It's been a while since I've done one of these, huh? The next block is going to air on the 2nd of July, a Thursday instead of the previous Sundays. But to be fair, TCM has their Essentials Jr block on Sunday nights in the summer, so it makes sense.
This selection contains some patriotic choices, as well as a couple of vacation-themed picks that are just as right for the time of year. Let's check them out.
8:00- Classic Short Showcase
The March outing only had one classic short in its original Technicolor, as opposed to December's half hour showing of 3, which this month's selection contains, each with a particular summer theme.
First up is 1939's "Beach Picnic", starring Donald Duck and Pluto. It's pretty cute, mainly just the two clowning around on a beach as they wait for a picnic, only for ants to arrive. And you can guess where it goes from there. It's pretty cute, but there's an unfortunate stereotypical Native American yell in there, which dates it a teeny bit. This short is available on the first Chronological Donald and first Complete Pluto set from Disney's Treasures collection.
After that is 1953's "The Simple Things", featuring Pluto's return with his rightful owner. This is another beach short, where Mickey and Pluto are relaxing, fishing. This is when the studio starts to simplify its character designs a little. Mickey and Pluto seem a little broader than before, but the animation is still expressive and charming. A solid compliment to the previous short, this is found in the Treasures' Mickey Mouse in Living Color, Volume 2 set.
Rounding out this trio is 1937's "Hawaiian Holiday", another short concept cartoon. This contains the classic five in Hawaii, enjoying their day on the beach together. Goofy surfs (hence the iconic title card), Mickey plays the ukulele, and Donald is traditionally a dick. It's pure fun, and caps off this set of shorts. This was also the first Disney short to be released by RKO, rather than their previous distributor, United Artists. It's available as a part of the first Mickey Mouse in Living Color set.
8:30- Johnny Tremain
This 1957 release was originally intended to be a part of Walt's television program, but he recognized something special about it, so he decided to release it to theaters. Of course, it was eventually shown on the program a year later, in two separate episodes cutting the film in half. The DVD comes with Walt's introductions for both episodes, as well as our next scheduled episode, which I'll get to after I write about the movie itself.
Johnny Tremain was adapted from a 1940's children book of the same name, in which an adolescent Johnny works as a silversmith's apprentice, but has his hand burned during work before he can advance any further. Unable to find a steady job with a damaged hand, Johnny works his way through American progress in this pleasant film. I had only seen the film about a decade ago, when my eighth grade class read the novel it was based on and watched the film later. From what I recall, it was decent, but almost feels like two smaller films combined into one. This explains the Disneyland roots, but I'm excited to give the film another shot. Even though I'll probably have to watch it later, as my class will prevent me from watching it live.
One other interesting facet is that Luana Patton, the little girl from Song of the South, So Dear to My Heart, and Fun and Fancy Free, returned to Disney in an adult role here. I don't recall her performance here, but I'm quite familiar with her younger roles, so it'll be interesting to see. This is also Robert Stevenson's, the director of Mary Poppins, The Love Bug, and the previously screened Darby O'Gill and the Little People, first film for Disney. And additionally, the film seemed to be a loose inspiration for Magic Kingdom's Liberty Square, a concept that Walt wanted for Disneyland in a smaller format alongside Main Street. This will be brought up in
10:00- Disneyland- "The Liberty Story"
The first half of this classic episode, the part that contains information towards Johnny Tremain, was a part of the film's DVD release. It contains some information on the film and its ties to American history, and even contains a bit of Walt's concept for Liberty Street, as well as brief footage from their 1952 film, The Story of Robin Hood.
The other part of the episode was the two-reel short "Ben and Me", released in 1953 as the studio's first short of that length. This 20-minute short follows Amos Mouse as he keeps an eye on Benjamin Franklin during some of the revolutionary period's key moments. It's a cute little thing, and if the short's appearance on TCM's page for this lineup is any indication, this might actually be shown in its original Technicolor, as opposed to the program's B&W airing. This was a part of Disney Rarities Treasures set.
11:00- The Living Desert
This Oscar-winning True-Life Adventure is actually what "Ben and Me" was actually attached to as a short. Released in 1953, this was the first True-Life feature film, as it was set in the Arizona desert, showing off some of its wonders. An exciting scorpion dance and a fight between a tarantula and wasp are among its highlights. This was a part of the second True-Life Adventures Legacy releases, containing the majority of these documentary pieces done by the studio.
12:15- The Great Locomotive Chase
This 1956 outing is based on the same Civil War locomotive heist that Buster Keaton used as the base for his masterpiece, The General. While that is a perfect mix of slapstick and pathos, this film is a straight drama, done with the same heart, respect, and admiration that made many of the studio's films at the time so endearing. And some pretty legit thrills.
This stars Fess Parker as another vehicle for Mr. Crockett, and while he does a solid job, it's the supporting cast that shines in this role, thanks to stronger writing. This was also apparently a film concept Walt wanted to explore when he built his studio for live-action films, and tried to sell it off to his partners alongside 20,000 Leagues Under the Sea. While the latter did come first, this wasn't forgotten either. Not a surprise, given Walt's love of trains. The film is also available on DVD, but as a barebones release.
2:00- Treasure of Matecumbe
This 1976 outing was based off of a novel by Robert Lewis Taylor, in which 2 boys search for treasure in Florida, after the Civil War. This wasn't a very popular release, nor is to that easy to find, only being released on DVD as a part of the Disney Movie Club. The most interesting fact that I can find is that part of it was shot at Disney's abandoned Discovery Island water park. Now that's pretty cool.
4:00- Rascal
Rounding out the block is this 1969 film, in which a lonesome boy befriends a raccoon. There doesn't seem to be much more to it, but it seems nice enough, if you're able to get into movies about a boy and their pet friends. Given a barebones release, this seems like a good way to introduce what looks like a cute film.
Alright, a pretty decent lineup. Some gems, some underappreciated choices, and enough stuff to fill out a nice night of Disney.
Tuesday, June 30, 2015
Monday, June 29, 2015
How I Met Your Mother Review- "Desperation Day"
Desperation Day (6x16)
One Paragraph Synopsis: Barney gets psyched up for Desperation Day, in which unattached women are likely to hook up out of a need to fill a void during Valentine's Day. He even goes as far as to spend the night with a few of Robin's coworkers, who head to McLarens that night, where he meets Nora. He falls for her, using his usual shtick, but she won't buy it. For what it's worth, they end up playing laser tag the next night, thanks to Robin. Lily, on the other hand, misses Marshall this Valentine's Day, as he's still in Minnesota. She heads over to be with him, expecting Marshall to take care of Judy, but it's Marshall that is being babied. And Ted, when he also heads to Minnesota to avoid furthering his relationship with Zoey.
Three good plots for a damn good episode. It makes me want to watch Predator, which I haven't done in a while, so off I go!
Or wait, I should say a little more. Marshall's story continues from the past couple of episodes, as he's still yet to leave Minnesota and is still around his family. On the surface, this is nice as Judy is always a welcome presence, but it's apparent that Marshall is still taking his time getting over his father's death.
Reverting to his childhood is one way to cope, but it's not exactly fair for anyone. Not to Judy, who has to play the role of his mother ala his youth, which she's too old to still pull off, and he's too old for it to seem reasonable. It's not fair to Lily, who misses her husband, and wants him home. It's not fair to GNB, who are missing one of their top lawyers. And it's not fair to Marshall, who needs to go back to New York and live his life.
Ted's trip to Minnesota is him similarly trying to avoid responsibilities. You can't screw up a relationship if you're playing Super Mario Kart with your best friend in Minnesota, right? (Also, that is totally an NES that they're using) His current problem is fearing that he's rushing into things, when the two want to go slow, especially since Zoey is still going through her divorce.
Maybe the slowness is unnecessary, though. Zoey and Ted express mutual interest, but it seems like they're the ones stopping themselves. Ted is hitting the brakes a little too hard, while Zoey seems to have too many second thoughts herself. Although to be fair, I would call things off if someone came over with a sleeping bag, myself. Thankfully, the episode shows a compromise, which is something that they both need.
Barney's plot is pretty cute, itself. We haven't seen him this smitten since he first fell for Robin, which must make Nora special. And Nazanin Boniadi (in a fake, but believable accent) is quite charming as Nora, making her a smart, reasonable woman that on the surface should be the exact opposite of Barney's type, but personal experience indicates that this couldn't further be from the truth. After all, Barney fell for Robin, didn't he?
Robin's pretty good at being a chill ex, which I usually note based on her interactions with Ted. But this time, she helps Barney out, which should indicate that she's over him. And maybe it does, but we're not done here yet, so we don't know if Nora will stay or not.
This episode is strong in regards to how it treats the characters. Lily might be the furthest off, since her pillow Marshall jokes are a little creepy. But even she is given some respectable moments otherwise as she's shown to be tired of Marshall's hiding. It comes together for a well-made episode that continues season 6's winning streak.
Directed by Pam Fryman
Written by Tami Sagher
One Paragraph Synopsis: Barney gets psyched up for Desperation Day, in which unattached women are likely to hook up out of a need to fill a void during Valentine's Day. He even goes as far as to spend the night with a few of Robin's coworkers, who head to McLarens that night, where he meets Nora. He falls for her, using his usual shtick, but she won't buy it. For what it's worth, they end up playing laser tag the next night, thanks to Robin. Lily, on the other hand, misses Marshall this Valentine's Day, as he's still in Minnesota. She heads over to be with him, expecting Marshall to take care of Judy, but it's Marshall that is being babied. And Ted, when he also heads to Minnesota to avoid furthering his relationship with Zoey.
Three good plots for a damn good episode. It makes me want to watch Predator, which I haven't done in a while, so off I go!
Or wait, I should say a little more. Marshall's story continues from the past couple of episodes, as he's still yet to leave Minnesota and is still around his family. On the surface, this is nice as Judy is always a welcome presence, but it's apparent that Marshall is still taking his time getting over his father's death.
Reverting to his childhood is one way to cope, but it's not exactly fair for anyone. Not to Judy, who has to play the role of his mother ala his youth, which she's too old to still pull off, and he's too old for it to seem reasonable. It's not fair to Lily, who misses her husband, and wants him home. It's not fair to GNB, who are missing one of their top lawyers. And it's not fair to Marshall, who needs to go back to New York and live his life.
Ted's trip to Minnesota is him similarly trying to avoid responsibilities. You can't screw up a relationship if you're playing Super Mario Kart with your best friend in Minnesota, right? (Also, that is totally an NES that they're using) His current problem is fearing that he's rushing into things, when the two want to go slow, especially since Zoey is still going through her divorce.
Maybe the slowness is unnecessary, though. Zoey and Ted express mutual interest, but it seems like they're the ones stopping themselves. Ted is hitting the brakes a little too hard, while Zoey seems to have too many second thoughts herself. Although to be fair, I would call things off if someone came over with a sleeping bag, myself. Thankfully, the episode shows a compromise, which is something that they both need.
Barney's plot is pretty cute, itself. We haven't seen him this smitten since he first fell for Robin, which must make Nora special. And Nazanin Boniadi (in a fake, but believable accent) is quite charming as Nora, making her a smart, reasonable woman that on the surface should be the exact opposite of Barney's type, but personal experience indicates that this couldn't further be from the truth. After all, Barney fell for Robin, didn't he?
Robin's pretty good at being a chill ex, which I usually note based on her interactions with Ted. But this time, she helps Barney out, which should indicate that she's over him. And maybe it does, but we're not done here yet, so we don't know if Nora will stay or not.
This episode is strong in regards to how it treats the characters. Lily might be the furthest off, since her pillow Marshall jokes are a little creepy. But even she is given some respectable moments otherwise as she's shown to be tired of Marshall's hiding. It comes together for a well-made episode that continues season 6's winning streak.
Sunday, June 28, 2015
How I Met Your Mother Review- "Oh Honey"
Oh Honey (6x15)
One Paragraph Synopsis: Zoey unwittingly hooks Ted up on a date with her hot cousin, remembered to the gang as Honey (Katy Perry). As hot and unwitting as she is, Ted isn't really interest, though. He wants Zoey. The thing is, she wants him too, and she has been divorcing the Captain in secret. Marshall, still in Minnesota, discovers all of this while talking to the other members of the gang, and helps them fill in the pieces themselves.
Well, it happened.
I've had my reservations about Ted and Zoey dating, but each time I watch this episode, I come out fairly happy. For one, it's built up well here. I'll get into the episode's framing device later, but it's especially nice to see how both of their sides are represented, even without going to either character's point of view. Yet by the end, it's easy to feel that both Ted and Zoey have their genuine reasons for liking each other, and that it's time for them to embrace it.
And the show also does well by bringing up their main obstacle, beyond even Zoey's marriage- their stance on the Arcadian. Or at least, they acknowledge it by bringing up how both of them are still dead set in their goals, but nothing can possibly change their current attraction to each other. This plot isn't too much of a focus in the episode, but is still present when Ted mentions his progress, and when Zoey is shown at a protest when Barney heads to work. It's a smart way to remind us of their conflict without forcing it down our throat.
They still need to figure things out if this is going to work. Because while the episode makes me feel happy, I'm still skeptical. Their relationship can work for now, but how long will it take for their opposing points to come back into fruition? Ted still has work to do on the Arcadian, and Zoey still hasn't bended her position. Maybe this time together will help them find a compromise.
Thankfully, this all works thanks to the episode's call waiting framing device. We don't leave the Eriksen household as he's told the whole story through phone, and everybody gives him a unique twist on the story. Including Zoey and Ted, who listen as Marshall helps fill the episode out at the end.
Robin tells what seems to be the fullest truth, as she doesn't have much of a horse in this race. She has no real attraction to Ted anymore, and just wants him happy, which Zoey just might do. Although she does lie to Zoey about Marshall hating her, but that's okay. Ted's a son of a bitch.
Which Lily understands, as she doesn't get too much to do herself besides nailing the best line of the episode. Which she shares with Marshall, but I digress.
And Barney continues to live the lie, since it's far more interesting than the truth. So he says, but it's fun to hear his fabrication. It's cute to see that he even feels the need to lie to such great lengths to Marshall, who doesn't care about his conquests at all, but it is Barney, after all. And we the audience do get to see him break down to Honey, which is another great moment.
Honey helps fill in the rest to Marshall, which is another fun moment for her. I'm not much of a fan of Katy Perry's music, but she has decent acting chops here, playing the naive character pretty well. It isn't exactly a dignified role, but it is a sitcom, after all, and the character works well for laughs. Even if some of her stupidity seems exaggerated, but this is still coming from Ted, after all.
The moments in Minnesota help to keep us in real time, even if they aren't the most exciting aspect. But seeing Judy is always a treat, and this is the most that we've seen of one of Marshall's brothers in a while. Together, they fill in the pieces for a fun, promising episode. Even if we don't see how the show will live up to its promise. Or if.
