How I Met Your Mother Review- "Robots vs. Wrestlers"

Robots vs. Wrestlers (5x22)

Directed by Rob Greenberg

Written by Jamie Rhonheimer

One Paragraph Synopsis: Robots and wrestlers. Head to head. That sounds too good to be true. But it's a real thing, as Barney gets tickets for the gang to see the event, sans Robin, who is busy spending time with Don instead as she's still trying to distance herself from her exes. But the other four are willing to go, at least until Ted finds an invitation to a fancy party for Marissa Heller, the original apartment owner who still has mail sent to the place, all of it seemingly results into the perfect woman for Ted. He does end up meeting Marissa in the party's hotel lobby, where he quickly woos his way into the party, a who's-who of social elitism in New York. The other three guys get bored, but Ted sticks around as he soaks up the culture. He stays until he realizes just how douchey he sounds, and when he discovers his doppelganger is at Robots vs. Wrestlers- Mexican wrestler Ted. Who needs to party with Peter Bogdanovich and Arianna Huffington when there are real friends to make great memories with? Also, Robin comes back at the end.

I mention Robin's return to the gang's circle as a random aside in my synopsis because that's how her appearance is treated. This is my problem with season 5 exemplified- her hiatus from the group seems like a promising storyarc, as she, as well as the rest of the gang, are starting to become codependent on each other, even after Robin has dated two of the core members. A break seems like a necessary recharger. But Robin was away from the group for such a small amount of time that it hardly seems like anything happened.

It doesn't feel like Robin was really away, since there wasn't that big of a gap missing when she was away. Not to say that Robin isn't important at all, because that would definitely be untrue, but this resulted in an unnecessary bit of drama that doesn't add a whole lot to character or story. And the lack of Don in Robin's little bit of screentime makes the atmosphere almost feel moot. Why bother?

It's a shame, since I find the idea of the episode strong, and the time spent with Barney, Lily, and Marshall is promising, if uneasy at moments. Barney gets towards his most unlikable with his long list of demands for their future kid, but this shows his relative lack of growth over the years, and his child-like dependency on the gang. Barney takes their potential split more seriously than anyone else as he almost sees this as another split between his mother and the father he never knew, as inevitable as this may be.

Future Ted's commentary on how the gang will have trouble keeping in touch on occasion as they get older furthers this, but the addition of how they still go to Robots Vs. Wrestlers every year is promising. What Barney sees in the gang is real- the five have a great bond together, and even when life will get in the way, this is always going to remain.

Marshall and Lily are too preoccupied to think about the future of their friends right now, though, as they're focused on their own future. Particularly, their future children. The bulk of their screentime is spent as the two discuss whether or not they should have kids in the near future, and enough time has changed since "Not a Father's Day" for their stances to change a little- Marshall does want kids soon, but Lily is a little unsure, which is where her idea of waiting for finding Barney's doppelganger comes into play. Not a bad idea, whenever it happens. And is it just me, or is it sad that two of the character's doppelgangers revolve around unnecessary brown face? The show should know better.

Ted's A-story fairs a little better, thanks to some fun guest stars- Peter Bogdanovich has a cute reprisal of Marshall's charming Willem Dafoe bit in the closing tag, while it's fun to see Huffington elegantly shrug Barney off. And Michael York is, as always, a treat. But even that wears thin.

I've seen these kind of pretentious people jokes before. On the show, and off. Little of this feels new, and Radnor's connection to the material isn't all that engaging, as he seems to recognize this himself. It's why I'm having a hard time finding a lot to say, since there just isn't too much to the episode itself.

I've hit two weaker episodes in a row, with only two more until the season's done. The good still outweighs the bad, but part of me almost feels like I'm running out of interest. Which is a shame, since when the show is great, I can go on and on. When it's not, eh. But let's hope that this year recovers by the end.

Continuity Error: Well, they don't always make it to Robots vs. Wrestlers. You'll find out in season 8, after all.

How I Met Your Mother Review- "Home Wreckers"/"Twin Beds"

Home Wreckers (5x20)

Directed by Pam Fryman

Written by Chris Harris

One Paragraph Synopsis: Ted's mother Virginia has found love again with Clint, a weird hippie guy who somehow hits all of her requirements. They get married soon, which only reminds Ted of how little progress he has made finding the one. He runs away for three days after, only to show the gang the house he bought, an old rundown shack that is advised to be destroyed. But he bought it since he wanted to have a wife, children, and a house by now, and one out of three isn't bad. After some time spent talking it over, Ted wrecks a lot of the house, only to later realize that this wasn't such a terrible idea, as it later becomes the place where he and the mother raise their kids. Also, did you see how Robin cried during Clint's song? Or maybe it was Barney.

Twin Beds (5x21)

Directed by Pam Fryman

Written by Theresa Mulligan Rosenthal

One Paragraph Synopsis: Robin and Don are getting serious, to the point that Don asks if she wants to move in, which Robin agrees to. All seems well, except that Barney is starting to want Robin back, and is willing to fight Don for her. Ted does his best to help Barney get over this, until he realizes that he is also still in love with Robin, and then attempts to fight the both of them for her. Despite all of this, Don, who was initially iffy about Robin hanging with her exes, remains cool, while Robin tells them both that she needs time off from Ted and Barney, as she quietly moves into Don's place and separates from the two. Meanwhile, Lily and Marshall trade their queen sized bed in for two twin beds, after a weekend away in separate beds reminds them of how they like to sleep alone. Some squabbling and a piece of advise from Don has them change their minds by the end, though.

Two episodes, one good, one not-so-good, respectively. And I'll get back to them, but I don't feel like writing right now.

Eh, I'll make these brief.

"Home Wreckers" is another low-key episode, keeping the gang together for the lion's share of the episode to get to the main point of the episode, how Ted is too adamant about moving forward when he's still not really ready to. This is a case where it doesn't totally work, as the latter two acts drag as opposed to the more fun opening, but the come around is rewarding, when Ted realizes where he should be, and gives his best to Virginia and Clint. It's a nice cap to an arc that's still not quite done yet.

And the subplot of whether Robin or Barney cried during Clint's song isn't nearly as fun as his song seemed to be. I do give credit to the "Drunk or Kid" game, though, even if some of the choices seem suspect.

And my problem with "Twin Beds" come from Ted and Barney, who verge beyond the point of likability in this episode. Although their pining for Robin is still natural, it became uncomfortable to see how far they dragged it along, to the point of nearly starting a confrontation with Don.

