really has to worry about if he moves is his job and friends, both of which are easily reachable thanks to the magic of public transportation. Stella does work in the city herself, after all.

By this logic, Stella is in the right with her argument. Ted's argument... is the stereotypical "boo NJ, yay NY!" mentality New Yorkers have, as mentioned before. It's silly, but does create some fun dialogue that writer Malins shares between Radnor and Chalke, both of whom seem to have fun in their performances.

While the fight is enjoyable, I do think it was a good decision on Malins' part to end it by having Ted spend time with Lucy, rather than Stella, to see the error of his ways. Like it or not, she is going to become a big part of his life soon, and it's time to acknowledge that. This is also a good moment for Ted to see how good of a father he'll be. He seems pretty okay so far. And of course, this moment is accompanied by Springsteen's cover of a Tom Waits song, itself loosely based around New Jersey. Not a bad call at all.

I'll get to Robin's story soon, but the rest of the gang all have their moments around. Lily does a good job of playing the New York native with an obvious, respectful grudge against Jersey, for no determinable reason other than not being NY. She gets good mileage out of this early on, particularly with a great delivery on the prospects of Ted dumping her body in NJ, but she soon gets less to say about Jersey when they actually go there.

Because Barney's material is more fun! Because of course it is, he has his fist stuck in the air. A little weird, since he's usually a high-five person, although this is rectified by the end. It's a solid comedic sideplot, one that shows Barney's determination while simultaneously giving Lily more to do, as she spends the most time with him. Hannigan's facial expressions to Barney's constant pose is undeniably fun to watch, as she does her best to keep the ball rolling during their time together. While not doing much, Hannigan and NPH's chemistry is present, making for fun whenever they share the screen.

Marshall, meanwhile, has something a little more important to be said with his material. He and Ted moved to New York together, and their differing roots are present here. Ted comes from Cleveland, a decently big city, while Marshall hails from St. Cloud, Minnesota, a small town where everybody knows his name, New York is about as far as you can get from St. Cloud, and while there definitely do seem to be aspects of the city that he enjoys, I can see why he would prefer a smaller, quieter environment like New Jersey. I do also buy his mention that Jersey is kinder for taller people like him, as opposed to NY's more compact design, which does seem like something that would be true.

This is a fundamental difference between Marshall and Lily, who seem to love each other more daily. To her, New York IS everything, and being away would likely cause her great stress. Consider her time away in San Francisco two summers ago, for example, or the handful of mentions of how poorly her semester abroad in Paris went. She'll likely never move. But while Marshall does prefer New Jersey, he's perfectly fine with this, as he loves Lily more than any place could possibly compare to. When they're together, Marshall is home.

And this is going to have to be the thing that makes or breaks Ted and Stella's relationship. If they love each other enough, the move shouldn't be a problem. Of course, there is more for the show to tell first, like Robin's story.

Which itself is pretty good. Robin mentioned to Barney how tired she was becoming of her job at Metro News 1, and that her job offering would be a worthy change. Clearly, this night together stuck to Robin, as she went through with it... only landing an interview, but an interview is better than nothing, right?

This results in a funny chase sequence back to New York. It might have been even funnier to see a grown man ride Lucy's bike instead of Robin, but it's still a humorous site, as she remains committed to the chase. Riding it while still on the subway definitely helps keep the momentum going. And the jump? Flawless. Saget deserves props for his delivery on this bit, as his mention of disbelief is a perfection addition.

But in all seriousness, Robin does deserve better. Her speech the previous night was a welcome, if overwrought (thanks Ted! But again, a serious thanks to Radnor for doing a good job at being the over-proud dad here) swan song to an embarrassing slot of time spent at the station. Her desperation felt after realizing that she only had an interview, not a full commitment, brings the chase to life, but not even a minute back into the job proves why she needed to leave. Robin really needs to grow, which is what the job in Japan offers.

When you remember that Lily and Marshall are waiting for their apartment to be finished, it comes to mind that four out of five of the main characters are about to experience a big change in the coming future. This is going to come hit them sooner than not... Until then, here was another good episode, as season 4 is still rolling strong.

