The mediocre turn that season 8 started out on is slowly starting to improve with these episodes, even though both are pretty far from A-game.
Lily and Marshall's lack of sexual release is a weak bit for "Splitsville", and almost drags the episode down as much as Nick's recent stupidity does. Which itself is a lazy motive to make his exit feel welcome, rather than a logical conclusion that the character evoked.
That's what drags the episode away from me, but I do enjoy it regardless thanks to Robin's own role in the episode, who is showing her tired demeanor. And her annoyance towards Patrice is surprisingly still kind of funny, even if it only revolves around Smulders screaming. She's too good at it to not work at least somewhat.
But Barney steals the show here, with his well-written speech. It's similarly surprising to say so, but everything about the bit feels genuine. It also shows his humanity in a believable way that has been missing for a little while. That's good enough for me.
I actually like the following episode a little more, though. Neither of the stories are excellent, but each have enough good moments to make them mesh together for a good episode.
It's been a solid amount of time since Ted and Lily have shared a subplot together, and thankfully Radnor and Hannigan still have good rapport with each other. It allows for their mocking of Ted's college diary tapes to remain entertaining, especially since Ted's pretentious college self is still among the show's funniest recurrences. And the bit of Ted's acceptance towards Lily at the end is a welcome way to wrap this arc up.
Brad's return allows for solid build-up for the next episode, and made for funny moments between him and Marshall's boss. Both actors were fair game, as Segel wisely backs off a little to allow for this unexpectedly tight chemistry to pay off. It's also the most apt way to keep the episode's theme of recommendation alive.
Robin and Barney's material is probably the most dry, unless you find golden oldies jokes to be especially funny. But it's still Smulders and NPH doing what they do best, so it's hard to not find their time together at least a little enjoyable. And it does allow for a moment that helps to decide if things can work out for the two of them, which doesn't seem likely right now. But give it time. And maybe I'll have more to say soon.
Edit: Also, I appreciate the former episode's little bit about Romani culture. It still can come off as offensive due to the use of the G word, but it does a good job of playing Nick as the fool.
Monday, August 31, 2015
Thursday, August 27, 2015
How I Met Your Mother Review- "The Autumn of Break-Ups"
The Autumn of Break-Ups (8x05)
One Paragraph Synopsis: After it's become increasingly apparent that Victoria is dropping hints to Ted, Marshall and Lily tell him that it's time to stop stalling and to accept that she's ready for a deeper commitment. Ted proposes to her, which Victoria accepts on one condition- she still sees Robin as an issue, and doesn't want them to be friends anymore. It takes Ted some time to decide if he can drop Robin, who herself is causing problems with Nick over how she prioritizes her exes, especially while Barney has decided to become a wingman to a stray dog, but the episode ends with Victoria denying the proposal, since he won't drop Robin. As sweet as this sounds, Ted insists that Lily and Marshall never tell Robin, which Future Ted reveals won't be a secret forever.
I really just want to talk about Brover for a bit.
Because frankly, using a dog for a subplot like his usually shouldn't work. It's a cheap way to get a laugh, as dogs are easily able to do so. But the Brover material works in spite of this. Marshall's attempts at advice border on racism and transphobia in too much of an irritating way to register as funny, while Ted and Robin's stories have too few good jokes of their own. Seeing Barney grieve with a dog is a surprisingly funny, welcome change of pace from the rest of the episode.
And frankly, the humor and energy is needed here, since this isn't an all-too funny episode. A necessary episode, given how it closes the book on Ted and Victoria, but not among the show's best. The split is handled fairly well, with both sides being given a fair shake as to their view point. I've heard comparisons of how similar this is to what happened with Ross and someone, but I don't give a fuck about Friends, so I won't compare. I'm just so burned out on Ted and Robin, that this barely registers for me.
It doesn't help that Victoria hasn't been given the same dignity in her later appearances as before. There's nothing to her but plot that needs to be filled, which she does well enough, but without any of the flair that made her such a good fit for Ted in the first season. Ashley Williams seems to agree, as her delivery doesn't compare to how naturally it used to come, just perfunctory enough to fit. This doesn't feel like Victoria at her best, so it wasn't too much of a shame to see them call it a day.
But we have one more break-up before this Autumn ends. Let's hope that Robin and Nick don't end things too poorly.
Directed by Pam Fryman
Written by Kourtney Kang
One Paragraph Synopsis: After it's become increasingly apparent that Victoria is dropping hints to Ted, Marshall and Lily tell him that it's time to stop stalling and to accept that she's ready for a deeper commitment. Ted proposes to her, which Victoria accepts on one condition- she still sees Robin as an issue, and doesn't want them to be friends anymore. It takes Ted some time to decide if he can drop Robin, who herself is causing problems with Nick over how she prioritizes her exes, especially while Barney has decided to become a wingman to a stray dog, but the episode ends with Victoria denying the proposal, since he won't drop Robin. As sweet as this sounds, Ted insists that Lily and Marshall never tell Robin, which Future Ted reveals won't be a secret forever.
I really just want to talk about Brover for a bit.
Because frankly, using a dog for a subplot like his usually shouldn't work. It's a cheap way to get a laugh, as dogs are easily able to do so. But the Brover material works in spite of this. Marshall's attempts at advice border on racism and transphobia in too much of an irritating way to register as funny, while Ted and Robin's stories have too few good jokes of their own. Seeing Barney grieve with a dog is a surprisingly funny, welcome change of pace from the rest of the episode.