But it does show how good of a thing Robin has with Don when he finds a reasonable way to prevent such confrontation, and I applaud him for it. Right now, Robin deserves someone who respects where she is and doesn't force himself like Ted and Barney tend to, and Don seems to be just that. The uncomfortable elements still exist though, so I'm still not quite in love with the episode, though.

Also, Lily and Marshall's twin bed subplot is solid, giving them a new kind of issue to deal with. Don's story of how he and his ex-wife separated shortly after getting twin beds indicated whether or not it was for the best to keep them, and their knowing couples intuition thankfully took care of that. This a pairing that is meant to last, and dammit they will.

How I Met Your Mother Review- "Zoo or False"

Zoo or False  (5x19)

Directed by Pam Fryman

Written by Stephen Lloyd

One Paragraph Synopsis: Marshall has a surprise for everyone when his wallet is proven to be missing- he was mugged earlier, which scares Lily to the point that she's considering buying a gun. As scary as this might have been, Marshall is more terrified of Lily having a gun, so he's willing to tell the real story- he wasn't actually mugged, butt rather had his wallet stolen by a monkey. When she hears the "true" story, Robin decides to have Marshall come on her show to talk about it, since she's unable to find someone else take the position, despite Ted's best efforts to get his replica Empire State Building on. But Marshall can't share his story in good conscience, after discovering that the monkey he frames will be taken away from his love. At the same time, Lily still wants a gun if he was robbed, so Marshall does the only thing he can do- walk out. We never find out what happened.

Even though we haven't hit too many downright bad episodes of the series yet (and I'd even say that we haven't had our last real stinker since season 2), one thing I've learned is that no episode of HIMYM is bereft of laughs. And I will get to the good later.

But wow, "Zoo or False" isn't very good. The sole attempt at a b-plot is tiresome, but not nearly as much as the main story, which all overstays its welcome quickly.

It's a shame, since the concept of the lie surpassing the truth is a fascinating one, as problematic as it may be. This is what Barney lives for, as he constantly changes his story and hides details to fill his sexual desires, and tries his best to not falter despite often getting caught with his pants down.

Here, he is caught in the middle of one lie as another comes back to haunt him, in the form of his last exploit coming back, still believing his alibi (it's a fun call to have Barney proclaim that his name isn't Neil, btw). In the fabricated take Barney tells Ted and Marshall, he successfully coerces himself into a threeway, even finally winning the belt, but in actuality he gets caught with alcohol in his face and an unsuccessful night out.

Barney's story sounds better to him, even though the truth is more fun for audiences to hear. It still fits his point, that oftentimes the lie is more fun to hear than the truth. This is Barney's philosophy, and he takes it seriously. Ted later takes this himself at the very end, when he shares his King Kong reimagining on Robin's show, with little hints towards it really happening or not.

But what does happen to Marshall, though? Considering the way the series ties its mythology together, the lack of answer even by the end of the show's run is surprising, yet surprisingly welcome at the same time. Some mysteries are better kept as such.

But the way this mystery is portrayed is a little telling, since the end results are tirelessly black and white- either Marshall was mugged and Lily becomes a gun owner, or a monkey did it and it will be deported. The unnecessary tension, especially in the last act, feels like a lesser sitcom, something that even seems noticeable by the actors.

This is a funny idea for a story, but maybe a sideplot. Certainly not the main story, as it runs on fumes quickly. The joke runs old shortly after Marshall reveals the monkey twist, and it goes downhill form there, since there just isn't much to it.

Sometimes even the mention of a monkey can be funny, as the show has proved itself once or twice, but here there's little effort to it but a one-note crack. This gets even weaker when Lloyd attempts to use the lie for drama, as there isn't enough to make it work. There was barely enough material to make it work as a comedy. And as such, the episode fails.

Ted and Robin's Empire State model clash is similarly tired. The episode's opening Sleepless in Seattle tribute is funny, especially as a nice reminder of  Ted's gender-reversed appreciation for romance, but the squabbles after that fall flat. This isn't helped with even the  jokes at the expense of how cheap Robin's show is being stale, despite working before. Probably since they aren't new by now.

But each act, even the stale finale, has good jokes abound. I've mentioned some of the highlights, but it has more funny moments to help keep this watchable, but still a dud.

How I Met Your Mother Review- "Say Cheese"

Say Cheese (5x19)

Directed by Pam Fryman

Written by Robia Rashid

One Paragraph Synopsis: It's Lily's birthday, and all she wants is for it to go exactly as she wants- with nice gifts and a showering of appreciation from her four favorite people... and Amanda. You see, Ted has a history of inviting his most recent dates to certain milestones of the gang's, to the dismay of Lily. The two argue about this as they both bring up their sound points, all resulting in Amanda joining in the group picture, only to be forgotten about months later. Oh, and Barney never takes bad pictures, while Marshall never takes good ones. Almost.

This is an episode where there are clearly problematic aspects, but enough good is present for me to forgive it anyway.

The main problematic issue is how Ted's previous dates are labelled as skanks, and do I even need to refer to why this is gross? The best line of defense that I can use is that this is coming from Lily, who is emotionally distressed from Ted's negligence, which is causing her unnecessary slut shaming.

I do also find it interesting how the series is now addressing one of its main criticisms, how Ted focuses more on the women he's dated or even just slept with more than his quest to find the mother, by making it front and center here. The parade of Ted's random women comes into a typically entertaining highlight reel, with each date and circumstance for the date's appearance becoming increasingly outlandish, right down to a surprisingly welcome appearance of Karen, the only returning ex. It also portrays another of the show's points, how Ted and Barney aren't so far off in terms of character. Barney just doesn't hide how much of a horndog that he is.

But is Lily's annoyance justified? Yeah, kind of. This is her birthday, a day that she gets the rare chance to make all about herself. If she just wants the core gang to celebrate, she has every right to make it happen. And Ted's all-too-recent girlfriend seems to be of a lower priority to stay at such an event than, say, Lily's dad for Thanksgiving.

It's also important to consider the points used for Ted's defense. One, Robin was originally a random date of Ted's that became a part of the gang. This is something that Lily seems to put in consideration, but more as the exception that proves the rule than anything. Robin fit all of the requirements that Ted and Lily could have hoped for, except for being the right girl for Ted. For this, it made sense that they did not work out, but Robin is a great enough friend for that to not matter anyway.