How I Met Your Mother Review- "The Best Burger in New York"

The Best Burger in New York (4x02)

Directed by Pam Fryman

Written by Carter Bays & Craig Thomas

One Paragraph Synopsis: Marshall's unemployment has been getting to him as the days go by, to the point that his underpants radius makes it past the house. As of late, one thing that has been haunting him is what Marshall considered to be the best burger in New York, a great one he had back when he and Ted first moved to Manhattan, but lost the location instantly after. No burger came close to it since. Even Regis Philbin is in on it, as he's been trying to find the place as well! One night has Marshall driven to the point of desperation enough for him to go on one last search for this burger, with the gang haphazardly joining him, to no avail. They help Marshall in hopes of him getting over his unemployment, but there's a secret only Barney knows about- he actually agreed to a new job at the newest local Goliath National Bank, a corporation Barney's company bought out and has been shilling this whole episode. Marshall's desperation comes from his realization that to keep himself and Lily secure, he'll have to continue selling out for a while, but at least the episode ends with everyone, including Regis, finding that mythical burger place.

I feel like this episode would be even better if I had lived in New York at some point in my life, but I've still yet to visit the Big Apple. I still appreciate the theme of this ep, however, as it explores the changing nature of New York.

The fact that the vast majority of places name dropped are, or were indeed real just adds to Bays and Thomas' script. It's widely known that the duo originated from New York, and while they take care of HIMYM in California, they miss their time in the city that never sleeps. Gone are the bars and venues that they, as well as their characters, spent many a night, and instead are Starbucks, gyms, and banks all over.

The cleansing of New York has been heavily documented in media for decades, especially as NYC is easily among the most overused locations in modern fiction, but How I Met Your Mother has always used the city to its advantage, taking an area that is so ingrained into the consciousness of many, takes much of its most iconic concepts, and finds virtually every facet of humanity across. It's easy to tell that the series isn't shot in New York, but the atmosphere is there, thanks to the strength of great set design and thoughtful writing, while the characters embody all that makes New York, and mankind in general, so recognizable.

This burger is clearly more than just a burger, or even a final taste of Marshall's pre-GNB life. The hunt for the burger is a quest for that one last piece of New York decadence, an uncanny celebration of what used to help make the city so unique. This episode is Bays and Thomas saying goodbye to their vision of New York, while also allowing their characters to step forward into the 21st century. For that reason, this is a special, excellent episode.

And yes, the quest is pretty great. HIMYM has always been pretty smart with its use of hyperbole, wisely allowing its characters to play often, and have fun whenever they do. Marshall gets the ball rolling, as he makes for wondrous descriptions of this burger, detailed and mystic enough to make even the strictest vegan's mouth drool ever-so-slightly. The gang's welcome response to picking up the chase makes Lily's wedding vows line more than just a cheap gag, as it actually helps to advance the plot.

Segel keeps his performance as Marshall totally committed, not bending once for his passion. When Marshall describes the burger, he makes Bays and Thomas' words glisten on screen, completely moving each syllable as Segel goes along with it. Marshall's moping feels just as authentic, a trait welcome from Segel finding the right mixture of pathos and humor to his character. He's able to give Marshall the right vocal delivery, but uses body language and specific eye gestures work to elevate this performance. The act is kept throughout, which is good as this is a rather Marshall-heavy episode.

And in truth, Marshall does need this job. As evident here and in his little bit in "Do I Know You?", and unemployed Marshall isn't exactly a productive Marshall. For better or worse, doing shady legal work is better for his psyche than sitting at home, doing nothing. And even though it may not seem like it now, this can help Marshall get closer to becoming an environmental lawyer. Experience is experience, and even if GNB is more rotten than his previous employers, some time working for the enemies will be enough to give the best environmental firms in the world incentive to see how Marshall can fight the system from inside, See, the burger metaphor works on both levels!

There is no b-plot, which is fine by the rest of the gang, who refuse to remain silent. While the other three offer increasingly absurd pleasantries about the burgers they eat during the episode, Robin is shown suffering, a good use of comedic torture that continues until the end. It's an old law to keep one character unsatisfied throughout, even when there is no logical reason to, but this use of desperation can be done well if the actor is game enough, and Smulders brings her best as she complains about her lack of food. Never whimpering too much, but still making her desire clear, this role is best met in the third act when Ted (admittedly the underused member of the episode, but he'll get his fair share of material in the next few episodes) takes away a bag of uneaten chips that she finds in a trashcan. This sounds silly as written, but on screen is sold thanks to Smulders and Radnor's believable chemistry.

Lily does her best to keep a reasonable head for Marshall, playing the reasonable, loving wife quite well. She especially excels at calling off Barney's nuisance, which he gleefully brings to screen as he not-so-subtly praises the strengths of Goliath National Bank. In fact, besides his odes to their excellent burgers and his apathy for Regis (who I'll get to in a moment), Barney doesn't speak about much else than his new job. He really is the ideal businessman, as he sells the strengths of GNB with sincerity and good humor, best exemplified in his performance of their theme song. Frankly, I'm always here for whenever the show requires NPH to sing, so this episode works for Barney's character well enough.