And frankly, the humor and energy is needed here, since this isn't an all-too funny episode. A necessary episode, given how it closes the book on Ted and Victoria, but not among the show's best. The split is handled fairly well, with both sides being given a fair shake as to their view point. I've heard comparisons of how similar this is to what happened with Ross and someone, but I don't give a fuck about Friends, so I won't compare. I'm just so burned out on Ted and Robin, that this barely registers for me.
It doesn't help that Victoria hasn't been given the same dignity in her later appearances as before. There's nothing to her but plot that needs to be filled, which she does well enough, but without any of the flair that made her such a good fit for Ted in the first season. Ashley Williams seems to agree, as her delivery doesn't compare to how naturally it used to come, just perfunctory enough to fit. This doesn't feel like Victoria at her best, so it wasn't too much of a shame to see them call it a day.
But we have one more break-up before this Autumn ends. Let's hope that Robin and Nick don't end things too poorly.
Tuesday, August 25, 2015
How I Met Your Mother Review- "Nannies"/"Who Wants to Be a Godparent?"
Meh, don't even feel like doing brief recaps anymore.
"Nannies" was okay at best, but the show is still struggling here. Ted and Robin's argument over who's in the better relationship had its moments, scattered around at least, but got pretty tedious. Especially with the flat "Nick is a girl jokes". It doesn't help that so far, he seems to have at least 3 different personalities that don't really correlate. And Victoria's sloppiness feels unnatural and out of left field, especially since as someone who works in food, she should know better than to keep everything such a mess.
The nanny A-story gets just as tedious, but not so much from Lily and Marshall- although Lily's possessive turn gets a little choppy, it's still somewhat believable for her. I also think that Mickey's revelation of how close he used to be with Lily when she was a child was a nice little way to wrap around things for the episode. It's easier to tolerate his pathetic nature when his good guy shades are shown to be sincere.
My problem with the story comes from Barney. A relapse is understandable, even when he brings some of his worst material back with him, but by now, it should be out of character for him to sabotage his friend's quest so badly. He can do so much better than this, and it's irritating to see this side of Barney back. I like at least seeing him try to make up for it by paying Miss Buckminster, but that's not really enough. Granted, their surprise ending gag is kooky enough to somehow work.
But speaking of out of character, holy shit, Robin. I'll never understand how she lost Kevin to her lack of interest in children, yet fights so hard to become Marvin's godparent. It will make even less sense in a few episodes when the show addresses that Robin has been weirdly distant to him, which is fair, because she has been.
This is a case where I can understand why she was involved in her circumstances, so she can be a part of the game show action with Ted and Barney, but it would have been better if the episode wasn't made. For the sake of her character, and the sake of the series.
A few jokes do work in the episode, even during the unfortunate montage. Sadly, that makes up the majority of the second, and even some of the third arc, and it's a dud. Writer Matt Kuhn adds little insight to the show's game show interior to give it a fresh perspective, instead forcing Marshall and Lily to rely on forced dialogue to get their point across to their contestants. And the structure used in their cutaways- Ted's a square, Robin's emotionally distant, and Barney is completely inappropriate- get old fast. It makes for a predictable, unfunny sequence that takes up too much time of the episode.
This is the weakest episode so far this season, but it isn't completely irredeemable. There's a welcome affirmation of the group's importance to each other at the end that feels nice and kind of important. But it's too little, too late for what's mostly a dud. The show can do better, but it's starting to wear thin at this point.
"Nannies" was okay at best, but the show is still struggling here. Ted and Robin's argument over who's in the better relationship had its moments, scattered around at least, but got pretty tedious. Especially with the flat "Nick is a girl jokes". It doesn't help that so far, he seems to have at least 3 different personalities that don't really correlate. And Victoria's sloppiness feels unnatural and out of left field, especially since as someone who works in food, she should know better than to keep everything such a mess.
The nanny A-story gets just as tedious, but not so much from Lily and Marshall- although Lily's possessive turn gets a little choppy, it's still somewhat believable for her. I also think that Mickey's revelation of how close he used to be with Lily when she was a child was a nice little way to wrap around things for the episode. It's easier to tolerate his pathetic nature when his good guy shades are shown to be sincere.
My problem with the story comes from Barney. A relapse is understandable, even when he brings some of his worst material back with him, but by now, it should be out of character for him to sabotage his friend's quest so badly. He can do so much better than this, and it's irritating to see this side of Barney back. I like at least seeing him try to make up for it by paying Miss Buckminster, but that's not really enough. Granted, their surprise ending gag is kooky enough to somehow work.
But speaking of out of character, holy shit, Robin. I'll never understand how she lost Kevin to her lack of interest in children, yet fights so hard to become Marvin's godparent. It will make even less sense in a few episodes when the show addresses that Robin has been weirdly distant to him, which is fair, because she has been.
This is a case where I can understand why she was involved in her circumstances, so she can be a part of the game show action with Ted and Barney, but it would have been better if the episode wasn't made. For the sake of her character, and the sake of the series.
A few jokes do work in the episode, even during the unfortunate montage. Sadly, that makes up the majority of the second, and even some of the third arc, and it's a dud. Writer Matt Kuhn adds little insight to the show's game show interior to give it a fresh perspective, instead forcing Marshall and Lily to rely on forced dialogue to get their point across to their contestants. And the structure used in their cutaways- Ted's a square, Robin's emotionally distant, and Barney is completely inappropriate- get old fast. It makes for a predictable, unfunny sequence that takes up too much time of the episode.