The other point is that, well, Lily was a random girlfriend at one point herself. But even when she and Marshall were just dating, Ted knew that they worked well together enough to suggest that she stay to be in their first picture and join them in their activities. Ted may not always make the best choices in women, but he got this decision right, and it's one that's still proving to be worthwhile. Ted and Lily are great friends, and no random date should get in the way when it comes to their bond.

Not a bad way to resolve the issue, and thankfully the episode itself is paced well. The show has done limited primary setting episodes before, usually relying on flashbacks and chemistry to keep the momentum going, and it works well here. Lily and Marshall's apartment isn't as familiar as Ted or Barney's yet, but it feels welcome here as the birthday situation continually goes wrong, and as everyone keeps their spirits going.

The additional elements are also strong, with Marshall trying his strongest to keep a good face going. His birthday song micro-plot is funny, allowing Segel to show off his musical chops a little more while also playing with voices to a good manner. Meanwhile, Robin's quest to get a bad picture out of Barney is equally entertaining, right down to the almost cathartic ending.

But that's the thing that helps this to be a good episode, even if it isn't really one of the greats. Seeing all of the previous photos of the characters together really puts you into their world and makes it feel like you can be a part of them. Marshall's universal blinking, Lily's lying smile, Robin's poor posing decision, and especially Barney's perfect pose feel natural, just as their friendship does. And that's what makes the difference for the show, why I'm still happy to review it.

How I Met Your Mother Review- "Hooked"/"Of Course"

Hooked (5x16)

Directed by Pam Fryman

Written by Kourtney Kang

One Paragraph Synopsis: Ted's recent endeavors in love are being controlled by Tiffany (Carrie Underwood), a likable, attractive woman that likes Ted, but can't be with him... right now. This is the effect of the hook, a never-ending cycle where one person is constantly being held from dating the person they want due to their unwllingness to officially decline. Present Ted is unable to see this, or simply uninterested, as he keeps on spending time with Tiffany in hopes of things getting serious, but it takes a crazy chain of events, including a surprise from the girl Ted himself keeps on the hook, to see the error in his ways. Similarly, Lily is having a hard time getting Scooter off of her hook as he's the school's new lunch person.

Of Course (5x17)

Directed by Pam Fryman

Written by Matt Kuhn

One Paragraph Synopsis: Barney is trying his hardest to win over a new girl (Jennifer Lopez) who lead him to think they had a chance at sex, but bailed just before. Ted introduces Barney to the self-help book, Of Course You're Still Single, Take a Look at Yourself You Dumb Slut, which hints at some of the trends she was using during their night, and he does his best to blow them off. It turns out that not only did she write the book herself, but Robin sent the woman to trick Barney after appearing on her show, as Robin is still hurting from their break-up. After he, as well as everyone else, find out how badly Robin is still taking things, Barney decides to hand over his planned super date to Robin and Don, hoping to do the right thing,

Another pair, another unintentional but welcomed theme- both episodes contain big-name guest stars. And they're both good in their roles!

Carrie Underwood is still one of the biggest names in country, and was such a draw that her episode had to be extra special- this was actually shot in front of an audience. Not a big, traditional sitcom live studio audience setting, but a smaller set of critics from the Television Critics Association, who watched a previous recording and had their laugh track used. Which is funny, since critics were fairly mixed on the episode itself.

The original laugh track is unusual, but fits pretty well, and keeps the pacing a little different. It's easy to tell how certain laugh motifs from the show's canned laughter comes in normally, but this does feel a little more organic, keeping things surprisingly fresh for the series. That little bit gives the episode a tiny edge to stick out some, as it needs to throughout.

Thankfully Carrie Underwood is fair game, and does the most with her material that she can. Underwood had little experience in acting, and the few other experiences she's had since (ie Sound of Music Live) do little to prove that she has a great talent for it, but she melds well into the show's style, even as it differs slightly from other sitcoms. Her delivery is tight, with Underwood giving Tiffany an edge of sweetness to it that fits her interactions with Ted, a guy who needs sweetness for validation as he remains an anxious as hell wreck, but is hardly a naif otherwise.

JLo, meanwhile, has much more experience in acting, particularly in comedy (as middling as most of her films may be). As such, she fits into the show's world about as equally well as Underwood, possibly better, and finds a similarly strong angle for her character and interactions to her foil of choice, Barney.

Barney isn't as openly romantic as Ted, instead requiring direct action, which Anita gets instantly when she begins her pursuit. Lopez plays the character's commandeering side well, allowing her to be as smart and open as needed, but doesn't come off as desolate. Especially when Anita finds out that Barney is smarter than he seems, cracking her code almost instantly, which JLo allows to take for a playful turn. Plus, let us give praise to her cracking down on male's desires in her interview with Robin, which is brilliantly sold.

And she even does desperate well at the end, with her increasingly pathetic pleas to Barney. The smooth exterior Lopez creates for Anita initially still exists, until she slowly cracks the further Barney turns her down, where she slowly lets her guard down. It's a great character moment for a fun guest star, despite being the less-hyped of the two. Then again, I don't think that JLo's music career had its brief revamp yet thanks to American Idol, which could have easily boosted her profile in the eyes of promotion.

But it's funny, besides the high profile guest stars, these episodes also share a theme of having characters fight for someone they can't have, only to leave them flat. The reasons are and execution are pretty different, though.

In "Hooked", Tiffany just isn't that into Ted. She likes the attention (at least kind of), but Ted's on the hook for a reason. And I don't think there's spite in Tiffany's decision, either- she seems blinded for this guy, especially when it's revealed how she's stuck on his hook.

The hook theory is a believable one, since who hasn't fallen for someone who isn't interested? And it is common for the uninterested party to be afraid or unaware to tell the truth, just as it's common for the interested party to be in too deep to realize. Ted in particular can easily be blinded, as he is here.

Ted eventually does realize where he stands when he sees Tiffany act the same way he does, and wisely wraps things up. Thankfully Ted has some sense of dignity, otherwise this could have ended in a too depraved manner.

But it takes him a little to reach Henrietta, whom he is unfairly cruel to. And it's way obvious that she's into Ted. Thankfully future Ted recognizes how much of an asshole Ted is in this scenario, and cringes throughout in the episode, making this a little easier to watch. The sense of present clarity is important, otherwise this episode would be weaker.