One more addition to the episode is Regis Philbin, who only appears sporadically but makes his presence felt. A weird case of stunt casting, I don't consider this to be a downside for the episode, as Regis is a face you'd expect to find in NYC, especially framed on the wall of any given local bistro. He gives the episode and message a little flavor, especially as Regis sells his despondence well. It's a little far-fetched, but fun to see him so volatile. And at least he didn't insist on the writers making him out to be almost like a super hero just to appear.

"The Best Burger in New York" does seem a little strange in hindsight, but it all comes together in a great piece for the show. The creators felt a sense of nostalgia for the city they knew and loved (and soon would make a place of their own, as Bays and Thomas would eventually buy McGees, the original inspiration for Maclarens, after closing to keep alive as a landmark for the city and for fans of the show), and made a great episode exploring this feeling of nostalgia while bringing a character needing the next phase in their life one step closer. It may not be the place Marshall wanted to be in, but at least he can wear pants again.

How I Met Your Mother Review- "Do I Know You?"

Do I Know You? (4x01)

Directed by Pam Fryman

Written by Carter Bays & Craig Thomas

One Paragraph Synopsis: Stella accepts Ted's proposal from "Miracles", as they spend the summer having lots of fun as a result. That said, they surprisingly don't know that much about each other yet, as Ted proves ignorant about most things Stella, right down to accidentally serving her peanuts without knowing of her allergy to them. This results in the two trading details about each other, with Stella admitting that she's never seen Star Wars before. Given how important the film is to Ted and Marshall, they decide to have Stella view it to see if she likes her fiance's favorite movie, which she doesn't... although she won't tell Ted, in a noble sacrifice. Meanwhile, Barney tells Lily of his newfound love for Robin, which Lily approves of and tries to set them up on a date, which results in an initially awkward, but ultimately pleasing bonding experience for the two.

The show writers, including Bays and Thomas, were spending a good part of the first few seasons finding the show's voice, often succeeding at going into new, clever directions to make the series stand out. I feel that whatever awkward phase was still present early on had been completely eradicated for the show's fourth season, as almost everything is in place here.

In terms of structure, How I Met Your Mother has definitely made its mark. The series has always remained tightly paced since its early days, and while this episode slows things down ever-so-slightly in comparison, there's still a speed here absent in other series with as few storylines per episode as HIMYM. While a show like Parks and Recreation can easily fit three or four plots in a half-hour, this particular HIMYM switches between two with dwelling or zipping, a balance that still keeps a good pace.

Bays, Thomas, and Fryman have made this particular balance a key element of the show, as every episode matters without forcing the audience to pay as much attention to each detail as they would a harder-edged drama. Filler seems like a weird term to use for a sitcom, but it's one that doesn't necessarily exist on HIMYM, as even the weakest episodes thus far have helped to contribute to the show's mythology, as well as build character in its own unique ways. With ample time for plot development, but not too much time as to hold anything back, the show often succeeds at keeping a fresh, important feeling going.

I watch "Do I Know You?", and find myself enjoying it the way that I do for most good episodes of the series, like I'm sitting in on a group of familiar friend's escapades. The framing is done well enough to not make it feel like I'm overstaying my welcome or not spending enough time in a scene, while every moment finds something fresh for me to want to stick around. Considering the importance of this place in the character's lives, this is definitely a good thing, and I'm glad to be there.

Because one other way the show has been succeeding is how the characters have been treated, this episode in particular staying true to everyone, while expanding on some of the core five above all.

Lily and Marshall typically share their role together, playing the experienced couple that claim to know all and offer their advice constantly. Lily is an instigator, finding what's going on in her friend's lives and picking the exact right motives, according to her, to expand on them. In this episode, she sticks to this mentality as she primarily interacts with Barney, helping him with his predicament. Lily's decision to trap both Barney and Robin into a casual date environment is a slightly slimey one, but she knows her subjects well- both of these characters are the kind who act big in most cases, but tend to freeze up when romance is involved, which is why they need a push. Especially as Lily decides to remain rightfully tight-lipped with Barney's emotions, hoping that he'll tell Robin himself.

It doesn't really work that way, as Barney is still unready to tell Robin his feelings, but thankfully this does lead to some good one-on-one time between the two, among their finest since season 1's "Zip, Zip, Zip". In the nearly three years since, the two have grown quite a bit, as Robin has become more willing to embrace her feelings, while Barney has proven to be as good of a friend and listener as he is a seducer. Both still have their issues with intimacy and sharing emotions, which is why the night doesn't become anything more than just a good time between friends, but it's not without waste.