This is the weakest episode so far this season, but it isn't completely irredeemable. There's a welcome affirmation of the group's importance to each other at the end that feels nice and kind of important. But it's too little, too late for what's mostly a dud. The show can do better, but it's starting to wear thin at this point.
Sunday, August 23, 2015
How I Met Your Mother Review- "Farhampton"/"The Pre-Nup"
Farhampton (8x01)
One Paragraph Synopsis: Following exactly after the previous episodes' events, Ted realizes that Victoria, who he's about to take away from her wedding, hasn't left a goodbye note for her fiance Klaus. After getting her to write one for him, Ted sneaks into the reception area at Farhampton (the future area where Barney and Robin will wed, which is how the mother is in frame) to leave it in, where he meets with Klaus, who himself is running away, a realization that gives Ted and Victoria some relief. Back at the apartment, Lily and Marshall have newborn fatigue, which is preventing them from being fully awake for some of the day's revelations, which include Barney never telling Quinn about his history with Robin, or that Robin has found a new boyfriend in the past few days. Everything here resolves as the season starts off.
The Pre-Nup (8x02)
One Paragraph Synopsis: At Arthur's request, Barney writes up a pre-nup for Quinn, authorizing a bunch of ludicrous agreements for her to sign off on for their marriage. Which might include a few other wives, I'm not sure about that. Quinn is rightfully disgusted, and the reception from the gang is mostly split, with the women siding with Quinn, as the men start thinking of how to make their relationships "better". What results is some compromises for everyone else, while Barney and Quinn realize that they're not able to trust each, and call off the engagement. Thus starts the autumn of break-ups.
And season 8 starts off okay.
"Farhampton" isn't among the show's finer moments, but it offers enough promising moments for it to at least make for a welcome half hour back. But like too much of the previous season, there's a bit too much broadness going on here. Primarily with Marshall and Lily's material, who run flat instantly. Maybe it would have worked better if Marshall brought the champagne up once more, but he failed the rule of three here. It's not enough.
The rest of the subplot at the apartment fairs better, with Barney's one minute recap of the show's history easily making for the highlight. NPH has Barney nailed down so well that he can pull this off without a hitch, and almost made me wish that the series could wrap up this fast. Although as mentioned, this does result into an actual, interesting conflict between himself and Quinn, as it seems like Barney is hiding something with Robin. It also leads to a sweet moment at the end, when Robin finds all of their material from their time together, which continues to show how there's still something there.
And then there's "The Pre-Nup", which ventures a little too far into broad, sexist territory throughout. It seems in a few moments that Bays and Thomas may actually find Barney's reasoning to be sound, as some of his ideas are just terrible. I can't sound off on them, but the episode does have a few funny moments to lighten things up, primarily involving Robin's infatuation with herself. We still don't know much about Nick, so this has to do to give us an idea for how they can work for right now.
As for Barney and Quinn, their break-up seems all too soon, considering how recently they got engaged, but it makes all too much sense. There has never been much for mutual trust between the two, and seeing as how they constantly find ways to reassure this, the shock isn't that big. But now what will Barney do?
Directed by Pam Fryman
Written by Carter Bays & Craig Thomas
One Paragraph Synopsis: Following exactly after the previous episodes' events, Ted realizes that Victoria, who he's about to take away from her wedding, hasn't left a goodbye note for her fiance Klaus. After getting her to write one for him, Ted sneaks into the reception area at Farhampton (the future area where Barney and Robin will wed, which is how the mother is in frame) to leave it in, where he meets with Klaus, who himself is running away, a realization that gives Ted and Victoria some relief. Back at the apartment, Lily and Marshall have newborn fatigue, which is preventing them from being fully awake for some of the day's revelations, which include Barney never telling Quinn about his history with Robin, or that Robin has found a new boyfriend in the past few days. Everything here resolves as the season starts off.
The Pre-Nup (8x02)
Directed by Pam Fryman
Written by Carter Bays & Craig Thomas
One Paragraph Synopsis: At Arthur's request, Barney writes up a pre-nup for Quinn, authorizing a bunch of ludicrous agreements for her to sign off on for their marriage. Which might include a few other wives, I'm not sure about that. Quinn is rightfully disgusted, and the reception from the gang is mostly split, with the women siding with Quinn, as the men start thinking of how to make their relationships "better". What results is some compromises for everyone else, while Barney and Quinn realize that they're not able to trust each, and call off the engagement. Thus starts the autumn of break-ups.
And season 8 starts off okay.
"Farhampton" isn't among the show's finer moments, but it offers enough promising moments for it to at least make for a welcome half hour back. But like too much of the previous season, there's a bit too much broadness going on here. Primarily with Marshall and Lily's material, who run flat instantly. Maybe it would have worked better if Marshall brought the champagne up once more, but he failed the rule of three here. It's not enough.
The rest of the subplot at the apartment fairs better, with Barney's one minute recap of the show's history easily making for the highlight. NPH has Barney nailed down so well that he can pull this off without a hitch, and almost made me wish that the series could wrap up this fast. Although as mentioned, this does result into an actual, interesting conflict between himself and Quinn, as it seems like Barney is hiding something with Robin. It also leads to a sweet moment at the end, when Robin finds all of their material from their time together, which continues to show how there's still something there.