Directed by Pam Fryman
Written by Carter Bays & Craig Thomas
One Paragraph Synopsis: Zoey unwittingly hooks Ted up on a date with her hot cousin, remembered to the gang as Honey (Katy Perry). As hot and unwitting as she is, Ted isn't really interest, though. He wants Zoey. The thing is, she wants him too, and she has been divorcing the Captain in secret. Marshall, still in Minnesota, discovers all of this while talking to the other members of the gang, and helps them fill in the pieces themselves.
Well, it happened.
I've had my reservations about Ted and Zoey dating, but each time I watch this episode, I come out fairly happy. For one, it's built up well here. I'll get into the episode's framing device later, but it's especially nice to see how both of their sides are represented, even without going to either character's point of view. Yet by the end, it's easy to feel that both Ted and Zoey have their genuine reasons for liking each other, and that it's time for them to embrace it.
And the show also does well by bringing up their main obstacle, beyond even Zoey's marriage- their stance on the Arcadian. Or at least, they acknowledge it by bringing up how both of them are still dead set in their goals, but nothing can possibly change their current attraction to each other. This plot isn't too much of a focus in the episode, but is still present when Ted mentions his progress, and when Zoey is shown at a protest when Barney heads to work. It's a smart way to remind us of their conflict without forcing it down our throat.
They still need to figure things out if this is going to work. Because while the episode makes me feel happy, I'm still skeptical. Their relationship can work for now, but how long will it take for their opposing points to come back into fruition? Ted still has work to do on the Arcadian, and Zoey still hasn't bended her position. Maybe this time together will help them find a compromise.
Thankfully, this all works thanks to the episode's call waiting framing device. We don't leave the Eriksen household as he's told the whole story through phone, and everybody gives him a unique twist on the story. Including Zoey and Ted, who listen as Marshall helps fill the episode out at the end.
Robin tells what seems to be the fullest truth, as she doesn't have much of a horse in this race. She has no real attraction to Ted anymore, and just wants him happy, which Zoey just might do. Although she does lie to Zoey about Marshall hating her, but that's okay. Ted's a son of a bitch.
Which Lily understands, as she doesn't get too much to do herself besides nailing the best line of the episode. Which she shares with Marshall, but I digress.
And Barney continues to live the lie, since it's far more interesting than the truth. So he says, but it's fun to hear his fabrication. It's cute to see that he even feels the need to lie to such great lengths to Marshall, who doesn't care about his conquests at all, but it is Barney, after all. And we the audience do get to see him break down to Honey, which is another great moment.
Honey helps fill in the rest to Marshall, which is another fun moment for her. I'm not much of a fan of Katy Perry's music, but she has decent acting chops here, playing the naive character pretty well. It isn't exactly a dignified role, but it is a sitcom, after all, and the character works well for laughs. Even if some of her stupidity seems exaggerated, but this is still coming from Ted, after all.
The moments in Minnesota help to keep us in real time, even if they aren't the most exciting aspect. But seeing Judy is always a treat, and this is the most that we've seen of one of Marshall's brothers in a while. Together, they fill in the pieces for a fun, promising episode. Even if we don't see how the show will live up to its promise. Or if.
Wednesday, June 24, 2015
How I Met Your Mother Review- "Last Words"
Last Words (6x14)
One Paragraph Synopsis: Back in Minnesota, Marshall is getting ready for Marvin's funeral, and the gang is doing their best to make things easier for him. Ted and Barney are looking up funny videos to crack him up a little; Lily is aiming her sights towards Judy, who needs a break from all the stress; and Robin is like the service's own Mary Poppins, with a purse full of everything you can imagine. But nothing they can do will really help Marshall out, who feels that he was robbed of meaningful last words with his father, after hearing what Marvin's last conversations were like to Judy and his brothers. All it takes is a newly found voicemail to change his perspective, though.
This shouldn't have worked. The Korean-themed string of gags and the joke about Barney getting Marshall's fifteen-year-old cousin should have hurt this episode a little more (but hey, Barney did instantly give back her number, so at least he isn't THAT gross).
But even problematic material can't hold back what is a fantastic episode, as we get to say goodbye to Marvin with Marshall and his loved ones, and say hello to a new, exciting chapter in the gang's life. "Last Words" has been compared to "Chuckles Bites the Dust" and the first Hartman-less NewsRadio episode, perhaps haphazardly, but in a well-meaning way, as this succeeds at what it aims for.
Marshall brings up a good point- how would you feel if the most recent conversation you had with your father was your last? Mine was about a decade ago, and I don't really remember it, so I'm not a good person to come to here. But this paints a picture for the gang, who each considers where they stand with their father.
We haven't seen Alfred since his first appearance in the second season, as he and Virginia told Ted of their divorce. Since then, it's become apparent that he's grown into an awkward 60-something-year-old attempting to be one of the cool kids. While Ted rightly isn't attracted to this side of Alfred, the fact remains that this is his father, and he wishes for a better relationship with him, but first he should be in a better place.
Mickey has never been great with Lily, and it seems that in the year since "Slapsgiving 2", he's been incarcerated. Lily's inability to even answer or respond to him shows where her current place with her father is, but at the same time, it seems as if Mickey hasn't done any growing himself. It doesn't seem like he's still in jail anymore, if Lily can easily contact him, which means that they have the chance to work on their bond together.
Robin still feels inadequate to her father, which is something he reciprocates (this episode also introduces Ray Wise as Robin Sr, as Eric Braeden chose to not reprise the role. Wise will play Robin Sr. from here on at). Robin just wants her father to appreciate her a little, and it doesn't seem like she's at fault here, even if she is too willing to open up to her.
Barney, meanwhile, hasn't seen his father in about 30 years, and even then only knew him as "Uncle" Jerry. This is why he stayed absent when the other characters talked about their father, as much as it must hurt. His call to Loretta at the end of the episode indicates that this should change soon, though.
Marshall, on the other hand, had a generally great relationship with his father. They loved each other dearly, and kept in contact regularly, even getting a chance to see each other days before Marvin died. But all Marshall can muster his father's last words to him being were "rent Crocodile Dundee 3!" When his family gets to their stories during the service, it makes sense that Marshall feels left out.
This voice mail shouldn't mean too much, but to Marshall, it's everything. It's a chance to hear his father's voice one last time, and it could mean something very poignant. Yet his initial pause makes it seem like Marshall isn't ready to accept the possibilities, though. What if Marvin just asked about his foot cream? Or what if he just accidentally butt dialed Marshall?
It turns out that this was a butt dial, which hurts Marshall at first, even going as far as to call out to God. One thing the series only occasionally, and unobtrusively acknowledges, is Marshall's faith. Coming from a small town, it makes sense that Marshall is at least somewhat religious, but the show knows better than to throw it at our face, unlike other series. Instead, we usually see Marshall's faith in little comedic bits, like his belief in the supernatural.
But there's no denying that Marshall has a lot of faith and belief in his heart, enough of it goes to a higher being. Here, he's legitimately angry towards his God, feeling that he was denied a chance to hear his father's voice again. Still, Marshall never doubts his God's existence, and thus is rewarded with a real, touching message from Marvin. Along with something about his foot cream, but that doesn't matter. A great choice in camera angle, on top of Segel's acting chops and smart pacing keep this as one of the show's most poignant moments. And this comes from someone with no faith.
Yet Marshall decides to not share the story of the last voicemail, and instead tells the Crocodile Dundee 3 story. Sometimes, the original take is the best in terms of storytelling purposes, as it works like gangbusters during his piece.
This is a great way to round up the episode's honest depiction of grief. None of it is left on the others, who are each given memorable ways to keep Marshall and Judy's spirits alive, but this is Marshall's episode, as Segel knocks it right out of the park. This is the show at its best.
Directed by Pam Fryman
Written by Carter Bays & Craig Thomas
One Paragraph Synopsis: Back in Minnesota, Marshall is getting ready for Marvin's funeral, and the gang is doing their best to make things easier for him. Ted and Barney are looking up funny videos to crack him up a little; Lily is aiming her sights towards Judy, who needs a break from all the stress; and Robin is like the service's own Mary Poppins, with a purse full of everything you can imagine. But nothing they can do will really help Marshall out, who feels that he was robbed of meaningful last words with his father, after hearing what Marvin's last conversations were like to Judy and his brothers. All it takes is a newly found voicemail to change his perspective, though.
This shouldn't have worked. The Korean-themed string of gags and the joke about Barney getting Marshall's fifteen-year-old cousin should have hurt this episode a little more (but hey, Barney did instantly give back her number, so at least he isn't THAT gross).
But even problematic material can't hold back what is a fantastic episode, as we get to say goodbye to Marvin with Marshall and his loved ones, and say hello to a new, exciting chapter in the gang's life. "Last Words" has been compared to "Chuckles Bites the Dust" and the first Hartman-less NewsRadio episode, perhaps haphazardly, but in a well-meaning way, as this succeeds at what it aims for.
Marshall brings up a good point- how would you feel if the most recent conversation you had with your father was your last? Mine was about a decade ago, and I don't really remember it, so I'm not a good person to come to here. But this paints a picture for the gang, who each considers where they stand with their father.
We haven't seen Alfred since his first appearance in the second season, as he and Virginia told Ted of their divorce. Since then, it's become apparent that he's grown into an awkward 60-something-year-old attempting to be one of the cool kids. While Ted rightly isn't attracted to this side of Alfred, the fact remains that this is his father, and he wishes for a better relationship with him, but first he should be in a better place.
Mickey has never been great with Lily, and it seems that in the year since "Slapsgiving 2", he's been incarcerated. Lily's inability to even answer or respond to him shows where her current place with her father is, but at the same time, it seems as if Mickey hasn't done any growing himself. It doesn't seem like he's still in jail anymore, if Lily can easily contact him, which means that they have the chance to work on their bond together.
Robin still feels inadequate to her father, which is something he reciprocates (this episode also introduces Ray Wise as Robin Sr, as Eric Braeden chose to not reprise the role. Wise will play Robin Sr. from here on at). Robin just wants her father to appreciate her a little, and it doesn't seem like she's at fault here, even if she is too willing to open up to her.
Barney, meanwhile, hasn't seen his father in about 30 years, and even then only knew him as "Uncle" Jerry. This is why he stayed absent when the other characters talked about their father, as much as it must hurt. His call to Loretta at the end of the episode indicates that this should change soon, though.
Marshall, on the other hand, had a generally great relationship with his father. They loved each other dearly, and kept in contact regularly, even getting a chance to see each other days before Marvin died. But all Marshall can muster his father's last words to him being were "rent Crocodile Dundee 3!" When his family gets to their stories during the service, it makes sense that Marshall feels left out.
This voice mail shouldn't mean too much, but to Marshall, it's everything. It's a chance to hear his father's voice one last time, and it could mean something very poignant. Yet his initial pause makes it seem like Marshall isn't ready to accept the possibilities, though. What if Marvin just asked about his foot cream? Or what if he just accidentally butt dialed Marshall?
It turns out that this was a butt dial, which hurts Marshall at first, even going as far as to call out to God. One thing the series only occasionally, and unobtrusively acknowledges, is Marshall's faith. Coming from a small town, it makes sense that Marshall is at least somewhat religious, but the show knows better than to throw it at our face, unlike other series. Instead, we usually see Marshall's faith in little comedic bits, like his belief in the supernatural.
But there's no denying that Marshall has a lot of faith and belief in his heart, enough of it goes to a higher being. Here, he's legitimately angry towards his God, feeling that he was denied a chance to hear his father's voice again. Still, Marshall never doubts his God's existence, and thus is rewarded with a real, touching message from Marvin. Along with something about his foot cream, but that doesn't matter. A great choice in camera angle, on top of Segel's acting chops and smart pacing keep this as one of the show's most poignant moments. And this comes from someone with no faith.
Yet Marshall decides to not share the story of the last voicemail, and instead tells the Crocodile Dundee 3 story. Sometimes, the original take is the best in terms of storytelling purposes, as it works like gangbusters during his piece.
This is a great way to round up the episode's honest depiction of grief. None of it is left on the others, who are each given memorable ways to keep Marshall and Judy's spirits alive, but this is Marshall's episode, as Segel knocks it right out of the park. This is the show at its best.
Tuesday, June 23, 2015
How I Met Your Mother Review- "Bad News"
Bad News (6x13)
One Paragraph Synopsis: There's a countdown to big news, and it starts when Lily and Marshall fear that they might not be able to conceive children. They're recommended a doctor who focuses on fertility, Dr. John Stangel, who looks a lot like Barney- more than the doppelganger Lily thought she saw at the end of last season, anyway. His tests prove that Lily is just fine, which makes Marshall have his doubts. It becomes increasingly harder for him to "test" his fertility out when his parents come to visit, too. Dr. Stangel confirms that Marshall is quite fertile himself, which means that he and Lily are more than ready to have kids. Just as he's about to tell Lily the good news, though, he's hit with some bad news to counterbalance- his father died shortly after returning home to Minnesota.
Keep in mind that it's been mentioned by future Ted more than once that Marshall and Lily will have a child. Or children. Recall that he said "first child" in "Last Cigarette Ever", after all.
That should have made the idea of the bad news being that one of them is infertile be moot, and it is. In fact, the episode makes it seem that the title is purposefully misleading- that what is expected to be bad news doesn't occur, and the two get to have children after all. And that would have been fine. Welcome, even.
But the show has been wise about its use of Marvin this season, giving him more screentime than he's had in years, as Bays, Thomas and crew remind us of the bond he and Marshall shares. Of the character's parents shown thus far, Marvin and Judy have the most material to go back on, just as Marshall has the strongest history to dig into. This is able to work because of the working bond that gets the characters together.
And it makes the reveal hurt. Not as much as it must hurt for Marshall, but the reveal is well done. Especially since the idea of a fake out was given to Segel and Hannigan, who were expecting Lily to be pregnant by episode's end. The reveal of Marvin's death was a last-minute addition (not for the episode, but this was something purposefully kept from the actors), which they share with great sadness and realness to their performance.
The countdown is a great stealth addition, helping the audience to anticipate news, whether good or bad. I'm not sure how many first-time viewers catch the numbers, as some of them are placed in a nice, subtle manner, but others are easy enough to catch to show some kind of pattern. It's something the show won't really try again, but as a weird concept, it fits here.
Robin's story is pretty good, herself. The return of Sandy Rivers was welcome, even if only to see Alexis Denisoff mockingly mug for the camera again. But it allows for Robin to get closer to her dreams, even though she has to deal with corporate hazing first. The result is a fun highlight reel of some of her most awkward moments that remains entertaining as reminders to where she's from.
But this is only a taste of the course coming in the next episode. A big episode that aims high and reaches for most of its goals, Marshall still has yet to say goodbye to Marvin. Let's go.