The chemistry that Robin and Barney shared in "Zip, Zip, Zip" hasn't diminished at all, as even while just sitting for dinner and drinks, they set off a blast of energy together with just dialogue and body language. Neil Patrick Harris and Smulders have found the right way to exploit chemistry, and it obviously works. Even lesser dialogue ques keeping their moments entertaining, as it's apparent how much fun the actors are having without trouble getting into the mood of it.

But even beyond acting, the writing allows for a good moment in which Robin confides into Barney something important, her potential to switch jobs. Seeing some of the puns Robin has to say during the news makes her decision seem obvious, but her initial reluctance to reveal this is indicative that while she's still unsure of this, if anyone has the right to know and offer advice, someone like Barney can. When removed from other women, Barney proves his worth as an admirable, helpful friend, something Robin could really use right now.

Although if Barney is so admirable, why did he end up sleeping with the waitress, after all? Barney's speech supporting bimbos (a low point of the episode, as the women Barney sleeps with deserve better than to be classified as such) indicates that he really isn't ready to invest in a committed relationship, with Robin or not. Right now, Barney is too set in his ways to change, which explains the decision, although his turning to her news broadcast at the end suggests that Barney is still potentially in love with Robin, even if he can't act on it just yet. He might need more time, and assurance that more than one night of passion will happen if he does.

As for Ted and Marshall's material, Marshall plays his own take on the wise elder, aiming for a more emotional core as opposed to Lily's mental, almost as a reversal of gender roles. He understands Ted possibly better than he does, and recognizes the importance of Star Wars in his life. Then again, Marshall is just as big, if not even bigger, a fan. And all it takes is one viewing of A New Hope for the two of them to realize why Stella should see the film.

Surprisingly, the two (or three, since Barney himself is also a big fan) haven't talked about Star Wars all that much, despite how ingrained it seems into the show. Skywalker Ranch even lent the rights to use John William's iconic score during the episode, as they see what big fans the guys on the show is. But there have only been a handful of passing Star Wars references, along with Barney's Stormtrooper costume in his apartment, thus far. But something about Star Wars seems right, just as it makes sense that Ted favors Episode IV all else, which brings on the quest to get Stella to enjoy it, as well.

Imagine if the person you decide to spend the rest of your life with doesn't like your favorite film, book, video game, TV series, sports team, or what have you. In truth, you don't want to marry someone exactly like you, but it's hard to consider if life would be worth sharing with someone who doesn't understand why your personal passion is so important to you. This is what Ted is facing in "Do I Know You?", as Star Wars becomes a metaphor for commitment.

Seeing Stella's reaction to A New Hope- negative, opposed to her wildly positive reaction to Ted- makes for an interesting look at their relationship. She may not be able to get down to his favorite movie, but Stella loves Ted more than enough to deal with his personal passion and not look down at him for it. It's not ideal, but it seems like a noble sacrifice to make. Ted hasn't found the dream girl, but maybe it's time for him to have a new dream, instead.

Not a bad way to start off the season. Will Stella become the mother? Is Robin going to take the new job? Will she and Barney get together? And how about Marshall's mostly-forgotten unemployment depression? There is much more to dig into after this episode, but it looks like a bright road ahead for the season.

How I Met Your Mother Review- "Miracles"

Miracles (3x20)

Directed by Pam Fryman

Written by Craig Thomas & Carter Bays

One Paragraph Synopsis: Ted's life changes after being involved in a car accident while in a taxi. He's not really hurt at all, but is now questioning his break up with Stella, something he recently initiated after feeling pressured when she invites him to a wedding six months in advance. When she comes to visit in the hospital, she and Ted reconnect, or so he thinks, as Stella didn't realize that they broke up to begin with. Some cliches exist for a reason, Mosby. But a bit of the Mosby charm and some reasonable compromising allows for the two of them to be engaged, as soon as it may seem. Ted also reignites his friendship with Barney after he runs to catch Ted in the hospital, and gets hit by a bus along the way. And during the episode, Marshall and Robin discuss the existence of miracles.

Fucking magnets, how do they work?

What a great way to end a great season. Of course, it couldn't have ended without Ted proving himself to be the dumbass that he is, but that's the fun.

It's a great joke to see Ted consider saying that they're breaking up to be a cliche not worth mentioning, when there's enough of a sense of vagueness to make this a bad call on his part. It's the way Ted functions, and seeing how the rest of the gang finds it irritating is palpable. I'm a little annoyed with him, too.