And then there's "The Pre-Nup", which ventures a little too far into broad, sexist territory throughout. It seems in a few moments that Bays and Thomas may actually find Barney's reasoning to be sound, as some of his ideas are just terrible. I can't sound off on them, but the episode does have a few funny moments to lighten things up, primarily involving Robin's infatuation with herself. We still don't know much about Nick, so this has to do to give us an idea for how they can work for right now.
As for Barney and Quinn, their break-up seems all too soon, considering how recently they got engaged, but it makes all too much sense. There has never been much for mutual trust between the two, and seeing as how they constantly find ways to reassure this, the shock isn't that big. But now what will Barney do?
Thursday, August 20, 2015
How I Met Your Mother Review- The Magician's Code
The Magician's Code (7x23, 7x24)
Two Paragraph Synopsis: As Lily goes into labor while Marshall and Barney are still in Atlantic City, she does her best to hold on for her baby daddy, to no avail. Ted and Robin come by to help occupy her for as long as they can, trading stories to numb her even slightly, but she still ends up at the hospital a while before Marshall does. He and Barney do everything in their insanely drunken fervor to make it to Manhattan, which results in a bus trip... to Buffalo. But all prevails, as they make it to Lily's side in time for the birth of Marvin Waitforit Eriksen.
With their new son alive and well, Lily and Marshall are doing their best to adapt and to cut back on shenanigans, which include only helping the gang out with issues that relate to an 8 or higher. Two big 10 events happen here, though, one of which involves Ted finally calling Victoria back up, only to discover that she was about to go through with her wedding. But she's still willing to get married to him, which Ted ponders on being right to do, before they drive off into the sunset together. Meanwhile, Barnet and Quinn's trip to Hawaii is halted when a magic trick of Barney's sets off the airport sensors, and he tries his best to not spoil it. He eventually does, though- he plants a wedding ring inside of this little box he's carrying. While all seems well for Barney and Quinn, the flash forward at the end of episode paints a different picture, as Robin is shown to be Barney's bride-to-be.
I haven't been talking about season seven that much, for a couple of reasons. One, I'm losing interest in writing big pieces, even for a show that I enjoy as much as HIMYM. The other being that I'm running out of things to say about the show as it transitions into its awkward last few years.
If anything, I'd say that "The Magician's Code is a good reflection of where the series was at this point, considering how compromised it felt throughout. Some of the show's charms and eventual magic are still present, with a few too many unfunny or tiresome elements to drag it down.
The first half is easily the stronger, allowing for the funniest moments ala some clever cutaways. Not every one of them works, but the variety infused into each one made them feel fresh, just as the gang felt at their most organic here. There wasn't a dragged out split-up storyline or partner with mixed chemistry among the cast to drag things out here, just the core 5 allowed to have fun with each other, sometimes correlating certain bits together in a smart way.
It's especially nice as the parts of the episode that take place in real time aren't all that great. Marshall and Barney are good at playing funny drunks, but it gets old fast, just as the suspense doesn't pay off. While I do want Marshall to be there for his son's birth, I'm not all that invested in the chase. Really, I'd rather see more funny flashbacks, or get a little more screentime for Vicki Lewis.
But it all comes together for the birth of little Marvin, a great moment in the show's run. The emotional weight of the group's core couple is brought to life, as they see everything they could want in life with their firstborn son. Fryman composes the moment well, as she continues to do so when Ted, Robin and Barney arrive and see the gang's first child as he's born. It's moments like these that remind me of why I love the series even now, as I still care about these characters and their accomplishments. They feel real, and I feel like a sixth member of the gang when this is going on.
The second part becomes less fun, as Bays and Thomas don't bring their A game to the table. Barney and Quinn's story shows the most promise, although the fact that she left her stripping job almost works as a cop-out to avoid them working past the issue. It's really a non-issue, and Barney should get over her choice in profession. Some funny moments happen during their interrogation, but it falls moot when the proposal occurs. It's sweetly done, another touch of Fryman magic, but let me just say that you haven't seen anything yet.
Since it's now known that Robin will be marrying Barney, it's safe to admit that I wasn't a big fan of his relationship with Quinn. They're not done yet, but so far their time together has only allowed for quick resolutions rather than serious discourse in regards to their problems. This isn't the best way for a relationship to grow and flesh out, and unless some serious changes occurs, it can't work out. There's also the fact that I'm not a huge fan of Becki Newton's acting as Quinn, who is able to give solid readings, but comes off as a little too forced throughout.
Ted and Victoria seems promising, at least for now. I'll get to them when I start up on season 8. Same with Lily and Marshall, who need some time to get the hang of baby life. It's just not that exciting, as this episode rarely felt that way at all. Even the reveal of Robin being Barney's bride didn't have a big punch, since at this point, it's more stalling than anything.
Season 7 just feels compromised throughout. For every great moment, there's an equally unimpressive one to balance it out. Some great episodes, such as "Tick Tick Tick", allow for the show still be worth watching at this point, but duds like "The Burning Beekeeper" are too prevalent, and hurt it in the long run. I ultimately give season 7 a B-, which makes it about on par with the first and the fifth. Not too bad, but the series has seen better days. Will 8 be an improvement? We'll see...