Directed by Pam Fryman
Written by Jennifer Hendricks
One Paragraph Synopsis: There's a countdown to big news, and it starts when Lily and Marshall fear that they might not be able to conceive children. They're recommended a doctor who focuses on fertility, Dr. John Stangel, who looks a lot like Barney- more than the doppelganger Lily thought she saw at the end of last season, anyway. His tests prove that Lily is just fine, which makes Marshall have his doubts. It becomes increasingly harder for him to "test" his fertility out when his parents come to visit, too. Dr. Stangel confirms that Marshall is quite fertile himself, which means that he and Lily are more than ready to have kids. Just as he's about to tell Lily the good news, though, he's hit with some bad news to counterbalance- his father died shortly after returning home to Minnesota.
Keep in mind that it's been mentioned by future Ted more than once that Marshall and Lily will have a child. Or children. Recall that he said "first child" in "Last Cigarette Ever", after all.
That should have made the idea of the bad news being that one of them is infertile be moot, and it is. In fact, the episode makes it seem that the title is purposefully misleading- that what is expected to be bad news doesn't occur, and the two get to have children after all. And that would have been fine. Welcome, even.
But the show has been wise about its use of Marvin this season, giving him more screentime than he's had in years, as Bays, Thomas and crew remind us of the bond he and Marshall shares. Of the character's parents shown thus far, Marvin and Judy have the most material to go back on, just as Marshall has the strongest history to dig into. This is able to work because of the working bond that gets the characters together.
And it makes the reveal hurt. Not as much as it must hurt for Marshall, but the reveal is well done. Especially since the idea of a fake out was given to Segel and Hannigan, who were expecting Lily to be pregnant by episode's end. The reveal of Marvin's death was a last-minute addition (not for the episode, but this was something purposefully kept from the actors), which they share with great sadness and realness to their performance.
The countdown is a great stealth addition, helping the audience to anticipate news, whether good or bad. I'm not sure how many first-time viewers catch the numbers, as some of them are placed in a nice, subtle manner, but others are easy enough to catch to show some kind of pattern. It's something the show won't really try again, but as a weird concept, it fits here.
Robin's story is pretty good, herself. The return of Sandy Rivers was welcome, even if only to see Alexis Denisoff mockingly mug for the camera again. But it allows for Robin to get closer to her dreams, even though she has to deal with corporate hazing first. The result is a fun highlight reel of some of her most awkward moments that remains entertaining as reminders to where she's from.
But this is only a taste of the course coming in the next episode. A big episode that aims high and reaches for most of its goals, Marshall still has yet to say goodbye to Marvin. Let's go.
How I Met Your Mother Review- "The Mermaid Theory"/"False Positive"
The Mermaid Theory (6x11)
One Paragraph Synopsis: Now that she's been spending time with the gang, Zoey and Ted have been bonding a little, to the point that they start having one-on-one time. Lily warns Ted of the implications, with Zoey being a married woman, as Ted agrees and tries to not make their friendship too close. The Captain, on the other hand, seems oblivious to any implication, as he becomes closer to the gang despite having a creepy appearance. Ted is avoiding Zoey becoming a mermaid, and trying to keep her as a manatee, a piece of advice that Barney has installed onto him and Marshall, who in turn tries to keep Robin at a distance in fear of her becoming a mermaid. A night out with the two almost ruins this, as Barney and Lily fight about the theory, or at least will at a later time, as Ted gets his stories crossed.
False Positive (6x12)
One Paragraph Synopsis: Marshall and Lily are told that they are expecting, news that excites not only them, but the gang. It helps Robin push herself forward to get a research job at the Worldwide News Network, instead of settling to flip coins for Million Dollar Heads or Tails, hosted by Alex Trebek. Barney also decides to do good, using part of his massive Christmas bonus to give his friends, and others, some of his favorite things, and even deciding to use the rest of it to donate to Sam Gibbs' church. All it takes is a false positive to change their minds, though- Robin decides to skip the "boring" job to become a "coin flip bimbo", while Barney spends most of what he planned to donate on a diamond-crusted suit. Even Lily and Marshall decide to have a dog instead of focusing on having a kid. But Ted, who is also helping Punchy out with his wedding, won't allow any of this.
One of HIMYM's greatest strengths is how it plays with its structure. The show uses a frequently fast pace and relies heavily on cutting back to the past, or occasionally even the future, to help tell unique stories while keeping fresh sitcom writing.
The concept of Ted failing to tell his story as originally portrayed is a great one, even if it only makes for the second or third-most important story in the episode. But it's backed by hilarious circumstances based on his ability to get the facts right, even down to a magic trick of Barney's that seems great, but is actually pretty cruel.
This ends up being even more funny, since Lily and Barney's events do really happen later in the series. Complete with Ted showing up in a green dress. But this plays with the show's concept of time and structure, something it plays with well and often.
It is about time that Ted gets a anecdote so completely wrong, as he's telling his children these a good 20 years into the future, and he only rarely gets fuzz on some details. The joke might have been even better if this was more pertinent to the story at hand, but Barney's Mermaid Theory lessen to Lily is very minor, all things considered. That's why it isn't hard to believe that Ted can't get the story straight.
"False Positive" is more basic for the show- it takes us into the mind of each of the characters after discovering Lily's pregnancy, and comes back when this is proven to be false. But framing an episode on each character is something the series does well, as this is true here.
Both episodes succeed from giving each of the main characters a fairly equal amount of attention, even despite some faults of their own. "False Positive" might be a little more meager in comparison, but to my eyes, it hurts the episode a little more- Coin Flip Bimbo. Seriously?
My problem with "The Mermaid Theory" comes from what might be the main plot, though. I don't really buy, or care about, Ted and Zoey's relationship. At least not right now. The episode does gloss over their conflicting views, to the benefit (or perhaps detriment?) of its sake, but it's hard to forget how Ted and Zoey met.
Ted and Zoey can become friends, and maybe even find mutual ground. But so far, there hasn't been an attempt on either end for them to come to some sort of agreement on the Arcadian. Both of them have fair points- it's a (fictional) landmark! That's shown its age and is increasingly becoming beyond repair- but also keep in mind how Ted ditched his initial plans to keep the facade of the Arcadian after discovering that Zoey is married. And hasn't brought it or any other idea up since.
I hope that if the show continues in the direction of Ted and Zoey dating, that it's smart enough about their issues to make it work while still sticking to their characters. Ted isn't Dr. X anymore, while a big part of why the Captain, and ever-so-slightly Ted, are attracted to Zoey is her crackerjack personality. Remove her edges, and she's not the same.
Ted sings a different tune in the following episode, though. In "False Positive", he seems to be the one who is happy with his place for a change. This is probably because Ted does the most to ensure that he changes, while Robin and Barney have been happy being dormant for a while, just as Lily and Marshall have done so much together that they are able to focus their attention on growth towards conceiving their future child.
And it's in this moment of clarity where gets to shine. Ted proves that he can be a good best man and side planner to Punchy, who needs all the encouragement he can get; shows that he understands Robin well enough that he won't allow her to waste her future on a half-ass game show, and pushes for her to take job in the CNN composite; refuses to stand for Barney's bullshit too much longer, at least in terms of how he spends his money; and won't let Marshall and Lily coast on what they want most, ie a child. And he gets a great moment at the end where he makes sure all of his friends do good and live up to their potential.
Before I go, I'll also give props to Robin and Marshall's story in "The Mermaid Theory". Their friendship pairing isn't the most important element of the show, but is always welcome when explored, since they're both well-meaning people that bond well. And also, if someone as hot as Robin puked on me, I'd probably consider them a manatee for life, too.
Directed by Pam Fryman
Written by Robia Rashid
One Paragraph Synopsis: Now that she's been spending time with the gang, Zoey and Ted have been bonding a little, to the point that they start having one-on-one time. Lily warns Ted of the implications, with Zoey being a married woman, as Ted agrees and tries to not make their friendship too close. The Captain, on the other hand, seems oblivious to any implication, as he becomes closer to the gang despite having a creepy appearance. Ted is avoiding Zoey becoming a mermaid, and trying to keep her as a manatee, a piece of advice that Barney has installed onto him and Marshall, who in turn tries to keep Robin at a distance in fear of her becoming a mermaid. A night out with the two almost ruins this, as Barney and Lily fight about the theory, or at least will at a later time, as Ted gets his stories crossed.
False Positive (6x12)
Directed by Pam Fryman
Written by Craig Gerard & Matthew Zinman
One Paragraph Synopsis: Marshall and Lily are told that they are expecting, news that excites not only them, but the gang. It helps Robin push herself forward to get a research job at the Worldwide News Network, instead of settling to flip coins for Million Dollar Heads or Tails, hosted by Alex Trebek. Barney also decides to do good, using part of his massive Christmas bonus to give his friends, and others, some of his favorite things, and even deciding to use the rest of it to donate to Sam Gibbs' church. All it takes is a false positive to change their minds, though- Robin decides to skip the "boring" job to become a "coin flip bimbo", while Barney spends most of what he planned to donate on a diamond-crusted suit. Even Lily and Marshall decide to have a dog instead of focusing on having a kid. But Ted, who is also helping Punchy out with his wedding, won't allow any of this.
One of HIMYM's greatest strengths is how it plays with its structure. The show uses a frequently fast pace and relies heavily on cutting back to the past, or occasionally even the future, to help tell unique stories while keeping fresh sitcom writing.
The concept of Ted failing to tell his story as originally portrayed is a great one, even if it only makes for the second or third-most important story in the episode. But it's backed by hilarious circumstances based on his ability to get the facts right, even down to a magic trick of Barney's that seems great, but is actually pretty cruel.
This ends up being even more funny, since Lily and Barney's events do really happen later in the series. Complete with Ted showing up in a green dress. But this plays with the show's concept of time and structure, something it plays with well and often.
It is about time that Ted gets a anecdote so completely wrong, as he's telling his children these a good 20 years into the future, and he only rarely gets fuzz on some details. The joke might have been even better if this was more pertinent to the story at hand, but Barney's Mermaid Theory lessen to Lily is very minor, all things considered. That's why it isn't hard to believe that Ted can't get the story straight.
"False Positive" is more basic for the show- it takes us into the mind of each of the characters after discovering Lily's pregnancy, and comes back when this is proven to be false. But framing an episode on each character is something the series does well, as this is true here.
Both episodes succeed from giving each of the main characters a fairly equal amount of attention, even despite some faults of their own. "False Positive" might be a little more meager in comparison, but to my eyes, it hurts the episode a little more- Coin Flip Bimbo. Seriously?
My problem with "The Mermaid Theory" comes from what might be the main plot, though. I don't really buy, or care about, Ted and Zoey's relationship. At least not right now. The episode does gloss over their conflicting views, to the benefit (or perhaps detriment?) of its sake, but it's hard to forget how Ted and Zoey met.
Ted and Zoey can become friends, and maybe even find mutual ground. But so far, there hasn't been an attempt on either end for them to come to some sort of agreement on the Arcadian. Both of them have fair points- it's a (fictional) landmark! That's shown its age and is increasingly becoming beyond repair- but also keep in mind how Ted ditched his initial plans to keep the facade of the Arcadian after discovering that Zoey is married. And hasn't brought it or any other idea up since.
I hope that if the show continues in the direction of Ted and Zoey dating, that it's smart enough about their issues to make it work while still sticking to their characters. Ted isn't Dr. X anymore, while a big part of why the Captain, and ever-so-slightly Ted, are attracted to Zoey is her crackerjack personality. Remove her edges, and she's not the same.
Ted sings a different tune in the following episode, though. In "False Positive", he seems to be the one who is happy with his place for a change. This is probably because Ted does the most to ensure that he changes, while Robin and Barney have been happy being dormant for a while, just as Lily and Marshall have done so much together that they are able to focus their attention on growth towards conceiving their future child.
And it's in this moment of clarity where gets to shine. Ted proves that he can be a good best man and side planner to Punchy, who needs all the encouragement he can get; shows that he understands Robin well enough that he won't allow her to waste her future on a half-ass game show, and pushes for her to take job in the CNN composite; refuses to stand for Barney's bullshit too much longer, at least in terms of how he spends his money; and won't let Marshall and Lily coast on what they want most, ie a child. And he gets a great moment at the end where he makes sure all of his friends do good and live up to their potential.
Before I go, I'll also give props to Robin and Marshall's story in "The Mermaid Theory". Their friendship pairing isn't the most important element of the show, but is always welcome when explored, since they're both well-meaning people that bond well. And also, if someone as hot as Robin puked on me, I'd probably consider them a manatee for life, too.
Sunday, June 21, 2015
How I Met Your Mother Review- "Blitzgiving"
Blitzgiving (6x10)
One Paragraph Synopsis: The Blitz is a Wesleyan tradition, a fellow who leaves an event early and misses on something amazing, and is doomed to repeat this until someone else bails while they stay. For years, Ted and Marshall's friend Steve (Jorge Garcia) occupied the position of the Blitz, but when Ted leaves the bar early the night before Thanksgiving, he takes on the role. One thing he missed was seeing Zoey, who joined the gang, Steve included, and became their new bff, even offering them, Ted included, to have Thanksgiving with her while the Captain sees his daughter the next day. After discovering that the gang crashed his oven as a result of their partying, Ted ends up taking her offer, as they go to Zoey's for Thanksgiving. Things almost don't go well, but finding out Zoey's relationship with her daughter-in-law, he tries to reconcile.
THE GENTLEMAN!
This is a pretty simple episode, but a lot of fun to watch. But I stepped out for a minute, and apparently a string of cats came and deleted my review. But it's enjoyable, even for someone who could never get into Lost and only understand Garcia's references on a casual level. To be fair, he is game, and this helps to humanize Zoey a little more, who hasn't overstayed her welcome quite yet.
Hopefully by my next review, I won't be the blitz. Aww man.
Directed by Pam Fryman
Written by Theresa Mulligan Rosenthal
One Paragraph Synopsis: The Blitz is a Wesleyan tradition, a fellow who leaves an event early and misses on something amazing, and is doomed to repeat this until someone else bails while they stay. For years, Ted and Marshall's friend Steve (Jorge Garcia) occupied the position of the Blitz, but when Ted leaves the bar early the night before Thanksgiving, he takes on the role. One thing he missed was seeing Zoey, who joined the gang, Steve included, and became their new bff, even offering them, Ted included, to have Thanksgiving with her while the Captain sees his daughter the next day. After discovering that the gang crashed his oven as a result of their partying, Ted ends up taking her offer, as they go to Zoey's for Thanksgiving. Things almost don't go well, but finding out Zoey's relationship with her daughter-in-law, he tries to reconcile.
THE GENTLEMAN!
This is a pretty simple episode, but a lot of fun to watch. But I stepped out for a minute, and apparently a string of cats came and deleted my review. But it's enjoyable, even for someone who could never get into Lost and only understand Garcia's references on a casual level. To be fair, he is game, and this helps to humanize Zoey a little more, who hasn't overstayed her welcome quite yet.
Hopefully by my next review, I won't be the blitz. Aww man.