Barney's scenario, meanwhile, is that Anita wants him to wait for sex. Wait a very long time, at least for him. And it's driving him crazy, to the point that he tries to find all of Anita's weaknesses and make her crack. The wraparound is fun, as it allows for Barney's smarter side to show up, which is not brought out enough.

Of course, Anita's presence is actually part of a scheme by Robin to mess with Barney, in a way to help her ease her heartache. And to be fair, seeing Barney go out and share his conquests so eagerly each night must be rough on Robin, which makes their emotional scene in the shooting gallery effective. NPH and Smulders are keeping their chemistry tight well after their break up, as the sequence is kept entirely sincere.

Robin is still a little too proud to admit it, but seeing her responses to Barney's exploits, especially when Marshall and Ted join along, makes sense. She is as emotive as any human, but is still a little too mechanically built to admit it.

But moments like her take on the bang bang bangity song give Robin a shot of catharsis, along with banjo. And this is among many highlights from "Of Course", along with Anita's aforementioned interview, Ted's defense towards his copy of the book, and the "Super Date" song. A majestic highlight from Radnor, this helps to sell the gooey and romantic angle Barney needs to win Anita over, which he wisely hands over to Robin and Don instead. And it's a delightful little ditty, too.

"Hooked" has its strong moments too, including a fun subplot bringing Scooter back into the game., Not only does it bring a welcome teacup pig moment, but this allows for Lily to show a side of vulnerability that she doesn't portray as much compared to Marshall. Lily is meant to be the stronger of the two, but here she's struck when it comes to telling Scooter the truth. And it all comes back full circle when Marshall bends to Scooter's eyes, keeping balance as necessary.

But "Hooked" didn't win me over as much, probably since Ted gets unbearable here. This seems to be Kang's intentions, but it's still not easy to root for it as much, but I'd hardly call the episode a wash, thanks to Underwood's strong turnaround and future Ted's moments of clarity. "Of Course" is just a treat from start to finish.

How I Met Your Mother Review- "Rabbit or Duck"

Rabbit or Duck (5x15)

Directed by Pam Fryman

Written by Carter Bays & Craig Thomas

One Paragraph Synopsis: Robin still can't stand her co-anchor Don, especially when he puts her on the spot by asking her to go to his party, which she sells to the gang as an invite for a date. When the context is revealed, they tell Robin how it is, that she's treating a duck like a rabbit, as in she's attracted to someone she considers to be a loser. That is, until Don reveals the party to be a ruse to lure Robin into something more intimate, a move that irritates her until he later apologizes and shows signs of moving forward. Meanwhile, Barney's plan to put his phone number up during the Superbowl works, as he's constantly getting offers from desirable women. Too many, to the point that Lily and Marshall hide his phone for him, which Ted finds just before an arranged date.

While this is a great episode, my one problem is how despite having a big argument about rabbits and ducks, Bugs and Daffy aren't brought up at all. Seriously, C&C?

But wow, that argument is great. We only get a highlight reel, but every little bit is hysterical, thanks to the actors using some wise methods of shouting to get their points across. It's also a wise decision to have Marshall stay alone on the rabbit, sticking to his method of purity which the rabbit entails. It takes a strong argument to get him to change his mind, which is helped by Robin wearing rabbit. Who's cozier, after all?

But the rabbit or duck theory is another solid one from the show. Appearances are hardly what they seem, and often times someone or something you dislike will become something that really matters to you. All it takes is faith, trust, and maybe some booze.

While the group's hazing towards Robin gets old, they don't seem to be far off about her attraction toward Don. It's apparent by now that when Robin feels one way, but isn't ready to admit it herself, she'll deny it in a giddy, sarcastic tone, which she keeps early on. And she sure brings him up a lot for someone who finds Don annoying.

It seems weird, since Don isn't a great catch. He's good looking, but looks only get you so far when you're unenthusiastic and piggish, which he is. Robin is still putting a little too much credence into her position, but she's right to feel isolated towards Don, at least early on.

But why does she find him desirable in this weird way, then? Don seems sincere when he apologizes at the end, which reveals a sadder exterior to his character. Don may be acting like an ass, but he appears to be hurt and confused, hurt at switching from one low-end gig to another and confused at how to cope with being single, all of this being shared to Robin with an honesty that Barney would reserve just for her. It may not be great for her, but this is Robin's weakness- the weakness of others, to a smaller extent. Ted's a little too open, while Barney and Don haven't gone too far yet. Let's just hope that Don keeps the pants on for a little longer, and he might just stay a duck.

Speaking of Robin and Ted, another highlight from the episode comes at the end, when the two are just chilling together on the couch after a hectic night. There's no intention of the two hooking up, with themselves or anyone else. It's just platonic roomey time. Considering how their history tends to sneak up on the show, serene little moments like this feel like a welcome breath of fresh air.

Ted's subplot is typical him, as it would be odd for anyone else, but makes sense for his sake. He's still looking for Mrs. Right, and is willing to take ANYONE, even a blind date. His request that Marshall and Lily find him someone to marry is pushy, but makes sense how Ted wants to play the game. And also notice some of the names Lily and Marshall trade off. The show hardly ever forgets.

But when you see how he plays along with Barney's phone, it's clear that he's not ready to go too far in the game yet. Kudos to Lily and Marshall for trying, though. Ted still likes the single life, and sometimes he even wants what Barney has.

And Barney is still just Barney. It's a welcome surprise to see the constant ringing break him, as even some pressure can be too much for the barnacle. This is karma getting at Barney for ditching so many women for his greed, that he goes insane and doesn't sleep with any of them, and it's hilarious to see unfurl.

Another great episode in a fun if uneven season. Does Don stay a duck, though? We'll see.

How I Met Your Mother Review- "Jenkins"/"The Perfect Weekend"

Jenkins (5x13)

Directed by Neil Patrick Harris

Written by Greg Gerard & Matt Zinman

One Paragraph Synopsis: Jenkins, Marshall's co-worker that he has constantly been telling crazy stories about, is going to join the gang for a night out. The thing is, Jenkins is actually a woman, and considering how hectic some of the stories gets, he's wisely been using pronouns to save his hide. Lily doesn't end up being jealous though, since she trusts Marshall enough to know that this won't be an issue. After all, he's the reacher and she is the settler. This catches Marshall going to the point that he does want to get Lily jealous, which he uses when Jenkins kisses him, a story that causes Lily to deck her. And all this goes on as Ted discovers that Robin's talk show is being used as a drinking game, one that is especially popular among his students. And she ends up using this to her advantage...