Directed by Pam Fryman
Written by Jennifer Hendricks, Carter Bays & Craig Thomas
Two Paragraph Synopsis: As Lily goes into labor while Marshall and Barney are still in Atlantic City, she does her best to hold on for her baby daddy, to no avail. Ted and Robin come by to help occupy her for as long as they can, trading stories to numb her even slightly, but she still ends up at the hospital a while before Marshall does. He and Barney do everything in their insanely drunken fervor to make it to Manhattan, which results in a bus trip... to Buffalo. But all prevails, as they make it to Lily's side in time for the birth of Marvin Waitforit Eriksen.
With their new son alive and well, Lily and Marshall are doing their best to adapt and to cut back on shenanigans, which include only helping the gang out with issues that relate to an 8 or higher. Two big 10 events happen here, though, one of which involves Ted finally calling Victoria back up, only to discover that she was about to go through with her wedding. But she's still willing to get married to him, which Ted ponders on being right to do, before they drive off into the sunset together. Meanwhile, Barnet and Quinn's trip to Hawaii is halted when a magic trick of Barney's sets off the airport sensors, and he tries his best to not spoil it. He eventually does, though- he plants a wedding ring inside of this little box he's carrying. While all seems well for Barney and Quinn, the flash forward at the end of episode paints a different picture, as Robin is shown to be Barney's bride-to-be.
I haven't been talking about season seven that much, for a couple of reasons. One, I'm losing interest in writing big pieces, even for a show that I enjoy as much as HIMYM. The other being that I'm running out of things to say about the show as it transitions into its awkward last few years.
If anything, I'd say that "The Magician's Code is a good reflection of where the series was at this point, considering how compromised it felt throughout. Some of the show's charms and eventual magic are still present, with a few too many unfunny or tiresome elements to drag it down.
The first half is easily the stronger, allowing for the funniest moments ala some clever cutaways. Not every one of them works, but the variety infused into each one made them feel fresh, just as the gang felt at their most organic here. There wasn't a dragged out split-up storyline or partner with mixed chemistry among the cast to drag things out here, just the core 5 allowed to have fun with each other, sometimes correlating certain bits together in a smart way.
It's especially nice as the parts of the episode that take place in real time aren't all that great. Marshall and Barney are good at playing funny drunks, but it gets old fast, just as the suspense doesn't pay off. While I do want Marshall to be there for his son's birth, I'm not all that invested in the chase. Really, I'd rather see more funny flashbacks, or get a little more screentime for Vicki Lewis.
But it all comes together for the birth of little Marvin, a great moment in the show's run. The emotional weight of the group's core couple is brought to life, as they see everything they could want in life with their firstborn son. Fryman composes the moment well, as she continues to do so when Ted, Robin and Barney arrive and see the gang's first child as he's born. It's moments like these that remind me of why I love the series even now, as I still care about these characters and their accomplishments. They feel real, and I feel like a sixth member of the gang when this is going on.
The second part becomes less fun, as Bays and Thomas don't bring their A game to the table. Barney and Quinn's story shows the most promise, although the fact that she left her stripping job almost works as a cop-out to avoid them working past the issue. It's really a non-issue, and Barney should get over her choice in profession. Some funny moments happen during their interrogation, but it falls moot when the proposal occurs. It's sweetly done, another touch of Fryman magic, but let me just say that you haven't seen anything yet.
Since it's now known that Robin will be marrying Barney, it's safe to admit that I wasn't a big fan of his relationship with Quinn. They're not done yet, but so far their time together has only allowed for quick resolutions rather than serious discourse in regards to their problems. This isn't the best way for a relationship to grow and flesh out, and unless some serious changes occurs, it can't work out. There's also the fact that I'm not a huge fan of Becki Newton's acting as Quinn, who is able to give solid readings, but comes off as a little too forced throughout.
Ted and Victoria seems promising, at least for now. I'll get to them when I start up on season 8. Same with Lily and Marshall, who need some time to get the hang of baby life. It's just not that exciting, as this episode rarely felt that way at all. Even the reveal of Robin being Barney's bride didn't have a big punch, since at this point, it's more stalling than anything.
Season 7 just feels compromised throughout. For every great moment, there's an equally unimpressive one to balance it out. Some great episodes, such as "Tick Tick Tick", allow for the show still be worth watching at this point, but duds like "The Burning Beekeeper" are too prevalent, and hurt it in the long run. I ultimately give season 7 a B-, which makes it about on par with the first and the fifth. Not too bad, but the series has seen better days. Will 8 be an improvement? We'll see...
Sunday, August 16, 2015
How I Met Your Mother Review- "Good Crazy"
Good Crazy (7x22)
One Paragraph Synopsis: As it's getting closer to her birth, Marshall is becoming increasingly demanding about the future of his and Lily's child, to the point that it drives Lily crazy. After a crazy fight, she tricks Marshall into having a wild weekend at Atlantic City with Barney, who himself is hoping to blow off steam while he and Quinn still argue about her profession. They're doing great, especially after the two get wasted and decide to turn their phones off briefly- just before Lily goes into labor. Meanwhile, Ted is doing his best to get over Robin by taking a few dates up, but each one of them resembles her in some way to him, to the point of insanity.
This really does kind of feel like a part one to the upcoming double-header finale, which isn't a bad thing at all. Especially when you consider how one too many elements here aren't wrapped up.