Friday, June 19, 2015
How I Met Your Mother Review- "Glitter"
Glitter (6x09)
One Paragraph Synopsis: Barney has found the next piece of the Robin Sparkles puzzle, when he gets a tape of her old children's show. But he and the rest of the gang were not expecting how erotic the show was, nor were they privy to the existence of her old co-star/best friend Jessica Glitter (Nichole Scherzinger). When Robin gets agitated after being asked about her, the gang do some digging and determine that they drifted apart when Glitter became a mother, a thought that terrifies Lily, who is increasingly getting comfortable with baby talk. It takes some more clue work for her and Marshall to find Glitter, who informs her that the only reason she and Robin stopped being close is due to her own problems keeping up with friends after having a kid, which is something Lily can work on her.
It's funny, this is the third Sparkles episode, but the joke hasn't worn thin. By now, it's treading almost entirely on the familiarity of the show's iconic turn with "Slap Bet", a fact that Kang, who has written each of these episodes, isn't afraid to remind us of.
But that's a part of the charm here. Six seasons in, and there isn't too much new for us to discover about the characters, so it's fair and fun to come back to some of our favorite aspects of their lives that the show has touched on, such as Robin's teenage days as a TV/pop star.
"Glitter" isn't just old gags, though- there actually is emotional weight here, as the discovery of Robin's old BFF Jessica Glitter brings a conflict point that makes too much sense to not explore at some point, being her issues with babies. While Robin and Jessica's departing friendship doesn't explain her lack of interest in having children (not like it really needs much explanation- she doesn't want kids, end of story), it does give us an idea of why she is so particularly allergic to kids in general.
Robin has abandonment issues, more or less brought on by her father's negligent parenting, and has various ways of coping with them. We've first seen this after seeing her random trip to Argentina after her split with Ted, when she came home with Gael, unable to separate the difference between a summertime fling and her next serious relationship. Then there were her drunken calls to Don in "Architect of Destruction", a haphazard subplot that does further show her issues with acceptance.
And then her long-standing grudge with small children seems to be how she handled her loss of Jessica's friendship. While there does seem to be a lifelong ambivalence towards kids (even when she was a child and had to deal with her younger sister, after all!), much of these reactions can likely be traced to when Jessica had her child and quickly drifted apart. We don't get to see much of their friendship way back when, but it seems implied that they moved to New York together, which gives an idea of how close they are. It's also worth noting that the timeline between Jessica's pregnancy and the time this episode takes place fits with when Robin should have met the gang, which indicates that while she may have lost one close friend, she made four new ones, so it wasn't all for moot.
I think Robin is such a strong character, that I would be a lot more critical if this didn't turn out to give a good backing for her characters actions, and thankfully the episode delivers as an episode. And it's a great episode for her friendship with Lily, who herself has a tendency to indulge in her passions. Here, she seems to genuinely want Robin to share her enthusiasm for her future child, but for various reasons, Robin doesn't want to jump on board. This shouldn't hurt Lily as much as it does, since she knows Robin's general attitude towards kids, but the sting of rejection towards your passion always burns.
Lily has her own low-key abandonment issues, also set off by her father, so they bond with that. At least mentally. And shows some ignorance on her part to not bend to Robin's needs when the split occurs, which is something that she is blessed by having Marshall for. When Lily won't play ball, she has someone who is willing to prep her up to go to bat, and does so almost seamlessly. It makes for a nice ending, as Robin and Lily's relationship is one of the show's key elements, which is something that Fryman, Smulders, and Hannigan recognize and nail in their resolution.
As for the Sparkles material? Do you need me to tell you that it's great? It's hard to not nail the silly atmosphere of the world of Robin Sparkles, especially as Kang seems to understand it better than anyone. She seemed to have fun writing some terrible innuendos into the show's script, which are wonderfully delivered by tried, confused actors.
And Scherzinger is fine as Jessica Glitter, for the little time she gets. The former Pussycat Doll may not have been as much of a comedic powerhouse as some of the show's previous guest star gets, but she totally fits the kids show's aesthetic, as her present day material is offered well on her part. She may not necessarily be the episode's highlight, but she serves it well.
I didn't mention Ted and Punchy's material in the synopsis, since it's hardly a subplot due to its lack of time. This is hardly a wash of screentime though, even if Punchy's shtick does indeed wear thin. His appearance does a good job of reflecting where Ted currently is in life though, as despite Punchy's seemingly sad lifestyle, he's actually pretty happy- he likes his job, he likes Cleveland, and he's happily engaged.
Seeing his old best friend, a loon who still makes scrotum jokes and still brings up the time he dookied his pants by the lake, getting closer to being married than he is has got to hurt. But Ted is hardly wasting his life now. He has two jobs that he loves, lives in the greatest city in the world, and has four great friends he can always depend on (give or take Barney). I think this episode shows that Ted and Punchy are both pretty fine where they are right now, even if Ted doesn't realize it himself.
But this is Robin's episode, and hey, two beavers are better than one! While every joke doesn't totally land (Barney's reality competition rejection monologue is a bit that gets a little more tedious each time you watch it), this is still a hilarious, well-meaning episode that continues to solidify season 6 as a return to form. Now don't forget the robot, everybody!
Directed by Pam Fryman
Written by Kourtney Kang
One Paragraph Synopsis: Barney has found the next piece of the Robin Sparkles puzzle, when he gets a tape of her old children's show. But he and the rest of the gang were not expecting how erotic the show was, nor were they privy to the existence of her old co-star/best friend Jessica Glitter (Nichole Scherzinger). When Robin gets agitated after being asked about her, the gang do some digging and determine that they drifted apart when Glitter became a mother, a thought that terrifies Lily, who is increasingly getting comfortable with baby talk. It takes some more clue work for her and Marshall to find Glitter, who informs her that the only reason she and Robin stopped being close is due to her own problems keeping up with friends after having a kid, which is something Lily can work on her.
It's funny, this is the third Sparkles episode, but the joke hasn't worn thin. By now, it's treading almost entirely on the familiarity of the show's iconic turn with "Slap Bet", a fact that Kang, who has written each of these episodes, isn't afraid to remind us of.
But that's a part of the charm here. Six seasons in, and there isn't too much new for us to discover about the characters, so it's fair and fun to come back to some of our favorite aspects of their lives that the show has touched on, such as Robin's teenage days as a TV/pop star.
"Glitter" isn't just old gags, though- there actually is emotional weight here, as the discovery of Robin's old BFF Jessica Glitter brings a conflict point that makes too much sense to not explore at some point, being her issues with babies. While Robin and Jessica's departing friendship doesn't explain her lack of interest in having children (not like it really needs much explanation- she doesn't want kids, end of story), it does give us an idea of why she is so particularly allergic to kids in general.
Robin has abandonment issues, more or less brought on by her father's negligent parenting, and has various ways of coping with them. We've first seen this after seeing her random trip to Argentina after her split with Ted, when she came home with Gael, unable to separate the difference between a summertime fling and her next serious relationship. Then there were her drunken calls to Don in "Architect of Destruction", a haphazard subplot that does further show her issues with acceptance.
And then her long-standing grudge with small children seems to be how she handled her loss of Jessica's friendship. While there does seem to be a lifelong ambivalence towards kids (even when she was a child and had to deal with her younger sister, after all!), much of these reactions can likely be traced to when Jessica had her child and quickly drifted apart. We don't get to see much of their friendship way back when, but it seems implied that they moved to New York together, which gives an idea of how close they are. It's also worth noting that the timeline between Jessica's pregnancy and the time this episode takes place fits with when Robin should have met the gang, which indicates that while she may have lost one close friend, she made four new ones, so it wasn't all for moot.
I think Robin is such a strong character, that I would be a lot more critical if this didn't turn out to give a good backing for her characters actions, and thankfully the episode delivers as an episode. And it's a great episode for her friendship with Lily, who herself has a tendency to indulge in her passions. Here, she seems to genuinely want Robin to share her enthusiasm for her future child, but for various reasons, Robin doesn't want to jump on board. This shouldn't hurt Lily as much as it does, since she knows Robin's general attitude towards kids, but the sting of rejection towards your passion always burns.
Lily has her own low-key abandonment issues, also set off by her father, so they bond with that. At least mentally. And shows some ignorance on her part to not bend to Robin's needs when the split occurs, which is something that she is blessed by having Marshall for. When Lily won't play ball, she has someone who is willing to prep her up to go to bat, and does so almost seamlessly. It makes for a nice ending, as Robin and Lily's relationship is one of the show's key elements, which is something that Fryman, Smulders, and Hannigan recognize and nail in their resolution.
As for the Sparkles material? Do you need me to tell you that it's great? It's hard to not nail the silly atmosphere of the world of Robin Sparkles, especially as Kang seems to understand it better than anyone. She seemed to have fun writing some terrible innuendos into the show's script, which are wonderfully delivered by tried, confused actors.
And Scherzinger is fine as Jessica Glitter, for the little time she gets. The former Pussycat Doll may not have been as much of a comedic powerhouse as some of the show's previous guest star gets, but she totally fits the kids show's aesthetic, as her present day material is offered well on her part. She may not necessarily be the episode's highlight, but she serves it well.
I didn't mention Ted and Punchy's material in the synopsis, since it's hardly a subplot due to its lack of time. This is hardly a wash of screentime though, even if Punchy's shtick does indeed wear thin. His appearance does a good job of reflecting where Ted currently is in life though, as despite Punchy's seemingly sad lifestyle, he's actually pretty happy- he likes his job, he likes Cleveland, and he's happily engaged.
Seeing his old best friend, a loon who still makes scrotum jokes and still brings up the time he dookied his pants by the lake, getting closer to being married than he is has got to hurt. But Ted is hardly wasting his life now. He has two jobs that he loves, lives in the greatest city in the world, and has four great friends he can always depend on (give or take Barney). I think this episode shows that Ted and Punchy are both pretty fine where they are right now, even if Ted doesn't realize it himself.
But this is Robin's episode, and hey, two beavers are better than one! While every joke doesn't totally land (Barney's reality competition rejection monologue is a bit that gets a little more tedious each time you watch it), this is still a hilarious, well-meaning episode that continues to solidify season 6 as a return to form. Now don't forget the robot, everybody!
Wednesday, June 17, 2015
How I Met Your Mother Review- "Canning Randy"/"Natural History"
Canning Randy (6x07)
One Paragraph Synopsis: The Zoey drama isn't other yet- one cross line at Ted gives her the incentive to register for her class. And despite his best efforts to win his class over, it doesn't take long for her to get them against him and on board with saving the Arcadian. Ted tries to take the advice Lily gives him to win them back, with one final, successful result- threatening to fail his students when they ditch class for a protest, they come back in great numbers. At the same time, Marshall has to deal with Randy, a total loser of an underling who keeps on screwing up their work. It gets to the point that Marshall has to fire Randy, and when he changes his mind, it's revealed that Randy planned to use his severance check to start a microbrewery going. Eventually Marshall decides to do Randy the big solid, and fires him again.
Natural History (6x08)
One Paragraph Synopsis: The gang is invited to a gala event at the Natural History Museum, being ran by GNB, and Arthur's old friend, the Captain (Kyle MacLachlan). From there, the night resumes. Ted runs into Zoey and learns that she's married to the Captain, an arrangement she isn't super happy about. They end up finding a mutual agreement against all odds, even with the articles she gets posted about Ted in the paper. Barney and Robin play a game of mess with the museum, only to get caught, when some important news is shared to Barney. And Lily is struggling with the reality that Marshall is willing to stick around at GNB, and give up his dreams of being an environmental lawyer.
I wasn't really expecting to find as strong of a connection between these two episodes that I have, but it's there- these are episodes about maturing, embracing second chances, about listening. And it helps that they're both pretty strong episodes.
Although there's a clear winner here for sure- "Natural History" might just make my top 10, give or take my position on "Subway Wars" on the day you ask me. But it's funny, on instinct I should have a grudge towards the episode based on a piece that Bays and Thomas stated during its commentary track. They actually compared this to a Billy Wilder script!
As much as I admire Wilder (he's my second favorite filmmaker, behind only Hitchcock), the thing is, this doesn't really fit his aesthetic. And I don't even mean his more dramatic material, such as Sunset Boulevard or Ace in the Hole- even his comedies, such as Some Like It Hot, Sabrina, and One Two Three have an entirely different pacing and structure to the show as a whole, this episode included.
But then I think about some of Wilder's scripts before he got his big break as a director. His and Charles Brackett's screenplays for Ninotchka, Midnight, and Ball of Fire were among the sharpest of screwball comedy, adhering to many of the recognized rules of the genre, but with his sharp sense for dialogue and character allowing for unique takes on the form. Midnight, for instance, almost exists as a satire of the very kind of film it is, with a respectful amount of snark used but not enough to overshadow his skill for formulating movie magic. When Wilder adapted to directing, his first film, The Major and the Minor, was a part of the screwball form, but he jumped the game shortly after.
This isn't meant to be a film lecture, though, but my point is that there is very much an element of screwball to "Natural History", and the show's creators were able to bless the screenplay with the right amount of biting wit to nail it.
The composition between the three plots are done equally well and in tune to each other, like many of the show's best scripts. None of the core five are forgotten- even Robin gets a chance to let her hair down and have fun, which is helpful in between all of the obnoxious things going on in her life.
Like Becky. The character of Becky isn't going to be a major one, in this season or as a whole, but she serves her purpose well. Having given up a great job in hopes of staying with her then-boyfriend, it doesn't seem like life for Robin could get any worse for the moment, until she becomes completely upstaged by a toddler. Becky's innocence can be cute, but I'd be annoyed too if I was in Robin's position.
Which is what gives her the incentive to appear in an adult diaper commercial. The build-up to the reveal in "Canning Randy" sticks to the show's strength of character building as exposition, as everything that's going on in the moment is about to burst, thanks to Lily's smart choices of words. The rise and fall of her secret and its reveal is almost reminiscent of "Slap Bet", which is always a great comparison to be made.
Barney doesn't have as much to do in "Canning Randy", other than to enable Marshall to fire Randy, a move that seems justified. We met Randy back in season 3, as Barney (somewhat) successfully attempted to be his wingman, but here it's clear that no amount of help he can give Randy can make the guy good at his job. Which is why Barney is tired of watching over him, and lends the guy to Marshall. That's about it.
As opposed to "Natural History", where his and Robin's story not only allows for fun gags, but comes into a surprisingly satisfying reveal of his true father. While this might have seemed to be an inappropriately dramatic sequence considering some of their other material, it's around this time that the three plots collide to make for meatier results, and thanks to the timing and talent of the cast and crew, the reveal packs a real punch. I think it's great, as it helps push Barney a little forward as he can no longer use his mother's lies to hide the truth. He knows, and it's about time he does something about it.