The Perfect Week (5x14)

Directed by Pam Fryman

Written by Greg Gerard & Matt Zinman

One Paragraph Synopsis: No one is really having a great week. Ted mistakes a student with an unconventional name to be a joke, which offends her to the point that she drops out of his class. Robin went on a date with a loser that she is way more attached to than she should be, but still isn't getting a call back. Lily and Marshall have hit a gross epiphany after talking with a potential new couple. And Barney may get fired from GNB after losing up a new merger. The only thing helping most of the gang out is Barney's attempt for the perfect week, a concept in which he sleeps with a woman seven nights in a row, without a rejection. He's even recapping the event to Jim Nantz, who listens in awe. The only thing stopping him, however, is a surprise visit from Yankee Nick Swisher...

Barney isn't in "Jenkins" all that much, but his DNA is entirely present.

That is probably because Neil Patrick Harris directed the episode. He does a fine job, keeping the pace going well, but it is apparent that NPH is involved behind the camera, based on Barney's frequent departures throughout. Directing yourself can indeed be a challenge, so this isn't a criticism, but it is a believable, if predictable way to write yourself out whenever necessary. I guess that NPH found this to be a little too exhausting, or wasn't crazy about the final result, since neither he nor the other cast members directed another episode.

Neil Patrick Harris really isn't that bad, though. The shots aren't too different from the style Fryman imposed onto the series, a noticeable trait that is important to maintain. He also keeps the pace going, as there doesn't seem to be any fast cuts or overlong sequences, which is something to equally thank the director and writers for. And he gets a good job from all of the actors, including Amanda Peet's take on Jenkins, who is a good character herself.

Granted, Jenkins isn't exactly a well of personality, but Peet is fair game to some solid dialogue. She also adds in strong character beats of her own, especially when her improv roots are mentioned. Watching the episode again, I notice how well she uses little bits like this to her advantage, which helps to make her a memorable side character in a long string.

Her effect on Marshall and Lily is also noticeable, of course. Jenkins is obviously attracted to Marshall, but while he is sticking to his loyal husband belief, he's at least slightly attracted to her himself, which is evident by his lack of response to Lily getting Jenkins' pronouns off instantly. He could have stopped her, but did not.

The important thing, though, is that Marshall would never act on his feelings towards Jenkins, since they aren't as strong as his devotion to Lily is. This is what makes the difference, and helps to show why Marshall isn't your average cheater, since he isn't.

The game of jealousy that he's playing, though, isn't necessarily right itself, but he just wants to prove a point. Whether Ted and Robin are right about the reacher or settler theory is moot, since the game isn't about who of the two can do better, but the fact that you've won together. And Marshall just wants it proven that Lily isn't the only real catch of the two, and Lily agrees, as long as their devotion is clear, hence why she beats up Jenkins. This is what makes this not end up as a despicable story.

The B-plot is similarly fun, probably even more so than Marshall's. Ted's cocky personality needs a push sometimes, which is why the reveal of Robin's popularity among the student body gets to him, but the end result is just gold. Robin gets pushed down a little after some unnecessary cockiness of her own, and she then owns those who laugh at her in a hilarious sequence.

But um, how about "The Perfect Weekend"? While I have kinder things to say about "Jenkins", which rounded up into a great half-hour, this is another fun episode, albeit not as strong.

And it does bring Barney back into discussion. He played a part of "Jenkins" by coming back whenever necessary, be it as a reminder of Jenkins' attractive personality to Ted needing a co-pilot for the drinking game. Barney fancies himself a ringleader of sorts, or maybe rather just a coach to his awesomeness-deprived team.

This is how he takes over "The Perfect Weekend", which he is the star of front and center. Barney's dream interview with Jim Nantz is fun even for someone who knows little about sports, as their banter is recognizable even to me as a tribute to the sports talk show commentary that Nantz is famous for, and he has fun mugging it up with Barney. Even Nick Swisher, whom I'm unfamiliar with, has his moments in the last act that come off as surprisingly natural.

Barney's perfect week quest is gross, but it signalizes something more to the gang. Sex makes Barney happy, and making a game out of something he loves is enough to keep the gang's hopes up as they deal with their own issues, including Barney himself as he fears getting the can.

Marshall and Lily's material here shows off their possessive side, as their poor hygiene methods are revealed. This is pretty gross, but even grosser, and so, funnier, when it's revealed that Ted and Robin frequently used their shared toothbrush in the past. Yikes.

But that might not be as bad as Robin's issues with Dale. Robin deserves better than to worry about a guy not calling her back, especially when he's sold to be as much of a loser as he is. But then again, she did date Barney...

And then there's Ted, whose Cook Pu story is awkward and ultimately racist. Not to say that the name isn't unorthodox, because it is, but too much time is spent on the gang making jokes about it to land, making this increasingly lack sensitivity and become cruel to the poor girl. If this was a case where the characters were purposely meant to be unlikable, maybe this would work, but after seeing how embarrassed her actress was, I'm not sure if the intents were good.

While these subplots don't totally work, the idea of a bad week being offset by one of the gang's perfect week helps to make this at least an average episode, even when compared to "Jenkins" being excellent. Although Barney really should check for STDs soon. Both episodes were written by the same pair, and they have a good grasp on the characters, even if they exaggerate them a little. Still, this helps to tie my decision to review them together at least somewhat well.

How I Met Your Mother Review- "Girls vs. Suits"

Girls Versus Suits (5x12)

Directed by Pam Fryman

Written by Carter Bays & Craig Thomas

One Paragraph Synopsis: Ted meets a student, Cindy, that was in the class he accidentally showed up to, and the two hit it off instantly. Until Cindy double checks, and finds that they could both get in trouble if they pursue a relationship, which has Ted decide to fuck with rules and fight to get her back, using items in her room to signify how they're meant to be together. The thing is, every item Ted picks belongs to her roommate, which is not a good sign to Cindy. It doesn't matter, anyway, since her roommate is the future mother of his children. He's that closer, just as Barney is that much closer to nailing a hot bartender when one starts working at McLarens, but she won't even look at Barney due to her anti-suits stance. Barney decides to suit down in hopes of winning her over, which works until she steps into his closet and makes him decide- girls or suits. Only the power of song can help Barney make a decision!

Okay, so my friends have been telling me to watch this How I Met Your Mother thing for a while now. I see that CBS has what I think is the 100th episode on their site, so I might as well give it a go.