Well, Ted and Robin seem to be getting close to an end. I'm not too hot on this storyline, not only since I don't feel much of anything for their relationship anymore, but this feels a little too similar to Ted and Barney's split near the end of season 3. With less funny results, such as the flat dating bits he has here. I do like Ted and Robin's friendship, though, which is why I can at least understand their grief here. The two work well as friends, but Ted needs to stop pursuing Robin as a lover.
Lily and Marshall are going to have more important material to manage in the season finale, but I do really enjoy their abbreviated fight. Lily's spaghetti obsession in particular is a touch of the show's playful, but well-used sense of humor in motion. It keeps the rest of the episode in motion, as it leads to the welcome turn at Atlantic City.
And Barney... his stuff isn't really any different than before. I'm already ghastly tired of Barney's resistance towards dating a stripper, but here we are.
This is a silly episode, but it does a good job of portraying the characters at their most drastic to avoid their inevitable change. Lily and Marshall are struggling to find the right method for them to raise their child; Barney is finding anything he can to invalidate his relationship, especially since he seems to have a hard time finding out if she really is worth it; Ted is trying his best to get over Robin, but is realizing how pointless it is to drop her when everything is changing so much; and Robin... doesn't have a whole lot to do here outside of Ted's psyche. Next time, though!
Directed by Pam Fryman
Written by Carter Bays & Craig Thomas
One Paragraph Synopsis: As it's getting closer to her birth, Marshall is becoming increasingly demanding about the future of his and Lily's child, to the point that it drives Lily crazy. After a crazy fight, she tricks Marshall into having a wild weekend at Atlantic City with Barney, who himself is hoping to blow off steam while he and Quinn still argue about her profession. They're doing great, especially after the two get wasted and decide to turn their phones off briefly- just before Lily goes into labor. Meanwhile, Ted is doing his best to get over Robin by taking a few dates up, but each one of them resembles her in some way to him, to the point of insanity.
This really does kind of feel like a part one to the upcoming double-header finale, which isn't a bad thing at all. Especially when you consider how one too many elements here aren't wrapped up.
Well, Ted and Robin seem to be getting close to an end. I'm not too hot on this storyline, not only since I don't feel much of anything for their relationship anymore, but this feels a little too similar to Ted and Barney's split near the end of season 3. With less funny results, such as the flat dating bits he has here. I do like Ted and Robin's friendship, though, which is why I can at least understand their grief here. The two work well as friends, but Ted needs to stop pursuing Robin as a lover.
Lily and Marshall are going to have more important material to manage in the season finale, but I do really enjoy their abbreviated fight. Lily's spaghetti obsession in particular is a touch of the show's playful, but well-used sense of humor in motion. It keeps the rest of the episode in motion, as it leads to the welcome turn at Atlantic City.
And Barney... his stuff isn't really any different than before. I'm already ghastly tired of Barney's resistance towards dating a stripper, but here we are.
This is a silly episode, but it does a good job of portraying the characters at their most drastic to avoid their inevitable change. Lily and Marshall are struggling to find the right method for them to raise their child; Barney is finding anything he can to invalidate his relationship, especially since he seems to have a hard time finding out if she really is worth it; Ted is trying his best to get over Robin, but is realizing how pointless it is to drop her when everything is changing so much; and Robin... doesn't have a whole lot to do here outside of Ted's psyche. Next time, though!
Thursday, August 13, 2015
How I Met Your Mother Review- "Trilogy Time"/"Now We're Even"
Trilogy Time (7x20)
One Paragraph Synopsis: Ever since they decided to pause a disastrous study session in 2000, Ted and Marshall have decided to rewatch the original Star Wars trilogy together every 3 years. Barney tags along with them in 2003, as well. As they do, the guys take the chance to sit down together and reflect on how they feel things will change during their next session- Ted finds himself optimistic that he'll find the one by then, Marshall hopes for the best with himself and Lily, while Barney is thinking of his next exploit at that time. Each look into this timeframe shows how things are changing for the group, from Marshall's depressive post-Lily take in 2006, to how Ted is still single and miserable in 2012. But a necessary flash-forward to 3 years later shows that things will work for him, after all.
Now We're Even (7x21)
One Paragraph Synopsis: Yes, we find out why Ted wore a dress in this episode, and it's pretty funny. But this is also the one where Barney's qualms about dating a stripper are openly presented, as he tries to Make Every Night Legendary with Ted, who is also adapting to the single life a little too well. And also the one where Robin finally breaks into the media scene, when she pilots a helicopter after her pilot has a stroke. Also, Lily had a crazy sex dream about Ranjit, for some reason.
I wish that I wasn't losing interest in writing, since these are both great episodes. "Trilogy Time" has the best of Kang's skills, as she plays with chronology to her advantage and makes for a poignant reflection of where the guys are right now. The episode is also smart with how it uses Star Wars references liberally, but never allows them to take over.
Marshall has found his love, but it took him and Lily a little time to reach where they should be to have children, which they now can. Barney, for the longest time, only wanted random flings, but he seems to be very serious about Quinn, based on how he doesn't want to ruin things with her by farting too soon. But they're finding equity fairly quickly, which speaks well for them.
And Ted. Well, Ted needs to get his head out of his ass. Robin isn't the one, and he needs to accept that. But he should, as he already has his first kid come 2015. Also, there are only two seasons left, which bodes well.