Lily spends most of her time in "Canning Randy" as a mentor for Ted, giving him advice on how to treat his students. The point of this material tries to show how college students aren't too different from kindergartners, and hey, if turning the lights on and off and going "ooooo" is enough to calm a group of young adults down, maybe there really isn't. And while Lily can go a little too far in her investigations, here her nudging to Ted actually pays off.
In "Natural History", though, Lily has something a little bigger to face- the fear of getting old and losing your dreams. While her ambitions as an artist aren't referenced, the implication is there as she sees her husband admit that he's willing to stay at GNB, instead of work for the environment. Too many people give up on their dreams to wake up every morning in a business suit, and Lily didn't seem ready to embrace the fact that she'll be married to someone like that.
It's a facet of maturing that we like to forget in hopes of keeping some kind of spark alive, but many succumb to letting these go and settle. And as much as Lily and Marshall are on point as a couple, they're on a different wavelength right now. Lily seems ready to accept Marshall's willingness to accept his place at the end of the episode, but she doesn't seem all too happy about it.
The use of college-aged Marshall and present-day Marshall as museum exhibits is clever. The former gives Lily a chance to come to grips, at least momentarily, with their current place in life, while the latter lets us know that his story isn't done yet. Since Marshall only claims to be happy with working at GNB for financial reasons, not for anything else. He still seems pretty miserable all around in both episodes.
The Marshall of "Canning Randy" isn't happy with having to fire Randy at all, even though the guy is clearly a dead-end. The episode has a well-meaning, if forgettable, framing device by showing Barney attempt to get Marshall to say that "GNB cares" for their damage control video (clips from it almost give off a Better Off Ted vibe, which is never a bad thing), a phrase he can't in good will say.
Because they don't! Or at least, not when they shouldn't. And to be fair, it is Marshall who messes things up for Randy by hiring him back. But this is a way to bring us into the dichotomy of GNB, a corporate who can fire with no remorse, but will screw you over just as your dreams are right in front of you. Marshall still means well, which is why he fires Randy for good after a whip of his craft beer. Between this and future Ted's foreshadowing, it's clear that Marshall isn't fully a suit yet. And seeing how this turns out will be great.
But Ted. Alright. And boy, Zoey can be a pest, as evident in the former episode. But the latter is interesting, showing the two almost getting along, especially after meeting the Captain, brilliantly portrayed by MacLachlan, who rocks every syllable he gets. But this shows a potential mutual agreement between the two. Maybe?
Two great episodes, with the latter getting the best out of everyone and ranking as one of the best of the season thus far. And this is a pretty fine season thus far.
Directed by Pam Fryman
Written by Chuck Tatham
One Paragraph Synopsis: The Zoey drama isn't other yet- one cross line at Ted gives her the incentive to register for her class. And despite his best efforts to win his class over, it doesn't take long for her to get them against him and on board with saving the Arcadian. Ted tries to take the advice Lily gives him to win them back, with one final, successful result- threatening to fail his students when they ditch class for a protest, they come back in great numbers. At the same time, Marshall has to deal with Randy, a total loser of an underling who keeps on screwing up their work. It gets to the point that Marshall has to fire Randy, and when he changes his mind, it's revealed that Randy planned to use his severance check to start a microbrewery going. Eventually Marshall decides to do Randy the big solid, and fires him again.
Natural History (6x08)
Directed by Pam Fryman
Written by Carter Bays & Craig Thomas
One Paragraph Synopsis: The gang is invited to a gala event at the Natural History Museum, being ran by GNB, and Arthur's old friend, the Captain (Kyle MacLachlan). From there, the night resumes. Ted runs into Zoey and learns that she's married to the Captain, an arrangement she isn't super happy about. They end up finding a mutual agreement against all odds, even with the articles she gets posted about Ted in the paper. Barney and Robin play a game of mess with the museum, only to get caught, when some important news is shared to Barney. And Lily is struggling with the reality that Marshall is willing to stick around at GNB, and give up his dreams of being an environmental lawyer.
I wasn't really expecting to find as strong of a connection between these two episodes that I have, but it's there- these are episodes about maturing, embracing second chances, about listening. And it helps that they're both pretty strong episodes.
Although there's a clear winner here for sure- "Natural History" might just make my top 10, give or take my position on "Subway Wars" on the day you ask me. But it's funny, on instinct I should have a grudge towards the episode based on a piece that Bays and Thomas stated during its commentary track. They actually compared this to a Billy Wilder script!
As much as I admire Wilder (he's my second favorite filmmaker, behind only Hitchcock), the thing is, this doesn't really fit his aesthetic. And I don't even mean his more dramatic material, such as Sunset Boulevard or Ace in the Hole- even his comedies, such as Some Like It Hot, Sabrina, and One Two Three have an entirely different pacing and structure to the show as a whole, this episode included.
But then I think about some of Wilder's scripts before he got his big break as a director. His and Charles Brackett's screenplays for Ninotchka, Midnight, and Ball of Fire were among the sharpest of screwball comedy, adhering to many of the recognized rules of the genre, but with his sharp sense for dialogue and character allowing for unique takes on the form. Midnight, for instance, almost exists as a satire of the very kind of film it is, with a respectful amount of snark used but not enough to overshadow his skill for formulating movie magic. When Wilder adapted to directing, his first film, The Major and the Minor, was a part of the screwball form, but he jumped the game shortly after.
This isn't meant to be a film lecture, though, but my point is that there is very much an element of screwball to "Natural History", and the show's creators were able to bless the screenplay with the right amount of biting wit to nail it.
The composition between the three plots are done equally well and in tune to each other, like many of the show's best scripts. None of the core five are forgotten- even Robin gets a chance to let her hair down and have fun, which is helpful in between all of the obnoxious things going on in her life.
Like Becky. The character of Becky isn't going to be a major one, in this season or as a whole, but she serves her purpose well. Having given up a great job in hopes of staying with her then-boyfriend, it doesn't seem like life for Robin could get any worse for the moment, until she becomes completely upstaged by a toddler. Becky's innocence can be cute, but I'd be annoyed too if I was in Robin's position.
Which is what gives her the incentive to appear in an adult diaper commercial. The build-up to the reveal in "Canning Randy" sticks to the show's strength of character building as exposition, as everything that's going on in the moment is about to burst, thanks to Lily's smart choices of words. The rise and fall of her secret and its reveal is almost reminiscent of "Slap Bet", which is always a great comparison to be made.
Barney doesn't have as much to do in "Canning Randy", other than to enable Marshall to fire Randy, a move that seems justified. We met Randy back in season 3, as Barney (somewhat) successfully attempted to be his wingman, but here it's clear that no amount of help he can give Randy can make the guy good at his job. Which is why Barney is tired of watching over him, and lends the guy to Marshall. That's about it.
As opposed to "Natural History", where his and Robin's story not only allows for fun gags, but comes into a surprisingly satisfying reveal of his true father. While this might have seemed to be an inappropriately dramatic sequence considering some of their other material, it's around this time that the three plots collide to make for meatier results, and thanks to the timing and talent of the cast and crew, the reveal packs a real punch. I think it's great, as it helps push Barney a little forward as he can no longer use his mother's lies to hide the truth. He knows, and it's about time he does something about it.
Lily spends most of her time in "Canning Randy" as a mentor for Ted, giving him advice on how to treat his students. The point of this material tries to show how college students aren't too different from kindergartners, and hey, if turning the lights on and off and going "ooooo" is enough to calm a group of young adults down, maybe there really isn't. And while Lily can go a little too far in her investigations, here her nudging to Ted actually pays off.
In "Natural History", though, Lily has something a little bigger to face- the fear of getting old and losing your dreams. While her ambitions as an artist aren't referenced, the implication is there as she sees her husband admit that he's willing to stay at GNB, instead of work for the environment. Too many people give up on their dreams to wake up every morning in a business suit, and Lily didn't seem ready to embrace the fact that she'll be married to someone like that.
It's a facet of maturing that we like to forget in hopes of keeping some kind of spark alive, but many succumb to letting these go and settle. And as much as Lily and Marshall are on point as a couple, they're on a different wavelength right now. Lily seems ready to accept Marshall's willingness to accept his place at the end of the episode, but she doesn't seem all too happy about it.
The use of college-aged Marshall and present-day Marshall as museum exhibits is clever. The former gives Lily a chance to come to grips, at least momentarily, with their current place in life, while the latter lets us know that his story isn't done yet. Since Marshall only claims to be happy with working at GNB for financial reasons, not for anything else. He still seems pretty miserable all around in both episodes.
The Marshall of "Canning Randy" isn't happy with having to fire Randy at all, even though the guy is clearly a dead-end. The episode has a well-meaning, if forgettable, framing device by showing Barney attempt to get Marshall to say that "GNB cares" for their damage control video (clips from it almost give off a Better Off Ted vibe, which is never a bad thing), a phrase he can't in good will say.
Because they don't! Or at least, not when they shouldn't. And to be fair, it is Marshall who messes things up for Randy by hiring him back. But this is a way to bring us into the dichotomy of GNB, a corporate who can fire with no remorse, but will screw you over just as your dreams are right in front of you. Marshall still means well, which is why he fires Randy for good after a whip of his craft beer. Between this and future Ted's foreshadowing, it's clear that Marshall isn't fully a suit yet. And seeing how this turns out will be great.
But Ted. Alright. And boy, Zoey can be a pest, as evident in the former episode. But the latter is interesting, showing the two almost getting along, especially after meeting the Captain, brilliantly portrayed by MacLachlan, who rocks every syllable he gets. But this shows a potential mutual agreement between the two. Maybe?
Two great episodes, with the latter getting the best out of everyone and ranking as one of the best of the season thus far. And this is a pretty fine season thus far.
Monday, June 15, 2015
How I Met Your Mother Review- "Architect of Destruction"/"Baby Talk"
Architect of Destruction (6x05)
One Paragraph Synopsis: The new GNB building has found a new location- it shall replace the Arcadian, a classic (and fictional) hotel that was a landmark in its heyday, but is showing its age and has become a product of waste. Ted initially is fine with the decision, but he changes his mind the next day, when he meets a new girl- Zoey- who convinces him of its importance to remain. He finds a compromise shortly after Zoey discovers his role in the design, but after discovering that she's married, Ted nixes it so he can stick to the original plan. Also, Marshall's friend Max has a small penis, and Lily tells Robin everything about their sex life.
Baby Talk (6x06)
One Paragraph Synopsis: After meeting Stuart and Claudia's daughter, Lily and Marshall decide to come up with baby names. The thing is, though, Lily only comes up with girl names, while Marshall only has boy names. It gets to the point that Marshall takes advice from his father on how to give birth to a boy, while Lily looks up tips to have a girl, which they soon recognize, and try their best to settle things out, as they end up agreeing to not care about gender as much as they do. Meanwhile, Ted is dating Robin's co-anchor Becky, while Barney tries to hook up with someone while talking like a little boy.
Well, we've hit it. Here's Zoey.
Jennifer Morrison is now better known for Once Upon a Time, but she's pretty solid as Zoey, all things considered. Her timing and delivery fit the show, just as her chemistry with Radnor isn't awful. But be prepared for more of her...
This is fine for a one-off, though. She fits Ted's usual structure as a cute but determined woman, who is more than able to be a great obstacle for him, just as the conflict works. Here, his architecture dreams are getting closer to becoming a reality, but they're being shattered solely by a woman who has a history of causing riots for her beliefs. This is something Ted would normally be all for, but not in his face like this.
Or maybe the conflict turns him on? While he seems against Zoey by the end of the episode (I wouldn't want anything to do with someone who egged my house, after all), it's hinted that he's still thinking of her. We're not done with Zoey yet, but does that mean that they're going to hook up? Hmm.
That sexual tension is what keeps the episode interesting, as it is present throughout, even by the end. Ted sees someone who reminds him of his days as Dr. X in her, for better or worse, and Zoey has that for better or worse vibe to her. It's what keeps Ted interested, for obvious reasons.
Since he already sees the Arcadium as a relic. The building isn't a penis metaphor, even with the subplot still around, but rather a metaphor for change. The Ted of the first five seasons would be more likely to keep the building as is alive just to please a girl, just as he almost did. All it takes is a wedding ring for him to change his mindset, and actually grow a pair.
The other plot is similarly fun, as it sticks to an old sitcom format- battle of the sexes- in a respectfully modern way with no need for winners. Like many other arguments like this, there isn't a completely universal truth here- not every woman is as frank, while some men are more than willing to get candid. But in general, this speaks to the theory that men and women speak about as much as each other, just in different subjects. What that subject is should make all the difference, but note how men aren't afraid to discuss even the grossest facts, just without some of the more colorful details women are open to.
Marshall's surprise comes from how Lily and Robin discuss their anecdotes about their men, which shocks his small-town mind. And to be fair, I don't disagree about one thing- there are some little facts that I don't want to know about my friends. But it makes for a fun build-up that resolves well at the end.
If I have one fault with the episode, it's the frequent transmisogyny in the first act. Yikes, but the show hasn't always been great with trans people and pronouns, I'm afraid. You take what you can get.
Because hey, "Baby Talk" is a better episode, even after a good turnaround from "Architect of Destruction"!
The most important part has to be Robin's discussion with ed and Barney about her feeling of necessity with them- Ted never felt like Robin needed her, which bothered him. Barney, meanwhile, never felt that Robin needed her, which is why he was so happy with her- Robin is her own woman, which is awesome. She's a strong, wonderful person, who is exactly the kind of woman Barney doesn't aim for a one-night stand with, which is why he liked dating her. It's a great character moment for the two.
On top of that, the episode calls out the lolita culture without directly addressing it, and is only aiming for the creepier aspects. The best use of that is the ending tag, which shows how close to home dating a younger-minded woman can be. And yikes.
Great stuff, though.
Directed by Pam Fryman
Written by Carter Bays & Craig Thomas
One Paragraph Synopsis: The new GNB building has found a new location- it shall replace the Arcadian, a classic (and fictional) hotel that was a landmark in its heyday, but is showing its age and has become a product of waste. Ted initially is fine with the decision, but he changes his mind the next day, when he meets a new girl- Zoey- who convinces him of its importance to remain. He finds a compromise shortly after Zoey discovers his role in the design, but after discovering that she's married, Ted nixes it so he can stick to the original plan. Also, Marshall's friend Max has a small penis, and Lily tells Robin everything about their sex life.
Baby Talk (6x06)
Directed by Pam Fryman
Written by Joe Kelly
One Paragraph Synopsis: After meeting Stuart and Claudia's daughter, Lily and Marshall decide to come up with baby names. The thing is, though, Lily only comes up with girl names, while Marshall only has boy names. It gets to the point that Marshall takes advice from his father on how to give birth to a boy, while Lily looks up tips to have a girl, which they soon recognize, and try their best to settle things out, as they end up agreeing to not care about gender as much as they do. Meanwhile, Ted is dating Robin's co-anchor Becky, while Barney tries to hook up with someone while talking like a little boy.
Well, we've hit it. Here's Zoey.