And alright, I do like this. A lot, actually. I think I might be lost on some things, but let me get to what I like.

Of the characters, I think that I like Barney the most. But I've heard a lot about Neil Patrick Harris as him for a while, so I'm not surprised. He has layers to him beyond the womanizer exterior, though, which is a big help. If it was just Barney being a dick, he would get old, but I feel some kind of hurt in him, and enough of a code to make the character stand out.

Barney being a dick can still be really funny, though. He's full of shit a lot of the time, which is just funny to see as the characters give him hell when needed, and how he failed to impress the bartender at first. I don't think that Stacy Keibler is a great comedic talent, but she does a good job of playing uninterested early on, and keeps the momentum going throughout. Her ultimatum at the end is a little weird, but I do understand that she had issues with suits, and it leads to a great ender.

And what an ender that was. I don't know who was expecting a musical number, even despite NPH's Broadway history, but it was PERFECT. The music is basic showtunes, but that's just fine for the context, as the lyrics more than make up for it. Barney's bit with Lily about world peace in particular reminds me from something out of Buffy's "Once More With Feeling", perfect since Alyson Hannigan came from the show. And that was one of the big reasons that I wanted to get into the show.

I liked Lily, too. Seeing her fangirl about Karina the bartender was pretty funny, especially as Marshall was playing disinterested. I don't really get their dynamic yet, but I can tell that they're pretty loyal, even if Lily has her own agenda. There isn't too much to interpret from their characters here beyond their banter about physical preference, which is still fun to watch.

Now Robin, I like her. She has her beliefs, and sticks to them. Like how she believes that the location is amplifying her attractiveness. Stacy Keibler is quite good looking, but it's a believable theory, further brought up when she goes to the bar herself and has her "Cherry Pie"-tuned montage. It's a great moment that shows off shades of her character that I didn't consider before, and I hope there's even more beyond that!

Ted's obviously the main character, since he's the one who is meant to meet the mother. And this episode does an obvious bait-and-switch with Cindy, selling her as potentially being the mother, only to reveal that it's not her, but her roommate by the end of the first act. It seems a little annoying, but the rest of the episode wraps up fine, even if it's hard to root for Ted when he comes off as a bit of a jerk.

Everyone else was right- he should have given up on Cindy. They obviously had chemistry (Rachel Bilson though! My sister's OC obsession hit me a little too, all thanks to Summer), but their futures could be screwed if they got serious, but it seems like Ted is a dumb romantic. The age gap doesn't seem that big, especially compared to other teacher-student pairings, but the writing is there. And Ted especially proved himself unworthy when he kept on picking things that belonged to her roommate. He's an indie rock guy, check.

But that seems to be his character, hmm? Ted is a nice, nerdy guy, but blissfully unaware of how far he takes his good qualities, to the point that he can be harmful. That seems to be the case here, and while it does make him a bit of a pain, I do think that he's an interesting character. And dammit, I want to see him meet the mother already, too!

So while I don't fully get all of the characters and their stories, I like them. And the humor is pretty balanced, combining typical sex-oriented gags with some sharper commentary and a bit of pathos to the whole thing. This was a good, interesting way to make it to 100 episodes, and I'm glad that I got to experience it. Now I think that I should hit the first 99, though.

How I Met Your Mother Review- "The Window"/"Last Cigarette Ever"

The Window (5x10)

Directed by Pam Fryman

Written by Joe Kelly

One Paragraph Synopsis: Ted's college friend and "perfect girl" Maggie has finally opened her window. Since the Wesleyan grads moved to New York, she has been in a relationship for almost her entire time in the area, with only a brief period sporadically separated from having a boyfriend. Now that she has ended her relationship of four years, Ted is adamant to finally get a chance to date her, but his chance at a date is ruined when he forgets that he has class that night. The rest of the gang babysit while he's stuck, but to no avail, Maggie does find someone by the end of the night- her old childhood best friend. The two will soon rekindle their bond and form a pairing that Ted swears is only second to his in terms of great love stories.

Last Cigarette Ever (5x11)

Directed by Pam Fryman

Written by Theresa Mulligan Rosenthal

One Paragraph Synopsis: Something we don't learn until this episode (unless you count cigars)- everyone in the gang smokes! They know it's wrong, but addiction is still hard to break, just as each of the characters have their own habits. But the group do promise to stop smoking together, after Marshall's rooftop sessions with his returning boss Arthur Hobbs ends a string of side-effects the smokers endure. It takes restraint, right down to Robin's issues with her co-anchor Don and her own realizations, but the group does stop smoking for good. Just not in this episode, and not together.

According to everywhere else, "The Window" aired first, even though "Last Cigarette Ever" comes first on the DVD. I won't question this, but I was going to review both episodes together anyway.

I know someone who has a similar window to Maggie, though. Ever since high school, she'd have a stream of well-meaning guys that fit her current regiment at the time, but never lasted quite as long as the men she dated, probably due to our age differences. But her time apart from her relationships never seemed too long at all. That doesn't say anything about the character of either women, but does indicate that this is a phenomenon that exists.

I'd be a little harsher towards this episode if Kelly was afraid to be harsh on Ted in his script, which thankfully isn't the case. Ted isn't rewarded for his attempt to hoard Maggie, and is called out enough times for his sketchy methods, which eases some of the issues off.

Even his students seem to think that he's crazy, based on their reaction to his extended lecture. I won't lie, the scenes in Ted's classroom are among my favorite of the episode for the absurdly fascinated responses his students give him, sometimes equaling disgusted and hopeful, which makes for a fun balance. We haven't seen enough of Ted's teaching methods, but the fact that he might actually go into lengthy details of his love life to the class is just too weird and funny.

Ted also gets it coming to him when Robin lets Maggie head home after he, Barney in a desperate attempt to nail her (which I'll get to in a moment), and Maggie's coworker Jim clash. Robin is right to be annoyed at the men fighting for a woman like dogs with meat, because they are, and it's gross. We don't see enough of Maggie's viewpoint in the episode, but she should be rightly annoyed at the whole thing herself.

This is why I don't have a hard time rooting against Ted in this instance, but I do sympathize with future Ted as he tells Maggie's tale of her true love. Saget's narration helps to sell this as the other great love story, in the brief time he can, as Fryman frames a gorgeously done montage set in one perfectly detailed little house. It's a great way to sell the concept of the episode, that love doesn't find itself as you'd expect it to. Sometimes you've always known the right person, but time is your roadblock. It's the great roadblock though, as evident by Maggie's future.