So I do side with Stella's response to when she realizes Ted's original intent, even if I do wish for their best. They've proven their worth as a couple, despite their brief time together. While Ted isn't always the most considerate guy, he does truly find something special in her, as Stella does in him. They both are intellectual, they laugh at each other's jokes, and Radnor and Chalke are finding some good chemistry together. But this isn't enough for me to not be annoyed with Ted.

Stella deserved a proper break up, even if he had to use one more trope on top of his averagely-written speech. Even if she is putting all of her eggs in a basket, she is doing this because she trusts and likes Ted enough to guarantee that they'll still be together in six months, which isn't that bad of a claim. If Ted is doubting that this can happen, he's in the wrong place, and should have made sure that Stella fully understood his decision.

I see this, and I'm annoyed with Ted, then the ending arrives, and I'm won over by Ted's orange kangaroo proposal. This is the How I Met Your Mother that I love, why I'm writing this- small little things that can build up to something special, brought together by sharp writing, excellent direction, and strong performances. Radnor and Chalke bring their all to this scene, allowing for welcome light humor before the inevitable proposal, all without a hitch.

The reason I support this moment despite still being annoyed with Ted's actions is that I do believe that Ted feels remorse for the break up, and wants her back. The build-up to this revelation is well done and hard to dispute. My problem is Ted not choosing his words well, not his realization of the split being a mistake.

The choice of a car accident being responsible for this epiphany is a good one, even better complimented by Barney being the one to give Ted a push to find Stella. As Ted is about to take a big leap forward, it only makes sense for something that could have easily been a seismic shift in his life direct him towards this. While of course another important decision, the return of his friend into his life, is only a continuation of this. When someone who otherwise has little use for marriage like Barney gives Ted the okay, it becomes apparent to see that this is a good decision.

Barney's story isn't front and center, but it is present and a good addition to the episode. He's still grappling with Ted's separation of friendship, a decision Barney has never agreed with. Seeing how he takes the call with a strong face, only to leap into action the moment he can for Ted shows how Barney is doing his best to take this. He misses his friend, misses the chance to do good for him, but is also trying to respect Ted's decision.

Also consider how Barney is removed from Ted's emergency contacts (if Marshall isn't his only one, anyway), but Ted seems to be Barney's only contact. While Ted seems ready to move on with his life, Barney is still grounded in the now. Here, both collide, as their friendship is restored while Barney gets to see his buddy go win the girl.

As for Barney's lingering towards Robin? I knew that his night with her wasn't a one-off thing in his eyes, and the challenge will be to see how this continues for the both of them, if it does. There isn't much to say yet, as this and the past few episodes don't say much about their potential together.

Robin does get some good material with Marshall, however. Their arguments in regards to miracles are a highlight, bringing good repertoire together, while sharing fun flashbacks to keep the pacing alive. Robin's anecdote towards where her disbelief of miracles only further shows how destructive her childhood was, and allows for a cute turtle to be on screen. It also explains her love for dogs, and why she keeps so many, to make sure they'll have a good home. This is only subtext, but strong enough to be read, as evident by Smulders disappointment in her face as she continues on.

Marshall's are more comedic, but he does tell of how he almost went back to work at NH&W, but a fluke changed that before the firm got in trouble. Each of these are entertaining, but do allow for those who believe in faith and miracles to support Marshall, as Robin's stance on coincidence works well for skeptics. While religion is rarely discussed on the show, it is evident that Marshall is of faith more than the rest of the group, which makes his passion towards the subject believable. Robin cares for the guy, but has her own beliefs that clash, and these are tastefully brought to the table in these well-written moments.

Just as "Miracles" was a well-written finale for a solid season. Enough is set up to prepare the fourth to be an important one, and I can't wait to get to it.

Season Rating: In truth, I'm still irked by some structural issues in the season, primarily the lack of material used for Lily's debt, and the lack of time for Stella to allow for the random engagement to fully land, as much as most of this works for me. But there wasn't a truly bad episode all season, a lesser plot or some unfortunate choices in dialogue aside. The writers and actors are continuing to find and perfect the show's voice, as they've all but done here, while Fryman's direction compliments it all. It's funny, I always considered the second season to be better, but I think that the third succeeded enough to earn an A-, which is not bad at all. How will season 4 rank? I don't think it'll be much of a step down at all, but let's see!