Jennifer Morrison is now better known for Once Upon a Time, but she's pretty solid as Zoey, all things considered. Her timing and delivery fit the show, just as her chemistry with Radnor isn't awful. But be prepared for more of her...
This is fine for a one-off, though. She fits Ted's usual structure as a cute but determined woman, who is more than able to be a great obstacle for him, just as the conflict works. Here, his architecture dreams are getting closer to becoming a reality, but they're being shattered solely by a woman who has a history of causing riots for her beliefs. This is something Ted would normally be all for, but not in his face like this.
Or maybe the conflict turns him on? While he seems against Zoey by the end of the episode (I wouldn't want anything to do with someone who egged my house, after all), it's hinted that he's still thinking of her. We're not done with Zoey yet, but does that mean that they're going to hook up? Hmm.
That sexual tension is what keeps the episode interesting, as it is present throughout, even by the end. Ted sees someone who reminds him of his days as Dr. X in her, for better or worse, and Zoey has that for better or worse vibe to her. It's what keeps Ted interested, for obvious reasons.
Since he already sees the Arcadium as a relic. The building isn't a penis metaphor, even with the subplot still around, but rather a metaphor for change. The Ted of the first five seasons would be more likely to keep the building as is alive just to please a girl, just as he almost did. All it takes is a wedding ring for him to change his mindset, and actually grow a pair.
The other plot is similarly fun, as it sticks to an old sitcom format- battle of the sexes- in a respectfully modern way with no need for winners. Like many other arguments like this, there isn't a completely universal truth here- not every woman is as frank, while some men are more than willing to get candid. But in general, this speaks to the theory that men and women speak about as much as each other, just in different subjects. What that subject is should make all the difference, but note how men aren't afraid to discuss even the grossest facts, just without some of the more colorful details women are open to.
Marshall's surprise comes from how Lily and Robin discuss their anecdotes about their men, which shocks his small-town mind. And to be fair, I don't disagree about one thing- there are some little facts that I don't want to know about my friends. But it makes for a fun build-up that resolves well at the end.
If I have one fault with the episode, it's the frequent transmisogyny in the first act. Yikes, but the show hasn't always been great with trans people and pronouns, I'm afraid. You take what you can get.
Because hey, "Baby Talk" is a better episode, even after a good turnaround from "Architect of Destruction"!
The most important part has to be Robin's discussion with ed and Barney about her feeling of necessity with them- Ted never felt like Robin needed her, which bothered him. Barney, meanwhile, never felt that Robin needed her, which is why he was so happy with her- Robin is her own woman, which is awesome. She's a strong, wonderful person, who is exactly the kind of woman Barney doesn't aim for a one-night stand with, which is why he liked dating her. It's a great character moment for the two.
On top of that, the episode calls out the lolita culture without directly addressing it, and is only aiming for the creepier aspects. The best use of that is the ending tag, which shows how close to home dating a younger-minded woman can be. And yikes.
Great stuff, though.
Sunday, June 14, 2015
How I Met Your Mother Review- "Subway Wars"
Subway Wars (6x04)
One Paragraph Synopsis: While discussing Robin's credibility as a New Yorker, Marshall's old law school buddy informs him that Woody Allen is eating across from him at a steakhouse downtown. The rest of the gang isn't interested, but each have their own methods on how to get there faster- Ted by bus; Lily by subway; Marshall on foot; and Barney has his own fail-safe method. This results in the five of them racing to head to the restaurant first, as Robin does her best to justify her status as a New Yorker.
It's crazy to believe, as great and respected as Fryman is as a director, that this is her only Emmy nomination in the show's 9-year run. She brought one of the most unique show formats in recent memory to life, just as she helps maintain some of the most talented performers in comedy, and she only gets one nomination, and doesn't even win.
But if nothing else, this is a great showcase for her talents behind the camera. Some of Fryman's best work is presented throughout, as she keeps the action exciting for each of the characters, giving them all plenty of breathing room even when they shouldn't have any.
While Marshall's material seems relatively inconsequential by comparison, it shows Fryman's talents by its composition. Marshall is kept square in the middle throughout his power sprint, as he's shown taking control with a heavy heart and bright face throughout, keeping the best of the character alive. It's fun to see, as Segel is framed and played well, and the urgency that keeps this episode going is never lost.
And it's also good for his character, as Marshall needs the boost of confidence right now. He and Lily are still early in their baby-making days, so it's no surprise to see them not make any progress yet, but to someone with a family history of fertility as strong as his, this has got to hurt for Marshall. This big stretch of exercise shows how Marshall still has it, and informs him that not only is he not the problem, it doesn't really matter to begin with.
Since Lily herself has the same fears. While their relationship is a complete 50/50 affair, she fears that it's her genes affecting things, haphazardly as she does. It takes a well-staged moment in Ranjit's cab for the two to come to the conclusion that this shouldn't matter, at least for right now. And it's true- what makes Lily and Marshall's relationship so great is how they don't rush, they just share everything with a mutual respect and admiration for each other. This is what keeps them and the show alive, why they're so good together.
Lily's material during the chase is less spastic than Marshall's, since she sits in a subway for a lot of it. But seeing how well she understand conductor talk brings a nice little reminder to her character- she is one of the only characters to be a native New Yorker (Barney being the other), so she understands the feel of the city better than most. Lily can cheat the system better than them all, as she best proves by leaving Robin in a delayed sub. This is still kept energized throughout, thanks to sharp camera directions and Hannigan's winning performance.
Ted, meanwhile, is doing pretty fine. His biggest issue right now is discovering ratemyteacher.com (a playo n the real ratemyprofessor, which apparently does actually contain fake reviews of Ted), which contains 62 glowing reviews, with only a single mediocre one among them. Being Ted though, he hastily glosses over this one poor review as it drives him wild.
And that's what his bus trip consists of- Ted trying so hard to not be boring, that he drives his fellow busriders crazy. What is even more crazy is that most of his fun facts would probably really interest his other students that gave him good reviews, but here it rightfully pisses off everyone in the area. A sharp angle is kept in the bus, which makes it easy to keep up with the action and tune into Radnor playing Ted as lovably nerdy as ever.
Barney... is doing pretty fine. Too fine. But that's a part of this episode's glowing charm, right down to his botched heart attack episode, which gives him a taste of just desserts when his scheme doesn't turn out as planned. Still, Fryman and Neil Patrick Harris keep a good balance of staying intense and keeping Barney's cool alive, which makes for a winning pair.
And it comes handy when Barney is shown to be the one who helps push Robin forward in the end, helping to keep their mixed, yet altogether welcome, bond alive. And Robin really does need the push, given how her life is right now. Losing Don and gaining Becky has got to hurt.
If this episode is about anyone, this is Robin's quest to prove her status as a resident of the greatest city on earth, as this is a reminder of where she is right now. She loves her native Canada and must miss her family, but her place in life is meant to be in the big apple, which Robin needs to take charge of. The episode does everything it can to show how Robin has adapted to New York, which it succeeds in, right down to Maury Povich having fun with his multiple cameos.
And Pamela Fryman constantly succeeds in making Robin feel as big and important as she possibly can, which is why this episode totally succeeds. The five characters are given plenty to do in a clever set-up, with each being given as much love as the other thanks to the one-two punch of Fryman's great direction and Harris' script. The series never won too many Emmys, but it sure deserved some love, at least here.
Directed by Pam Fryman
Written by Chris Harris
One Paragraph Synopsis: While discussing Robin's credibility as a New Yorker, Marshall's old law school buddy informs him that Woody Allen is eating across from him at a steakhouse downtown. The rest of the gang isn't interested, but each have their own methods on how to get there faster- Ted by bus; Lily by subway; Marshall on foot; and Barney has his own fail-safe method. This results in the five of them racing to head to the restaurant first, as Robin does her best to justify her status as a New Yorker.
It's crazy to believe, as great and respected as Fryman is as a director, that this is her only Emmy nomination in the show's 9-year run. She brought one of the most unique show formats in recent memory to life, just as she helps maintain some of the most talented performers in comedy, and she only gets one nomination, and doesn't even win.
But if nothing else, this is a great showcase for her talents behind the camera. Some of Fryman's best work is presented throughout, as she keeps the action exciting for each of the characters, giving them all plenty of breathing room even when they shouldn't have any.
While Marshall's material seems relatively inconsequential by comparison, it shows Fryman's talents by its composition. Marshall is kept square in the middle throughout his power sprint, as he's shown taking control with a heavy heart and bright face throughout, keeping the best of the character alive. It's fun to see, as Segel is framed and played well, and the urgency that keeps this episode going is never lost.
And it's also good for his character, as Marshall needs the boost of confidence right now. He and Lily are still early in their baby-making days, so it's no surprise to see them not make any progress yet, but to someone with a family history of fertility as strong as his, this has got to hurt for Marshall. This big stretch of exercise shows how Marshall still has it, and informs him that not only is he not the problem, it doesn't really matter to begin with.
Since Lily herself has the same fears. While their relationship is a complete 50/50 affair, she fears that it's her genes affecting things, haphazardly as she does. It takes a well-staged moment in Ranjit's cab for the two to come to the conclusion that this shouldn't matter, at least for right now. And it's true- what makes Lily and Marshall's relationship so great is how they don't rush, they just share everything with a mutual respect and admiration for each other. This is what keeps them and the show alive, why they're so good together.
Lily's material during the chase is less spastic than Marshall's, since she sits in a subway for a lot of it. But seeing how well she understand conductor talk brings a nice little reminder to her character- she is one of the only characters to be a native New Yorker (Barney being the other), so she understands the feel of the city better than most. Lily can cheat the system better than them all, as she best proves by leaving Robin in a delayed sub. This is still kept energized throughout, thanks to sharp camera directions and Hannigan's winning performance.
Ted, meanwhile, is doing pretty fine. His biggest issue right now is discovering ratemyteacher.com (a playo n the real ratemyprofessor, which apparently does actually contain fake reviews of Ted), which contains 62 glowing reviews, with only a single mediocre one among them. Being Ted though, he hastily glosses over this one poor review as it drives him wild.
And that's what his bus trip consists of- Ted trying so hard to not be boring, that he drives his fellow busriders crazy. What is even more crazy is that most of his fun facts would probably really interest his other students that gave him good reviews, but here it rightfully pisses off everyone in the area. A sharp angle is kept in the bus, which makes it easy to keep up with the action and tune into Radnor playing Ted as lovably nerdy as ever.
Barney... is doing pretty fine. Too fine. But that's a part of this episode's glowing charm, right down to his botched heart attack episode, which gives him a taste of just desserts when his scheme doesn't turn out as planned. Still, Fryman and Neil Patrick Harris keep a good balance of staying intense and keeping Barney's cool alive, which makes for a winning pair.
And it comes handy when Barney is shown to be the one who helps push Robin forward in the end, helping to keep their mixed, yet altogether welcome, bond alive. And Robin really does need the push, given how her life is right now. Losing Don and gaining Becky has got to hurt.
If this episode is about anyone, this is Robin's quest to prove her status as a resident of the greatest city on earth, as this is a reminder of where she is right now. She loves her native Canada and must miss her family, but her place in life is meant to be in the big apple, which Robin needs to take charge of. The episode does everything it can to show how Robin has adapted to New York, which it succeeds in, right down to Maury Povich having fun with his multiple cameos.
And Pamela Fryman constantly succeeds in making Robin feel as big and important as she possibly can, which is why this episode totally succeeds. The five characters are given plenty to do in a clever set-up, with each being given as much love as the other thanks to the one-two punch of Fryman's great direction and Harris' script. The series never won too many Emmys, but it sure deserved some love, at least here.
Thursday, June 11, 2015
How I Met Your Mother Review- "Unfinished"
Unfinished (6x03)
One Paragraph Synopsis: The GNB building that Ted initially designed, but was later dropped by the conglomerate, is being picked back up for construction. Despite Barney's wishes, though, Ted chooses to not come back to help work on it, as he's happy with his job as a professor. But Barney alwaysssss gets his yes, and it takes some soul-searching before Ted eventually comes around to take the task on. At the same time, Robin is seeing Don's new job in Chicago, which is driving her insane, to the point that she constantly calls him to let him know her feelings. Lily tries her best to intervene, but Robin keeps on going crazy until she eventually moves on and forgets his number herself.
Rhonheimer doesn't alwaysssss get her ep, but when she tries, she can make some fine scripts for the show. And here's one!
It shows where Ted is in his current place in life that he even needs to debate if he wants to work on the GNB building or not. It's been a dream to make a building like this for years now, and the moment his chance arrives, bam. Doubt!
But Ted does truly seem happy being a professor. It fits his need as a perfectionist, while giving him the tiniest taste of parenthood. It's a pretty good position, and it's funny to think that he almost turned the job down. So this fits not only the character, but his place in the series. He isn't ready to find the mother and have children yet, but it's certainly time for him to find something meaningful in life, beyond his friends.
At the same time, working on the creation of his building should help with this even more. The GNB tower might serve as a metaphor for the building of his family, something Ted has wanted for a long time, but has never ceased the chance to obtain before. The thing is, the opportunity is right there, but he's stalling. This might mean that he's not ready, but something seems to tell him otherwise.
Stalling has always been an element of Ted's character, since the beginning. He a;ways seems to ruin the right opportunities (like Victoria) or aim for the wrong ones (like Robin), rather than give his choices more thought than he does. But following him in the half decade since shows me that he's actually ready for the responsibility and joy, if he doesn't purposefully screw things up.
I don't think that Barney is thinking about this though. He just wants the building made, and knows that Ted can do a good job of it. There's still a bit of friendly appreciation in Barney's actions, but keep in mind his general motives- this is going to look good for him. Which is why he really fights.
Ted has seen Barney make the moves on women before, but being the one who he is making the moves on gives him a different perspective, as he sees how good Barney is at it. Barney knows to not reach too much, which he doesn't, and to leave only something slight to give Ted incentive to change his mind. And it works, down to a T. The crazy thing is, Ted recognizes and loves this, which makes it fun to watch.
This is fun to watch, but I'm not as crazy on the b-plot. Smulders is too good as Robin to not make everything she does come out well, but it doesn't seem right for the character to come off as a jealous ex-girlfriend. There's truth to her bitterness- Don was wrong to leave her to take the job that she wanted so bad- but she shouldn't be calling him as angrily as she is, no matter how drunk she becomes.
And it's the thing that really drags down this fun episode. This is old hat, and it doesn't work for the show. Rhonheimer should have known better, as tiresome as it is. But even this material has its moments, again built up to Smulders' talent as an actress. She really helps to make her cries funny, for better or worse.
I can't totally call this a great episode, but "Unfinished" makes me happy for Ted's character, and the show's future. The GNB building seems to be the thing he needs to go forward with his life, and let's hope it works.