"Now We're Even" is fun, but it's a little disheartening that Barney doesn't seem to be over Quinn's profession just yet. It's brought up regularly here, but there isn't closure for Barney's disappointment, which shows that we're not done with it just yet. I'm kind of over it already, but I do like how she's being allowed to flesh out a little in these episodes, even getting nice one-on-one time with Lily.
Hers and Marshall's plot is funny, if a little too bizarre to fully land. The idea that Lily likes strong father figures is nice, but the ending bit about Miss Potts and Frankenstein's monster almost messes with that to the point that it can't land. But I give this a pass for more of Ranjit's mugging, any day.
Robin's story is my favorite of the episode, as this allows her the validation that she deserves. This wasn't even dumb luck, either. Well, it was a little lucky, but it seems like this happened at exactly the right place at the right time for her to succeed. She needed a win like this, especially with Ted still being pointlessly cold to him. And speaking of Ted, he deserved having hot soup boil up on him, to be honest.
So yeah, good stuff for a mixed to good season. Only 3 episodes left! Or two, technically.
Directed by Pam Fryman
Written by Kourtney Kang
One Paragraph Synopsis: Ever since they decided to pause a disastrous study session in 2000, Ted and Marshall have decided to rewatch the original Star Wars trilogy together every 3 years. Barney tags along with them in 2003, as well. As they do, the guys take the chance to sit down together and reflect on how they feel things will change during their next session- Ted finds himself optimistic that he'll find the one by then, Marshall hopes for the best with himself and Lily, while Barney is thinking of his next exploit at that time. Each look into this timeframe shows how things are changing for the group, from Marshall's depressive post-Lily take in 2006, to how Ted is still single and miserable in 2012. But a necessary flash-forward to 3 years later shows that things will work for him, after all.
Now We're Even (7x21)
Directed by Pam Fryman
Written by Chuck Tatham
One Paragraph Synopsis: Yes, we find out why Ted wore a dress in this episode, and it's pretty funny. But this is also the one where Barney's qualms about dating a stripper are openly presented, as he tries to Make Every Night Legendary with Ted, who is also adapting to the single life a little too well. And also the one where Robin finally breaks into the media scene, when she pilots a helicopter after her pilot has a stroke. Also, Lily had a crazy sex dream about Ranjit, for some reason.
I wish that I wasn't losing interest in writing, since these are both great episodes. "Trilogy Time" has the best of Kang's skills, as she plays with chronology to her advantage and makes for a poignant reflection of where the guys are right now. The episode is also smart with how it uses Star Wars references liberally, but never allows them to take over.
Marshall has found his love, but it took him and Lily a little time to reach where they should be to have children, which they now can. Barney, for the longest time, only wanted random flings, but he seems to be very serious about Quinn, based on how he doesn't want to ruin things with her by farting too soon. But they're finding equity fairly quickly, which speaks well for them.
And Ted. Well, Ted needs to get his head out of his ass. Robin isn't the one, and he needs to accept that. But he should, as he already has his first kid come 2015. Also, there are only two seasons left, which bodes well.
"Now We're Even" is fun, but it's a little disheartening that Barney doesn't seem to be over Quinn's profession just yet. It's brought up regularly here, but there isn't closure for Barney's disappointment, which shows that we're not done with it just yet. I'm kind of over it already, but I do like how she's being allowed to flesh out a little in these episodes, even getting nice one-on-one time with Lily.
Hers and Marshall's plot is funny, if a little too bizarre to fully land. The idea that Lily likes strong father figures is nice, but the ending bit about Miss Potts and Frankenstein's monster almost messes with that to the point that it can't land. But I give this a pass for more of Ranjit's mugging, any day.
Robin's story is my favorite of the episode, as this allows her the validation that she deserves. This wasn't even dumb luck, either. Well, it was a little lucky, but it seems like this happened at exactly the right place at the right time for her to succeed. She needed a win like this, especially with Ted still being pointlessly cold to him. And speaking of Ted, he deserved having hot soup boil up on him, to be honest.
So yeah, good stuff for a mixed to good season. Only 3 episodes left! Or two, technically.
Wednesday, August 12, 2015
How I Met Your Mother- "The Broath"
The Broath (7x19)
One Paragraph Synopsis: Barney is ready for the rest of the gang to meet Quinn, but first, he talks to Ted to convince him to not tell the others that she's a stripper, and how she made him lose a lot of money. He does instantly, as they begin to interrogate her, while she gets Ted and Robin to fight about her apartment, as Quinn is moving in with Barney. An intervention brings this to the center, when it seems like Barney does, in fact, mind that he's dating a stripper, as they break up. When the gang make things up to Barney, he and Quinn then reveal to them that they were playing the group the whole time, just to watch them burn. As Barney himself likes to do. And Robin decides to allow for Ted to move into Quinn's apartment, as her co-anchor position at work, and subsequent raise, allows for her to find a better place.
Really funny stuff, but if I have a problem with it, the explanation of Barney and Quinn's scheme in the last act was a little too on the nose. But the previous group broath was too humorous to not make up for it.
The ending's bit of foreshadowing is interesting, though. It makes it seem likely that Quinn is Barney's wife, but hopefully Quinn's stripper job will stop being a detriment to Barney. There's no reason that she should have to quit for his benefit. They seem to work pretty well though, at least for now.