How I Met Your Mother Review- "Everything Must Go"

Everything Must Go (3x19)

Directed by Pam Fryman

Written by Jonathan Groff & Chris Harris

One Paragraph Synopsis: After sleeping on it for a few episodes, Barney finally finds the girl who has been telling other women to avoid him- it's Abby! You know, Stella's assistant from "Ten Sessions". Britney. She's back, and wants vengeance on Barney for not calling her back after sleeping with her. When Abby reveals that she still is bitter over Ted's lack of interest in her over Stella, Barney decides to have some fun with Ted by pretending that he and Abby are dating to poke fun at his committed self, something that Abby takes too seriously. Meanwhile, to help pay to fix their apartment when the price raises, Marshall makes a website for Lily to sell her clothes off on, which she begs Marshall to hold off on in the hopes of selling her paintings instead. Just when this seems to be a dead end, a couple of pieces of goodwill comes towards the couple, as not only can they now pay for the damages, but Lily may even found a new niche for her passion.

We're almost done with the season, and only now is Lily's run into debt coming back. Although the third season is ranking higher than it originally did when I first watched it, my main issue with it is still present, in that such a great idea for a storyline is pushed to the side rather quickly.

"Everything Must Go" barely even addresses the couple's debt, when you consider it. Marshall decides to sell Lily's clothes because hers are nicer, but doesn't bring up the notion that it's her fault that their financial status is faulty. It's not like Marshall's students loans would cost them THAT much, after all, and they should be paid off soon. Lily's taste in clothing, meanwhile, doesn't deserve to be this extravagant for their budget.

I'm annoyed, because this is such a great conflict for the characters, one that Marshall is too easy to forgive. Yes, Marshall is a good, loving person, but he has been improving on being a footstep from others, even by Lily after her departure, which is why this bugs me. While I understand the need to fix their apartment, I would have preferred for this direction to be how the episode, and most of the season up to this point, to have gone.

The plot used here does work well enough, but there are certain elements that irk me. Primarily the homophobic material, although I don't think the GCWOK were really an issue. They might be a little broad, but there are gay men out there who are proudly flamboyant, and they do have their moments without coming off as exactly offensive. At least to me, so I'll let other viewers interpret the characters themselves.

But the red cowboy boots is a very hit-or-miss point this week. "Pulling. Them. Off" is a great line with wonderful delivery by Radnor, but the jokes that lean towards making fun of Ted for choosing a fashion statement that isn't traditionally masculine does bug me, especially when a montage of gay puns comes from the gang in retaliation. These are lame, as are other references towards Ted's boots, but I do appreciate the return of the aforementioned line, which helps to ease the disappointment here.

But back to the story, the framing itself works well. Groff & Harris may not have chosen the right details, but the execution behind their subject matter is solid, as the plot points all add up. Everything in the A-plot is presented well, at the right place with enough good gags to not make things drag for too long. Consider Lily's tenure out on the streets, for example. Her run-in with the heroin addict helps keep the scene go along, but in actuality shows how Lily's quest may just be a despondent one with little compensation. While that doesn't turn out to be the case, it is true that she did not succeed in the way she was hoping for.

Because yes, her art is being used to help ease dogs. This may not necessarily be a compliment, but it's a good addition to her artistic goals, since it allows Lily to keep herself occupied while sticking to the truth that she isn't all that great at art. A pre-Nightly Show Larry Wilmore does a fine job at keeping his veterinarian character likable, but keep in tune with the show's traditional sense of humor without coming off as derivative. He'll pull off a bait-and-switch gag like nobody's business, but adds a rhythmic measure to his description of Lily's painting to make him stand out. So again, not a bad way to wrap up this story.

Less good, however, is Barney's story. Britney Spears played a fine line between likable and obsessive in "Ten Sessions", but goes almost fully past likable here. I say almost as, even if it isn't nearly as bad as much of the other stuff he's done to women, I understand Abby's resentment towards Barney making her a simple one-night stand. Her decision to ruin Barney's luck with women is a good, funny one, and I similarly find her strong family connection a good reminder of Abby's obvious southern roots. That said, every time Abby brings up Ted, I simply cringe. There's nothing to the joke but a woman bordering on stalkerish territories to prove her appreciation for a guy who was never interested in her to begin with.

I also don't really care for Barney in the plot, as he's simply too cruel to Ted here. Barney was previously grieving Ted's decision to drop him as a friend, so it's pretty different to see Barney want to throw him under the bus like that. Sure, there are little moments previously on the show, such as his decision to keep tedmosbyisajerk.com running, but Barney is a great person towards his friends, one who would keep a stalker out of their way, which makes this an all the more surprising choice. Not a good change of faith.