Directed by Pam Fryman
Written by Jamie Rhonheimer
One Paragraph Synopsis: The GNB building that Ted initially designed, but was later dropped by the conglomerate, is being picked back up for construction. Despite Barney's wishes, though, Ted chooses to not come back to help work on it, as he's happy with his job as a professor. But Barney alwaysssss gets his yes, and it takes some soul-searching before Ted eventually comes around to take the task on. At the same time, Robin is seeing Don's new job in Chicago, which is driving her insane, to the point that she constantly calls him to let him know her feelings. Lily tries her best to intervene, but Robin keeps on going crazy until she eventually moves on and forgets his number herself.
Rhonheimer doesn't alwaysssss get her ep, but when she tries, she can make some fine scripts for the show. And here's one!
It shows where Ted is in his current place in life that he even needs to debate if he wants to work on the GNB building or not. It's been a dream to make a building like this for years now, and the moment his chance arrives, bam. Doubt!
But Ted does truly seem happy being a professor. It fits his need as a perfectionist, while giving him the tiniest taste of parenthood. It's a pretty good position, and it's funny to think that he almost turned the job down. So this fits not only the character, but his place in the series. He isn't ready to find the mother and have children yet, but it's certainly time for him to find something meaningful in life, beyond his friends.
At the same time, working on the creation of his building should help with this even more. The GNB tower might serve as a metaphor for the building of his family, something Ted has wanted for a long time, but has never ceased the chance to obtain before. The thing is, the opportunity is right there, but he's stalling. This might mean that he's not ready, but something seems to tell him otherwise.
Stalling has always been an element of Ted's character, since the beginning. He a;ways seems to ruin the right opportunities (like Victoria) or aim for the wrong ones (like Robin), rather than give his choices more thought than he does. But following him in the half decade since shows me that he's actually ready for the responsibility and joy, if he doesn't purposefully screw things up.
I don't think that Barney is thinking about this though. He just wants the building made, and knows that Ted can do a good job of it. There's still a bit of friendly appreciation in Barney's actions, but keep in mind his general motives- this is going to look good for him. Which is why he really fights.
Ted has seen Barney make the moves on women before, but being the one who he is making the moves on gives him a different perspective, as he sees how good Barney is at it. Barney knows to not reach too much, which he doesn't, and to leave only something slight to give Ted incentive to change his mind. And it works, down to a T. The crazy thing is, Ted recognizes and loves this, which makes it fun to watch.
This is fun to watch, but I'm not as crazy on the b-plot. Smulders is too good as Robin to not make everything she does come out well, but it doesn't seem right for the character to come off as a jealous ex-girlfriend. There's truth to her bitterness- Don was wrong to leave her to take the job that she wanted so bad- but she shouldn't be calling him as angrily as she is, no matter how drunk she becomes.
And it's the thing that really drags down this fun episode. This is old hat, and it doesn't work for the show. Rhonheimer should have known better, as tiresome as it is. But even this material has its moments, again built up to Smulders' talent as an actress. She really helps to make her cries funny, for better or worse.
I can't totally call this a great episode, but "Unfinished" makes me happy for Ted's character, and the show's future. The GNB building seems to be the thing he needs to go forward with his life, and let's hope it works.
Tuesday, June 9, 2015
How I Met Your Mother Review- "Cleaning House"
Cleaning House (6x02)
One Paragraph Synopsis: Barney ropes the gang into helping him pack for Loretta, when he and James reminisce over their childhood. In actuality, their mother lied frequently to the both of them, but Barney's naivety allowed him to believe everything, right down to Bob Barker being his father. This is about to change when they find an undelivered letter to Sam Gibbs from Loretta, which contains a picture of the boys, stating that this is his son. They find where Mr. Gibbs lives in hopes of tying up loose ends, as James finally meets his father. Barney, still as clueless as ever though, believes Sam Gibbs to be his father, as he joins along in their catching up, until he comes to Loretta later. He doesn't find out who his father is today, but Barney doesn't need to- he has a pretty fine mother already.
Okay, is Barney's mugging racist? All signs point to me, being a white person, not being the right person to judge this at all, but for my view, this is similar to Steve Martin's opening bits in The Jerk. There isn't enough actual blackface to knock the material down,
Plus, like Marshall noted, Barney kind of just needed the afternoon. If he seriously thinks that Sam could have been his father, shit, let him live in his delusion for a little. It's also worth noting that the most problematic moment might be the robot voice spoof at the end, which besides that, goes on for too long.
It's a touchy subject, but the episode is tight, which is why I might give it more of a pass than usual. The plot is written quite well, Lloyd at his best as he sticks to the Stinsons' emotional cores. Not just Barney, either- it shows how strong Loretta and James are as characters that they're given plenty to handle themselves, and make it all work.
James works well as the gay, black, more in-control Barney. He's a little neurotic and cocky himself, but James is calmer and cooler usually. Getting the chance to meet his father is a good character move, allowing him some necessary closure. While the reveal of his father isn't as big of a deal to the audience as meeting Barney's would be, it's still a touching moment when James and Sam light up as the realization hits.
But the hit Barney has when he realizes that Sam isn't his father is definitely palpable. He's ready to admit that Bob Barker isn't his father, but life isn't ready to work out that way for him, which must hurt. And that's where he snaps, allowing himself a day to be black. Problematic as this might be, it gives Barney the chance to heal his wound briefly before it all comes out.
And it results in a great moment from Barney and Loretta, who herself is a good character. She still lives with some of her past lies, but is doing everything in her power to allow her sons the happiness they deserve, even if it's years removed.
Loretta lied to Barney and James to ensure that they kept their innocence, even when she wasn't the most innocent person around. There are cases where lying to your children is wrong, but usually her intentions were good, which is what Barney admires now. True, hiding her children from their fathers was not a great thing to do, but all that needs to be said is done when Barney dodges Loretta's reveal- Barney loves and admires her enough to keep the lie going, at least for now. More power to him.
If there's one problem with the episode, the aforementioned iffy taste in judgment aside, it's that there isn't a whole lot for the other characters to do. Ted and Robin have a cute little subplot in which she attempts to hook him up with a coworker, but it goes nowhere and lands towards a slightly offensive jab at her appearance, which hurts it a little more. Which is at least more than Lily and Marshall get, who are only offered a good line or two on the side.
That said, this is still a strong outing, one that's beneficial towards Barney's character, and hopefully telling that this is going to be a great season. Keep it up!
Directed by Pam Fryman
Written by Stephen Lloyd
One Paragraph Synopsis: Barney ropes the gang into helping him pack for Loretta, when he and James reminisce over their childhood. In actuality, their mother lied frequently to the both of them, but Barney's naivety allowed him to believe everything, right down to Bob Barker being his father. This is about to change when they find an undelivered letter to Sam Gibbs from Loretta, which contains a picture of the boys, stating that this is his son. They find where Mr. Gibbs lives in hopes of tying up loose ends, as James finally meets his father. Barney, still as clueless as ever though, believes Sam Gibbs to be his father, as he joins along in their catching up, until he comes to Loretta later. He doesn't find out who his father is today, but Barney doesn't need to- he has a pretty fine mother already.
Okay, is Barney's mugging racist? All signs point to me, being a white person, not being the right person to judge this at all, but for my view, this is similar to Steve Martin's opening bits in The Jerk. There isn't enough actual blackface to knock the material down,
Plus, like Marshall noted, Barney kind of just needed the afternoon. If he seriously thinks that Sam could have been his father, shit, let him live in his delusion for a little. It's also worth noting that the most problematic moment might be the robot voice spoof at the end, which besides that, goes on for too long.
It's a touchy subject, but the episode is tight, which is why I might give it more of a pass than usual. The plot is written quite well, Lloyd at his best as he sticks to the Stinsons' emotional cores. Not just Barney, either- it shows how strong Loretta and James are as characters that they're given plenty to handle themselves, and make it all work.
James works well as the gay, black, more in-control Barney. He's a little neurotic and cocky himself, but James is calmer and cooler usually. Getting the chance to meet his father is a good character move, allowing him some necessary closure. While the reveal of his father isn't as big of a deal to the audience as meeting Barney's would be, it's still a touching moment when James and Sam light up as the realization hits.
But the hit Barney has when he realizes that Sam isn't his father is definitely palpable. He's ready to admit that Bob Barker isn't his father, but life isn't ready to work out that way for him, which must hurt. And that's where he snaps, allowing himself a day to be black. Problematic as this might be, it gives Barney the chance to heal his wound briefly before it all comes out.
And it results in a great moment from Barney and Loretta, who herself is a good character. She still lives with some of her past lies, but is doing everything in her power to allow her sons the happiness they deserve, even if it's years removed.
Loretta lied to Barney and James to ensure that they kept their innocence, even when she wasn't the most innocent person around. There are cases where lying to your children is wrong, but usually her intentions were good, which is what Barney admires now. True, hiding her children from their fathers was not a great thing to do, but all that needs to be said is done when Barney dodges Loretta's reveal- Barney loves and admires her enough to keep the lie going, at least for now. More power to him.
If there's one problem with the episode, the aforementioned iffy taste in judgment aside, it's that there isn't a whole lot for the other characters to do. Ted and Robin have a cute little subplot in which she attempts to hook him up with a coworker, but it goes nowhere and lands towards a slightly offensive jab at her appearance, which hurts it a little more. Which is at least more than Lily and Marshall get, who are only offered a good line or two on the side.
That said, this is still a strong outing, one that's beneficial towards Barney's character, and hopefully telling that this is going to be a great season. Keep it up!
Sunday, June 7, 2015
How I Met Your Mother Review- "Big Days"
Big Days (6x01)
One Paragraph Synopsis: Ted and Marshall, years down the road, reflect on how crazy their life has been, as they go back to a time shortly after the season finale. Marshall and Lily are still trying to have a baby, but Lily's momentum is killed when she discovers that Marshall has confided in his father about the big news. She feels that he tells Marvin too much and that he is also too impulsive, which Marshall resents until his father butts in a little more than he should, thus making Marshall agree with Lily, as he promises to cut back on the information he shares. Also that night, Ted has his eyes on a girl, who meets up with his ex Cindy. It turns out that Cindy had came out in between their time together, a decision she thanks Ted for (but not in that way). And Robin is about to get out of her post-breakup funk just when Barney needs some motivation.
New season, new beginnings, new promises. And this is looking to be a nice year, based on the quality of this episode.
HIMYM is often at its best when the show focuses on each of the gang together, and "Big Days" is no exception. Bays and Thomas still understand their characters, and are not only finding a way to keep their developments exciting this late in the game, but they have also found a way to bring most of the core storyarcs of the season up front.
The lukewarm reception to the fifth season was not lost on the show's creators, who instantly agreed and decided to use the next season to rectify as many of those problems as possible. The ongoing character arcs that made the show as fun and essential to previously watch are brought back, as we'll see in the episodes to come.
Just as the previous season wasn't forgotten. Lily and Marshall's decision to have children is the main plot of the episode, as the stress behind the effort is felt. They haven't been trying for too long, but the fear that this may not happen is there, as they both compensate in different ways. Marshall relies on the guidance of others, most of all his father, during tough times, while Lily tends to latch onto her biggest pet peeves, such as Marshall's method of handling stress.
The Eriksens haven't shown up in a while, but they haven't been forgotten either, which makes Marvin's presence in the episode fit in. Marshall's dedication to his family has been well-documented, as Marvin is particularly a big voice of confidence to him, which explains why his father is the first person Marshall runs to with news such as his and Lily's hopes to be expecting. Marshall just wants his dad's advice and inclusion, which isn't really a bad thing.
It's a little more complicated when you consider how impulsive Marvin can be, though. He means well, but the Eriksens have a history of sticking their noses where they don't belong. That is partly why Lily fell for and married Marshall, since she's a Nosy Nelly herself, but based on his calls, Marvin can be a bit too much. The come around to this revelation from Marshall works, but Marvin isn't totally shut out either, thankfully. Frankly, it's just nice to see some of Marshall's family again, and the plot is rounded well and makes sense for the characters.
Ted's story is just as important, as evident by the opening tag. While we don't find out whose wedding he is the best man for, it seems like he really has changed a little by that time. This season is meant to show how he gets there, and his run-in with Cindy might show us exactly.
Like how I mentioned above, I like how Cindy's coming out isn't a result of a bad experience with Ted, but a culmination of her own life. This fits her place now, and as it's shown, she's found her happy ending. Sometimes life works like that- something you don't expect comes and it all fits in. And just as I enjoy seeing any of the Eriksens again, I'll never turn down a chance to see Rachel Bilson. Especially when she's seeing kissing another woman.
But to return to Ted, this is a good way to get his arc rolling, as he is seen pining for a woman he can't have with no insight as to how he should get to her. It seems typical, but the reminder of Cindy's roommate makes it seem like this could mean more, only for it to end so abruptly. Which is also true to life- even the littlest things can add up.
Ted still isn't ready to find the one and start the ending phase of his life. He thinks he is, but he's still stuck in his old ways for right now. He needs to grow a little first, find out what he needs to do with his life, and go for it before he does. Which it's all up for him to do.
Barney and Robin's material isn't as big as the other three, but they have their own matters to deal with. Barney's simple whining about the end of the sundress season is rightfully silly, and handled well for the character, but there's a taste of what's to come for his character in between- Barney is still hoping to find his father, Bob Barker or not. He appreciates Marshall and Marvin's relationship, wanting that for himself, but it just isn't possible yet. This should lead to some great growing for the character, and give him more to do than try to find a girl in a sundress to screw.
Robin, meanwhile, needed to sundress up to give herself a refresher. Leaving Don and moving back in with Ted wasn't great for her esteem, as evident by her... existence. While I do think the episode becomes a little too mean to Robin in the episode, her scenes make for some of the best and weakest material as such. It would have been a little nicer if the episode was nicer to her, but damn if seeing Robin in a garbage heep cry out that she's ready for sex isn't gold. This is shattered expectations at its best- when we expect the best, the worst is a million times better to see on screen. Her return to glam, however, shows that she's not out yet, and that this will hopefully be her year.
And while you're at it, keep a look at Barney's reaction to Robin's sundress. Does this mean that there is more for the two to deal with together? I dunno, but I'm happy with "Big Days". It promises a lot, and has so far delivered on much of it. Let's hope the season doesn't disappoint.
Directed by Pam Fryman
Written by Carter Bays & Craig Thomas
One Paragraph Synopsis: Ted and Marshall, years down the road, reflect on how crazy their life has been, as they go back to a time shortly after the season finale. Marshall and Lily are still trying to have a baby, but Lily's momentum is killed when she discovers that Marshall has confided in his father about the big news. She feels that he tells Marvin too much and that he is also too impulsive, which Marshall resents until his father butts in a little more than he should, thus making Marshall agree with Lily, as he promises to cut back on the information he shares. Also that night, Ted has his eyes on a girl, who meets up with his ex Cindy. It turns out that Cindy had came out in between their time together, a decision she thanks Ted for (but not in that way). And Robin is about to get out of her post-breakup funk just when Barney needs some motivation.