This idea of time comes together in Marshall's subplot in the episode, as he goes through his box of junk to find, among other nostalgic goodies, a letter reminding him of where he should have been right now. Because the Marshall of now, let alone his fifteen-year-old self, did not want to end up as a corporate shell.

But just like Ted doesn't get to end up with Maggie like he'd want to, Marshall has yet to hit the place he needs to be in. And just like Ted, that doesn't mean that he won't. GNB is a fine way to help keep Marshall and Lily afloat, even if he isn't an environmental lawyer yet, and can't dunk as well as he used to. But at least he didn't marry a clone of Judy, as Lily is way cooler than that. This is a well-done plot that should remind us that Marshall hasn't forgotten his dreams just yet.

Barney and Robin are a little more wacky this episode, but they're put to good use. Barney's self-imposed challenge to hook up with a woman in Marshall's old overalls is typical Barney stuff, which isn't a bad thing, but is lifted when Maggie expresses interest. It's not surprising to see Barney aim for a girl Ted has his hopes for, but still funny and all the more fun to see him fail. Similarly, Robin's attempt to seduce Jim seems to be a combination of her doing a solid for Ted, and her own desire to win him over. resulting in some funny moments, as Smulders extends herself for him, and falls flat. It's cute, but moot.

I'm not quite as enthused about "Last Cigarette Ever", but it's also a good episode. A token attempt to win a PRISM award (which it did not), but this is a well meaning critique of smoking culture, as it represents the changing views the habit has taken in the past few years. Consider the flashback to back when McLarens allowed smoking, for instance. Can you see anything? Neither could non-smokers.

The effects that smoking has on the characters is obvious, but work well. Hearing Harvey Fierstein voice Lily is a treat in particular, as his gruff but inviting tone works well for Hannigan's mouth, just as Rosenthal allows herself some fun to write a little differently for Lily, putting in lines that she normally wouldn't say to good use.

The return of Bob Odenkirk as Arthur Hobbs also allows to further move the point across. He works wonders as an antagonist, even if the mention of his dog Tugboat helps to soften the character a little. His moments smoking with Marshall are also reflective of Marshall possibly moving forward in his career, as he's starting to win over one of his bosses by just being one of the guys. It keeps his job, and makes his name remembered, which is what you need to do in your work.

But Robin has the most substantial plot of the group, as her career is being questioned. Her new co-anchor Don knows where their place is, and doesn't bother to show off for it. He's also been in the game a lot longer than Robin, and knows that this is a dead end. Robin, meanwhile, has her hopes still alive, as she doesn't want to end up like Don, who can't be bothered to wear pants to work.

Robin gets a good chance to call him out on this, but Don's words also ring a hollow truth- she still isn't nearly as close to becoming the great journalist that she wants to be, and their viewership is nil. Hell, their staff barely even stays on set. Still, Robin persists to keep a good spirit going, as she doesn't give into temptation, reaffirming her quality as a person. I can't help but support Robin here, but neither can Don, who not only ends up wearing pants, but will soon date her. Let's see how that goes.

I think the reason that I'm not as crazy about "Last Cigarette Ever" doesn't involve the pacing of the plots, which is strong, nor the humor, which is well-written, but the slight cheesiness of the PSA attitude. Again, this episode means well, but even as a non-smoker, I don't like being told what to do, so there's a slight annoyance factor here. Similarly, while this is an important thing to consider for the series itself, it is a blow to discover that Ted has been a smoker this entire time, and he's simply kept this from not only his kids, but us. The concept of Ted as an unreliable narrator helps to bring some interesting theories into play, but it's still dirty pool.

I do think that "Last Cigarette Ever" is a good episode though, just not quite as great as "The Window". Still, after the previous shakier episodes, these feel like HIMYM going in the right direction. But we're almost at the halfway point for the season, so who knows.

Edit: I finished this review pretty briefly since I had a Magic Kingdom trip to make! So there were some things that I wanted to make note of, but forgot to. Mainly how I do find the group's decision to quit together to be cute in a well-meaning matter. But wow, do I love the ending shot of the gang sitting as they smoke their "last cigarette ever", especially as Ted tells us the truth. Great direction all around.

How I Met Your Mother Review- "The Playbook"/"Slapsgiving 2: Revenge of the Slap"

The Playbook (5x08)

Directed by Pam Fryman

Written by Carter Bays & Craig Thomas

One Paragraph Synopsis:  After their break-up, Robin is swearing off of relationships to focus on her career, a decision that the rest of the gang call bs on, as they wait for her to find someone new. But what really gets their attention is Barney's return to form, as he reveals the Playbook, a collection of his craziest schemes designed in hopes to help him score women. As he reveals some of these ploys to them, they consider him going too far when Barney uses one on a girl Lily attempted to hook up with Ted. Lily steals the book, hoping to rid Barney of it before he finds a way to take it back.

Slapsgiving 2: Revenge of the Slap (5x09)

Directed by Pam Fryman

Written by Jamie Rhonheimer

One Paragraph Synopsis: It's Thanksgiving, and Marshall is transferring his fourth slap to someone else for a change, as approved by Lily. Will it be Ted, who helped find Marshall's missing turkey and can really use a nice bit of violence to undo his angst? Will it be Robin, who also helped find the turkey and is still getting over her break-up with Barney? How about Lily, whose Thanksgiving was ruined by the surprise appearance of her negligent father Mickey (Chris Elliot)? Could it even be Mickey, who is trying his best to be a better father to Lily and be a part of her life, even though he's a loser? Or maybe it'll just be Marshall to mess everyone up. All that matters is that Barney gets slapped.

Here we have three different ways to handle a break up- isolation, reversion, and random violence.

"The Playbook" addresses Robin and Barney's split more closely, as it does come directly after. Robin's decision to hid her grief in her work would probably seem more truthful if she had more of a profile than just being the host of an early morning news show. The biggest amount of energy this lowely rated series requires is the motivation to get up. Otherwise, it's pretty simple.

Ted and Marshall's hazings do have truth to them, even if they're unbearably tedious. Robin knows that she isn't happy with the break-up, but she isn't allowing herself to grieve too much. Scherbatskys are too proud to, and her split with Barney didn't hurt that much.

Not to say that it didn't hurt at all, though. While this isn't displayed too much on the surface, Robin is openly distraught over Barney's returned use of the Playbook, even walking out at one point. It's an old trick that she's tired of, but one that makes Barney happy.