On top of that, I just don't find Barney and Abby's time together all that fun to watch. NPH tries his best, but he doesn't have great chemistry with Spears at all, who herself seemed to have given up trying. Their fake relationship, for example, is more tedious than funny, a dated look on relationships that even Barney should know better about, the scene isn't all that worth it. And on her own, Spears seems to have lost her little of charm from "Ten Sessions", as she barely brings much to her lines here, instead mostly just schilling out disappointment.

I may not care for the B-plot, but "Everything Must Go" isn't really a dud, either. The rest of the story has enough good to make it work, even if Barney and Abby's material grows old FAST. Still, I can't wait for the next episode, which looks like a good way to end off a great season.

How I Met Your Mother Review- "The Goat"/"Rebound Bro"

The Goat (3x17)

Directed by Pam Fryman

Written by Stephen Lloyd

One Paragraph Synopsis: The story we've all been waiting for is here! It turns out the goat that messes everything up for Ted's 30th birthday... doesn't actually do so until his next, but is present here anyway. When Lily's kindergarten class has a farmer tell the children the future of his goat, Lily takes it upon herself to adopt the little one herself, as it makes for a welcome addition to the apartment before disappearing during Ted's surprise party at the end of the episode. But what's really important is the aftermath of Barney and Robin's passionate night together. The two haphazardly agree to make this a one-time event and to not talk about it ever again, a promise Barney breaks quickly when he has Marshal go through the Bro Code, written by Barney himself, to find a loophole where he doesn't come out as a bad guy. Sadly, there is none, which is further proven when Robin tells Ted about the night herself, and all comes down to a brutal confrontation in a limo where Ted decides to stop being Barney's friend.

Directed by Pam Fryman

Written by Jamie Rhonheimer

One Paragraph Synopsis: With Ted sticking to his plans for terminating his friendship with Barney, Barney begins a search for a new wingman bro, which proves so unsuccessful that he ends up settling on his loser coworker, Randy (Will Forte). A night of wingman attempts proves to be massively unsuccessful for both of them, only proving that Ted is one of a kind. Meanwhile, Ted and Stella agree to finally have sex, something they've been holding off on as Stella has been out of it for a long time. Ted almost ruins everything when Stella learns that he told Lily and Marshall about their plans, but in typical series fashion, Ted wins her over and after Ted gets the chance to meet Stella's daughter, they make whoopie.

I wasn't planning on doing a double review, but I had enough planned for "The Goat" before getting sidetracked for a dozen different things that I might as well make up for lost time. There are worse fits to pair together, although I should have probably combined "The Goat" with "Sandcastles in the Sand".

That said, one thing both of these episodes succeed with is finding something for everyone to do. Some characters are less essential than others throughout, but no one is bereft of good material. Even Robin, who sadly is pushed to the side in "Rebound Bro", has a great moment in the episode when she helps Barney practice with Randy. She gets right away that Barney is overcompensating for his loss of Ted, but keeps her face throughout. Even with Randy's obvious failure, she never laughs TOO much at his expense, a good call.

Lily is more of importance in "The Goat", as she brings the titular goat over to the apartment, but she's a lot of fun in the episode. It makes sense, given Lily's hippyish tendencies, that she'd want to keep the goat, and it makes for fun delivery when everyone else advises her against it. Speaking of good sportsmanship, Lily does a fine job of keeping her cool against her wishes, but Hannigan's finest moment comes with her attempt to bring the goat into the taxi, where she reveals strong physical comedy know-how to do her finest.

Marshall plays mediator in "The Goat", but allows himself some solid delivery of his own, especially when the hot dog in Barney's office is revealed. Segel has found a good way to embrace specific emotion for Marshall, whenever food is around. This combination of good humor and love makes for one of his best character traits, and helps as he keeps a serious face for most of his material in the episode aside. In "Rebound Bro", he and Lily have some fun trying to keep the secret from Stella, but brief moments aside, that's it. They are fun moments, though.

These really are Ted and Barney's episodes, however. It is a problem that, while Robin isn't entirely forgotten, her feelings towards her night with Barney aren't as important as his, but there is enough on Barney's part to make "The Goat" a highly interesting episode.

On the one hand, he feels remorse for sleeping with Ted's ex, an understandable feeling. It has almost been a year since they were dating, but time is almost irrelevant here, as this is still a woman that meant a lot to Barney's best friend, someone he almost considered the one at a point. Barney even dedicated a sizable part of the Bro Code to explain that events like these are not cool. Well, he says that he didn't write it, but consider the flashback. It was totally Barney, right down to how overdrawn the thing was. And there will be more of these to come in the future.