New season, new beginnings, new promises. And this is looking to be a nice year, based on the quality of this episode.
HIMYM is often at its best when the show focuses on each of the gang together, and "Big Days" is no exception. Bays and Thomas still understand their characters, and are not only finding a way to keep their developments exciting this late in the game, but they have also found a way to bring most of the core storyarcs of the season up front.
The lukewarm reception to the fifth season was not lost on the show's creators, who instantly agreed and decided to use the next season to rectify as many of those problems as possible. The ongoing character arcs that made the show as fun and essential to previously watch are brought back, as we'll see in the episodes to come.
Just as the previous season wasn't forgotten. Lily and Marshall's decision to have children is the main plot of the episode, as the stress behind the effort is felt. They haven't been trying for too long, but the fear that this may not happen is there, as they both compensate in different ways. Marshall relies on the guidance of others, most of all his father, during tough times, while Lily tends to latch onto her biggest pet peeves, such as Marshall's method of handling stress.
The Eriksens haven't shown up in a while, but they haven't been forgotten either, which makes Marvin's presence in the episode fit in. Marshall's dedication to his family has been well-documented, as Marvin is particularly a big voice of confidence to him, which explains why his father is the first person Marshall runs to with news such as his and Lily's hopes to be expecting. Marshall just wants his dad's advice and inclusion, which isn't really a bad thing.
It's a little more complicated when you consider how impulsive Marvin can be, though. He means well, but the Eriksens have a history of sticking their noses where they don't belong. That is partly why Lily fell for and married Marshall, since she's a Nosy Nelly herself, but based on his calls, Marvin can be a bit too much. The come around to this revelation from Marshall works, but Marvin isn't totally shut out either, thankfully. Frankly, it's just nice to see some of Marshall's family again, and the plot is rounded well and makes sense for the characters.
Ted's story is just as important, as evident by the opening tag. While we don't find out whose wedding he is the best man for, it seems like he really has changed a little by that time. This season is meant to show how he gets there, and his run-in with Cindy might show us exactly.
Like how I mentioned above, I like how Cindy's coming out isn't a result of a bad experience with Ted, but a culmination of her own life. This fits her place now, and as it's shown, she's found her happy ending. Sometimes life works like that- something you don't expect comes and it all fits in. And just as I enjoy seeing any of the Eriksens again, I'll never turn down a chance to see Rachel Bilson. Especially when she's seeing kissing another woman.
But to return to Ted, this is a good way to get his arc rolling, as he is seen pining for a woman he can't have with no insight as to how he should get to her. It seems typical, but the reminder of Cindy's roommate makes it seem like this could mean more, only for it to end so abruptly. Which is also true to life- even the littlest things can add up.
Ted still isn't ready to find the one and start the ending phase of his life. He thinks he is, but he's still stuck in his old ways for right now. He needs to grow a little first, find out what he needs to do with his life, and go for it before he does. Which it's all up for him to do.
Barney and Robin's material isn't as big as the other three, but they have their own matters to deal with. Barney's simple whining about the end of the sundress season is rightfully silly, and handled well for the character, but there's a taste of what's to come for his character in between- Barney is still hoping to find his father, Bob Barker or not. He appreciates Marshall and Marvin's relationship, wanting that for himself, but it just isn't possible yet. This should lead to some great growing for the character, and give him more to do than try to find a girl in a sundress to screw.
Robin, meanwhile, needed to sundress up to give herself a refresher. Leaving Don and moving back in with Ted wasn't great for her esteem, as evident by her... existence. While I do think the episode becomes a little too mean to Robin in the episode, her scenes make for some of the best and weakest material as such. It would have been a little nicer if the episode was nicer to her, but damn if seeing Robin in a garbage heep cry out that she's ready for sex isn't gold. This is shattered expectations at its best- when we expect the best, the worst is a million times better to see on screen. Her return to glam, however, shows that she's not out yet, and that this will hopefully be her year.
And while you're at it, keep a look at Barney's reaction to Robin's sundress. Does this mean that there is more for the two to deal with together? I dunno, but I'm happy with "Big Days". It promises a lot, and has so far delivered on much of it. Let's hope the season doesn't disappoint.
Tuesday, June 2, 2015
How I Met Your Mother Review- "The Wedding Bride"/"Doppelgangers"
The Wedding Bride (5x23)
One Paragraph Synopsis: Ted's trying his hardest to find his new girl Royce's (Judy Greer) baggage. The thing is, he's doing this while keeping his own baggage tightly lipped- he's still not talking about how Stella left him at the altar. At least, Ted didn't plan to until he and Royce go see the hot new romantic comedy, The Wedding Bride, written by Tony himself. The movie is a inaccurate retelling of the Stella affair, treating "Jed Mosley" like a complete jackass, as it shows Ted's side to be unbalanced. Ted hurts until he decides that it's for the best to tell Royce the truth, that he was left at the altar and it still hurts, especially when this movie is around to remind him of it. It doesn't matter though, since we don't see Royce after this episode.
Doppelgangers (5x24)
One Paragraph Synopsis: The quest to find Barney's doppelganger is over, when Marshall and Lily find a cab driver who looks just like him. This means that Lily is ready to keep her end of the bargain with Marshall and have a kid, until it turns out that the cab driver is actually a scheme of Barney's. They push their baby-making plans back until Lily finds a hot dog vendor that she swears is Barney's doppelganger, which Marshall doesn't even try to fight. But that isn't all- Robin was offered a anchor position in Chicago, which she almost takes, before realizing how much she loves Don, and is willing to give it up for him. Except, Don takes the offer himself, and the two break up instantly.
The fifth season was a roller coaster of quality, containing the show at its best and its worst, often at only an episode apart, and sometimes even in the same episode. These last two episodes maintain a good thing, but they're pretty different when you get down to it.
Most series usually start to lose their touch when they hit 100 episodes. There are plenty of exceptions to the rule, but it's around this point that most of the best possible stories have been exercised and character and plot beats are starting to increasingly be repeated. There's often a sense of familiarity that becomes involved with this- after a few years, showrunners are able to figure out virtually everything that fans like about their series, and are willing to burn them into the ground for the sake of keeping the cash flow coming.
I've mentioned before that at this point, Bays and Thomas knew that HIMYM was going to run for a while, and were willing to stall for a while to keep the good times coming. That sense of complacency hit the season pretty hard, as noticed when watching it as a whole. On a case by case basis, there doesn't seem to be too much of a decline in quality, at least if you don't hit the weakest episodes. But together, the lack of focus and general coasting nature is obvious, with a negative effect on the show.
I'm going over season 5 as a whole now, as this is the best time too. But I should probably get to the episodes in question first.
"The Wedding Bride" is a pretty funny episode, but I'm not sure if it was able to justify the full half hour without a side plot. The main theme of accepting and working on baggage is a strong one, but the Wedding Bride material, as funny as it is, runs a little thin at the end of the day.
It works as a reminder of Ted's grief from the Stella ordeal, though, just as it works as a parody of romantic comedies, even HIMYM itself. Chris Katan in particular is great as Jed Mosley, bringing some of Ted's general douchiness to screen as authentically as possible. Also note that Malin Akerman is here as Stella in a bit of synergy, as she stared in Radnor's directoral debut, which was so unremarkable that I forgot its name.
While I like this, I'm less enthused about seeing the gang be little more than spectators for Ted's issues, even as they have notable highlights- Barney is kissing awesome in particular. Lloyd is a good writer, and can do great stuff for the characters, but failed to dig further on the gang's baggage beyond an unremarkable endeavor into Marshall's kindness, which doesn't get resolved. Still, what works works well, as I find enough good in the episode to recommend.
"Doppelgangers", meanwhile, is a strong endeavor, ending the fifth season well, even if it isn't a five-star effort. Each of the characters have something important to deal with here, and it does help to lead into a (hopefully) promising sixth season.
Marshall and Lily's discussion on whether or not they're ready for children is answered throughout, based on the quest for the last doppelganger, And the results are telling to their current position. Marshall instantly sees the cab driver as a double of Barney, and while Lily is initially ready to side with him, she soon changes her mind even before learning that it was a double. But when she sees the random vendor, reality doesn't matter. The timing and circumstance is right- Lily is ready to have kids. And Marshall doesn't want to wait, either.
Robin's change is equally big- she's given the chance to pursue her dreams, but at the risk of losing her love in the process. The Robin of season 2 may or may not have made the same decision, but the Robin of season 5 seems happy with her call.
At least until she discovers that Don takes that offer, which is a huge blow. Robin's pride is still valid, and she's too strong to stay with someone who spit on her dreams like this. It's what keeps Robin going, and what will help her in the long run.
Barney's doppelganger attempt is sweet and welcome, as it shows how he really has grown over the years. Before, he never would have pushed for his friends to advance their life as much as he is,but this shows how there really is growth to the character. And we also see his grief when he discovers how Robin might leave. This is about more than just a friend moving away- he still really seems to like Robin, to the point that Barney would fight for her.
And Ted. Crazy, blond Ted. Not only is his bleached hair subplot funny, it prevents him from screwing things up by getting back with Robin. But maybe there's more to them, as well. It also shows how he has grown himself, as otherwise Ted might have taken that offer up, but seeing how Robin has changed over the years gives him an idea that it isn't for the best.
These are solid episodes, but my reservations about the fifth season remains. The thing is, the show still has the ability to be at the top of its game, which is why I still enjoy coming back to write up about it, even if it isn't as consistent as it was last season. I give season 5 a B-, the lowest score since the first season, but still respectful enough. Can season 6 bring things forward, though? Let's hope.
Directed by Pam Fryman
Written by Stephen Lloyd
One Paragraph Synopsis: Ted's trying his hardest to find his new girl Royce's (Judy Greer) baggage. The thing is, he's doing this while keeping his own baggage tightly lipped- he's still not talking about how Stella left him at the altar. At least, Ted didn't plan to until he and Royce go see the hot new romantic comedy, The Wedding Bride, written by Tony himself. The movie is a inaccurate retelling of the Stella affair, treating "Jed Mosley" like a complete jackass, as it shows Ted's side to be unbalanced. Ted hurts until he decides that it's for the best to tell Royce the truth, that he was left at the altar and it still hurts, especially when this movie is around to remind him of it. It doesn't matter though, since we don't see Royce after this episode.
Doppelgangers (5x24)
Directed by Pam Fryman
Written by Carter Bays & Craig Thomas
One Paragraph Synopsis: The quest to find Barney's doppelganger is over, when Marshall and Lily find a cab driver who looks just like him. This means that Lily is ready to keep her end of the bargain with Marshall and have a kid, until it turns out that the cab driver is actually a scheme of Barney's. They push their baby-making plans back until Lily finds a hot dog vendor that she swears is Barney's doppelganger, which Marshall doesn't even try to fight. But that isn't all- Robin was offered a anchor position in Chicago, which she almost takes, before realizing how much she loves Don, and is willing to give it up for him. Except, Don takes the offer himself, and the two break up instantly.
The fifth season was a roller coaster of quality, containing the show at its best and its worst, often at only an episode apart, and sometimes even in the same episode. These last two episodes maintain a good thing, but they're pretty different when you get down to it.
Most series usually start to lose their touch when they hit 100 episodes. There are plenty of exceptions to the rule, but it's around this point that most of the best possible stories have been exercised and character and plot beats are starting to increasingly be repeated. There's often a sense of familiarity that becomes involved with this- after a few years, showrunners are able to figure out virtually everything that fans like about their series, and are willing to burn them into the ground for the sake of keeping the cash flow coming.
I've mentioned before that at this point, Bays and Thomas knew that HIMYM was going to run for a while, and were willing to stall for a while to keep the good times coming. That sense of complacency hit the season pretty hard, as noticed when watching it as a whole. On a case by case basis, there doesn't seem to be too much of a decline in quality, at least if you don't hit the weakest episodes. But together, the lack of focus and general coasting nature is obvious, with a negative effect on the show.
I'm going over season 5 as a whole now, as this is the best time too. But I should probably get to the episodes in question first.
"The Wedding Bride" is a pretty funny episode, but I'm not sure if it was able to justify the full half hour without a side plot. The main theme of accepting and working on baggage is a strong one, but the Wedding Bride material, as funny as it is, runs a little thin at the end of the day.
It works as a reminder of Ted's grief from the Stella ordeal, though, just as it works as a parody of romantic comedies, even HIMYM itself. Chris Katan in particular is great as Jed Mosley, bringing some of Ted's general douchiness to screen as authentically as possible. Also note that Malin Akerman is here as Stella in a bit of synergy, as she stared in Radnor's directoral debut, which was so unremarkable that I forgot its name.
While I like this, I'm less enthused about seeing the gang be little more than spectators for Ted's issues, even as they have notable highlights- Barney is kissing awesome in particular. Lloyd is a good writer, and can do great stuff for the characters, but failed to dig further on the gang's baggage beyond an unremarkable endeavor into Marshall's kindness, which doesn't get resolved. Still, what works works well, as I find enough good in the episode to recommend.
"Doppelgangers", meanwhile, is a strong endeavor, ending the fifth season well, even if it isn't a five-star effort. Each of the characters have something important to deal with here, and it does help to lead into a (hopefully) promising sixth season.
Marshall and Lily's discussion on whether or not they're ready for children is answered throughout, based on the quest for the last doppelganger, And the results are telling to their current position. Marshall instantly sees the cab driver as a double of Barney, and while Lily is initially ready to side with him, she soon changes her mind even before learning that it was a double. But when she sees the random vendor, reality doesn't matter. The timing and circumstance is right- Lily is ready to have kids. And Marshall doesn't want to wait, either.
Robin's change is equally big- she's given the chance to pursue her dreams, but at the risk of losing her love in the process. The Robin of season 2 may or may not have made the same decision, but the Robin of season 5 seems happy with her call.
At least until she discovers that Don takes that offer, which is a huge blow. Robin's pride is still valid, and she's too strong to stay with someone who spit on her dreams like this. It's what keeps Robin going, and what will help her in the long run.
Barney's doppelganger attempt is sweet and welcome, as it shows how he really has grown over the years. Before, he never would have pushed for his friends to advance their life as much as he is,but this shows how there really is growth to the character. And we also see his grief when he discovers how Robin might leave. This is about more than just a friend moving away- he still really seems to like Robin, to the point that Barney would fight for her.
And Ted. Crazy, blond Ted. Not only is his bleached hair subplot funny, it prevents him from screwing things up by getting back with Robin. But maybe there's more to them, as well. It also shows how he has grown himself, as otherwise Ted might have taken that offer up, but seeing how Robin has changed over the years gives him an idea that it isn't for the best.
These are solid episodes, but my reservations about the fifth season remains. The thing is, the show still has the ability to be at the top of its game, which is why I still enjoy coming back to write up about it, even if it isn't as consistent as it was last season. I give season 5 a B-, the lowest score since the first season, but still respectful enough. Can season 6 bring things forward, though? Let's hope.
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