Then consider how Robin is shown in "Slapsgiving 2" (I'll skip the full title from here on out). While their relationship is not front and center in this episode, Smulders finds a way to show that Robin is still feeling something, be it grief, anger, or annoyance. Ultimately, she's playing right into Barney's scheme, as he's trying to obtain a reaction out of her during the fear for his slap, and it works well to bring out a mix of emotions.

Barney strangely keeps his thoughts on their break-up to himself in "Slapsgiving 2", but "The Playbook" shows how he isn't exactly taking things well, as he returns to his old ploys. The reveal of the Playbook is pretty gross, but telling of his ability to come up with ways to impress women, regardless of intelligence.

Even his ending "Scuba Diver" play shows hurt in between the lines, as evident by good interaction skills by NPH at the end. The attention to detail in each play shows just how much thought Barney puts into his hopes of getting laid, which is indicative of more than just horniness, but his desire to feel something. Sex can help in cases like this, for better or worse.

As such, both episodes have different execution, but I'd argue that they're about the same in quality. "The Playbook" has some great jokes, particularly in Barney's delivery of his plays, perfectly selling a viewer's guide approach, but it's hard to be too positive towards the episode as its slimey nature is apparent. The entirety of the Playbook is built on deceit, most of which is portrayed grossly here, and as such, I can't root for the episode too much.

It helps that the others find the Playbook to be wrong as well, with Lily even debuting a new catchphrase (or rather a tweak- she has used the term "you son of a bitch" before, but not in this particular dialect) that carries over into the next episode, as a way to express dissatisfaction with Barney. This is still a little too in favor for Barney, which is why I personally become a little distant to the episode.

By contrast, "Slapsgiving 2" brings something unique to the table by introducing Lily's deadbeat dad Mickey, but Chris Elliot, famous for playing man-children, is a little too good at playing annoying. As such, he becomes a little too hard to bear at times.

I'm a little forgiving towards this, since Mickey's arrival allows for a good story in which Lily comes to accept that forever is a long time, and that she should consider who she holds grudges with, and for why. Mickey's lack of respect for his parents is a little more serious and more alarming than lying about decaf, but this is still Lily's father, someone who should and does want to be in her life. Even though he has always had issues being a great parent, he does care, which Lily comes to realize, and the episode implies that they'll work on a better bond. This is the last we'll of Mickey for a little while, but he will be back for plenty later on in the series, unlike some other relatives that we've seen on the show.

While I am in favor of Lily and Mickey's story, the episode isn't too strong for me as many of the gags don't come off as excellent, an opposite problem of the previous episode's good range. A reprisal of the first "Slapsgiving"'s "You Just Got Slapped" in a new key is a highlight for the ending, but considering how long the gang's inability to pick someone to slap Barney drags on, it's not a perfect trade.

Neither of these are bad episode, but they're hardly A-tier for HIMYM. But now we've hit a fifth season that has separated Barney and Robin, which might lead to bigger and better things for everyone. Maybe.

How I Met Your Mother Review- "The Rough Patch"

The Rough Patch (5x07)

Directed by Pam Fryman

Written by Chris Harris

One Paragraph Synopsis: Barney and Robin are hitting more than just a rough patch in their relationship. She's annoyed at everything he says, his speeches are making even less sense, and they're both well past their prime physically. It comes to the point that the rest of the gang decide to break the two up. Even after Lily's master scheme, brought to life after Ted and Marshall's wedding ring trick backfires, doesn't come out, they start to accept Robin and Barney's place. Until it's revealed that the two broke up just before, and they're all the better for it.

How to lose a girl in 15 pounds, or more.

While I did like the concept of Robin and Barney as a couple, the execution wasn't 100% up to par. In truth, even before future Ted's exaggerated description, it did seem like the pair were reaching couple's fatigue, as evident by their difficult time in previous seasons.

Why is this? So much about the two pairing up seems natural. Barney isn't as clingy or demanding as other people Robin has or could date, while Robin's independence should be a pro to Barney. But like many other things, time has run its course, and they're not clicking anymore. This explains their lack of effort into their physicality. Barney is eating like a male dog that just got neutered, while Robin's rocking the "just woke up and just waiting til I feel motivated to piss and start my day" aesthetic.

It's usually a good sign when you don't have to keep appearances up with your significant other, but not so good that they don't bother when they're in public. Barney and Robin seem tired, unmotivated, defeated, the opposite of their typical selves. While Ted and Robin's relationship showed signs of tear near its end, they didn't seem nearly this exhausted, showing just how different this has been working out for the couple.

I'm not fully sure how I feel about Lily's history with manipulating relationships to break up, but in some cases, a friend's bad pairing can be like a dying leaf. After a certain amount of time, it's time to cut it off however you can. Especially if two of your friends are involved.

Ted's trick comes from an old resentment he's still holding, when Robin freaked out over the ring in "Something Blue". Despite not even being his, it was still indicative of her feelings towards marrying him, which makes it no surprise that he wants to try it for them. This is also the first time since the icky lectures in "Robin 101" that Ted brings his past with Robin to the front and center. It's a smart, but also cruel, tactic.

Of course, it doesn't work out. Barney and Robin are so tired of life that they'll even settle into marriage, which is where Lily's more elaborate plot comes in, which exists as a best-of reel for their fights. The concept is great, but the execution works a little later than they hope, and results in an extended comedy bit as many of the supporting players try to one-up each other in terms of obnoxiousness, which has its moments but ends up about as tedious as it would in real life. But it is nice to see Badger from Breaking Bad, at least.

The stealth reveal of Robin and Barney's break-up nicely ties up a fun to watch, if occasionally spotty episode. Smulders' delivery of their catharsis is solid, just as the flashback to their split is a touching way to bring their time apart. Seeing Robin dressed nicely is a step forward, just as Barney suiting up better than usual is a return to form.

While this episode is strong, better than the previous season's "Shutter Island", this does show a problem with the fifth season- things get resolved quickly. Barney and Robin could have tried a little harder to stay together, or wrapped up a little later, since it's a bit rushed here. But Bays and Thomas decided to cut back on long-running storyarcs in season 5, as the show had become the big hit it was meant to be and it became apparent that the show wasn't ending any time soon, so the writers could slow down the plot. They wanted Barney and Robin over quick, not realizing just how strong Neil Patrick Harris and Smulder's chemistry was. A realization that they'd soon have, as evident in the show to come.