Marshall instantly gets that Barney is compensating for his guilt when he is hired to find a loophole, since he is. Barney has done some terrible things before (consider the whole of "The Bracket", if you will), but he really does care about his friends, and wouldn't sleep with the ex of a friend, who is also a good friend of his to boot, unless it meant something.

And that's another point that becomes apparent here. That night was important to Barney. There were no moves, he didn't coerce Robin into anything, they just naturally fell into it. That could have been a fluke by itself, but consider the way Barney fails at keeping his cool the next day. Beyond guilt, there's a hint of Robin mattering to Barney as more than just a conquest, or even a friend. Robin's continued denial during the bar must have been rough for him, since she makes it clear that there is no future for them.

Although what makes these episodes all the more painful is that there isn't much time for Barney to consider his feelings for Robin, as a bigger blow comes to him in the form of Ted. The scene with the two of them in the limo in "The Goat" is wonderfully framed by Fryman, as she allows plenty of room for the two of them to make their every reaction present. There is enough ample time spent on their bodies to allow for the scene's physical humor, but she positions the scene smartly enough to make sure the fact that this isn't just a comedic moment is present. Ted's delivery of him not wanting to be friends anymore, coupled with NPH's crushed reaction, is a harsh moment, one that sets up for an interesting final set of episodes well.

It should be clear that Ted and Barney do reconcile, since there are 6 more seasons left, and Future Ted still refers to him as "Uncle Barney", but there are no real hints towards that in "Rebound Bro", as Ted continues to ignore his advances. Thankfully, the episode doesn't spend too much time on Barney attempting to win Ted back in hopes of a hasty reunion, and saves his call for the beginning of the episode. While they aren't forgotten among one another, the rest of the episode features the two characters in separate plots.

Aristotle wrote that there are no such things as subplots, but rather sidestories that contribute to a main plot in its own ways, which is a trend that the show writers recognize and use well. Ted and Barney's plots in "Rebound Bro" do indeed show that the two characters are at different places in their lives, but aren't too far away.

Barney hopes to find a suitable replacement for Ted, yes, to potentially find women to sleep with, but also for a sense of pride in helping the helpless, and as companionship that women and married men wouldn't be able to give him. Randy's a bit of a sad sack, a talentless nobody that is, for the most part, a lost cause, which is why Barney was hesitant at first.

Desperation does rear its ugly head though, as we see Barney fail to find women for Randy, until a useful little detail comes into his knowledge, as Randy's time in the force is mentioned. Someone with a future would have put together that wearing a uniform is a plus for women, but Randy has no real future, despite appearing again on the show. Forte does a good job with the character, making his lack of charm pay off in a delightful way that could only work in a comedic setting, and results in fun with Barney, given the two's solid chemistry. But Robin's right, Randy is no Ted, and there is still an emptiness that Barney will face the next day.

Ted, meanwhile, has been getting increasingly closer to Stella, who has been heard but not seen in the past few episodes (thank Sarah Chalke's busy schedule on Scrubs). She continues to find likable moments in scripts that are light in such bits for her, savoring each line with a specific charm that over a decade of sitcom practice would allow her to. She's a good match for Ted, with enough wit and warmth to be just what he needs.

What drives his story in this episode, though, is their lack of sex. I'm not crazy on the insinuation that intercourse is necessary to make for a good relationship, but I understand Ted's disappointment in the waiting game, just as I understand Stella's desire to not rush into sex after years away from it. The two are thankfully able to make a reasonable, adult agreement on trying it out, which makes for a welcoming plot.

One that gets subsided from a less adult decision by Ted, but one that does show a part of his character that should be considered. Ted is very close to his friends, Marshall and Lily in particular. Maybe too close, as this is personal information that he's sharing with them. While Ted makes a point to assure that Stella gets along with the guys, I wouldn't be comfortable, either.

I appreciate the episode's way to make another reasonable agreement between the couple, as they find necessary middle ground and allow not only for good sex, but another important first- his meeting of Lucy, Stella's daughter. This is one of the last big steps Ted needs to make so that this relationship can be a successful one, which is combined with sex as a useful and tasteful metaphor. Maybe Stella will be the mother just yet.

But for now, here were two more solid additions to the season. With only two more episodes to go this season, I can't wait to see what's in store for the show. Neither of these were among the series' finest, but there is little wear to be found.

Hey, It's 2008!: Barney's SkyMall obsession is mentioned in both episodes, which is funny now that the company has gone bankrupt. I guess he got over them shortly after these episodes, since he sure could have afforded to keep them around if he was still ordering from the place. And wow, I don't even recall Randy's political references. They were dated back then, never mind now. But that's the joke, and it's not a bad one.