Directed by Pam Fryman
Written by Carter Bays & Craig Thomas
One Paragraph Synopsis: Barney is ready for the rest of the gang to meet Quinn, but first, he talks to Ted to convince him to not tell the others that she's a stripper, and how she made him lose a lot of money. He does instantly, as they begin to interrogate her, while she gets Ted and Robin to fight about her apartment, as Quinn is moving in with Barney. An intervention brings this to the center, when it seems like Barney does, in fact, mind that he's dating a stripper, as they break up. When the gang make things up to Barney, he and Quinn then reveal to them that they were playing the group the whole time, just to watch them burn. As Barney himself likes to do. And Robin decides to allow for Ted to move into Quinn's apartment, as her co-anchor position at work, and subsequent raise, allows for her to find a better place.
Really funny stuff, but if I have a problem with it, the explanation of Barney and Quinn's scheme in the last act was a little too on the nose. But the previous group broath was too humorous to not make up for it.
The ending's bit of foreshadowing is interesting, though. It makes it seem likely that Quinn is Barney's wife, but hopefully Quinn's stripper job will stop being a detriment to Barney. There's no reason that she should have to quit for his benefit. They seem to work pretty well though, at least for now.
Monday, August 10, 2015
How I Met Your Mother Review- "Karma"
Karma (7x18)
One Paragraph Synopsis: Barney still can't get Quinn out of his mind, but can't get the nerve to find her again- until he discovers that she's Karma, one of the top strippers at his favorite club. While Barney has doubts about dating a stripper, he and Quinn really seem to hit it off anyway- at least that's what he thinks, as Karma shows off some of her good moves on him. Ted lets Barney in on how he's being played, which he does realize after a while. The episode ends with the two meeting for coffee, away from the club. Meanwhile, Robin briefly moves in with Lily and Marshall as she tries to find her own place, but their increasing dissatisfaction with suburban life has them try to keep Robin close by, as much as she hates Long Island. Before long, no one has to stay in Long Island though, since Ted gives up his part of the apartment's lease for Marshall and Lily to stay in.
I wasn't sure how to feel about this one at first. It wasn't too funny, and I'm not crazy about Barney's hypocritical doubts about dating a stripper. But it picked up after a little, and allows for some good moments near the end.
I was more impressed with Marshall and Lily's stuff though, especially Ted's letter at the end. It was a big moment for him, so he can allow himself to move on. It will also help to keep the gang close, just as Lily and Marshall can easily adapt to raising a kid in Manhattan. I don't feel like saying much more, but Robin's narration was pretty funny, too.
Directed by Pam Fryman
Written by Stephen Lloyd
One Paragraph Synopsis: Barney still can't get Quinn out of his mind, but can't get the nerve to find her again- until he discovers that she's Karma, one of the top strippers at his favorite club. While Barney has doubts about dating a stripper, he and Quinn really seem to hit it off anyway- at least that's what he thinks, as Karma shows off some of her good moves on him. Ted lets Barney in on how he's being played, which he does realize after a while. The episode ends with the two meeting for coffee, away from the club. Meanwhile, Robin briefly moves in with Lily and Marshall as she tries to find her own place, but their increasing dissatisfaction with suburban life has them try to keep Robin close by, as much as she hates Long Island. Before long, no one has to stay in Long Island though, since Ted gives up his part of the apartment's lease for Marshall and Lily to stay in.
I wasn't sure how to feel about this one at first. It wasn't too funny, and I'm not crazy about Barney's hypocritical doubts about dating a stripper. But it picked up after a little, and allows for some good moments near the end.
I was more impressed with Marshall and Lily's stuff though, especially Ted's letter at the end. It was a big moment for him, so he can allow himself to move on. It will also help to keep the gang close, just as Lily and Marshall can easily adapt to raising a kid in Manhattan. I don't feel like saying much more, but Robin's narration was pretty funny, too.
Saturday, August 8, 2015
How I Met Your Mother Review- "No Pressure"
No Pressure (7x17)
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One Paragraph Synopsis: Following the previous episode, Ted and Robin briefly reconnect, only for Robin to post-hastily realize that she has a work trip to Rome this week, and leaves in a couple of hours. The two put their future on hold, as Marshall and Lily give Ted conflicting advice on how to handle things. It seems like Lily particularly wants their relationship to not work, which is confirmed when Barney discovers something- Lily and Marshall's box of bets. It turns out that Lily has bet against Ted and Robin working out, but Marshall's confidence in their success has prevented him from paying up. After getting over how shitty this is, Ted realizes that he and Robin aren't meant to work, when she returns. Marshall then recommends that Robin moves out, which she graciously accepts.
For all of my moaning from the previous episode, I forgot how things actually turned out here lol.
But this shows how the two don't, and likely can't, work. Robin doesn't allow for much dreaming, while Ted still keeps his head in the clouds. Even when Ted doubts himself, he's never entirely forgetting his goals, which will always be different than Robin's. Not only do they not have the same spark that the two had back in the second season, but Fryman doesn't seem to even allow them to, anymore. Their relationship is done for, and it's for the best.
Since I find Marshall and Lily's betting creepy (also, if I had the motivation to, I would start a mini-rant about Marshall's adamant refusal to accept that Ted and Robin won't work, but I'll save the spoilers corner for another day), enough to be to the episode's detriment, I want to focus on Ted and Barney before I call this brief review off. Primarily, I think that the way that the two handle Barney's previous attempt to reunite with Robin was done smartly. While he is still attracted to Robin, Barney is doing a good job of not taking advantage of Robin's vulnerable situation, which is worthy of respect. He expresses pity, but calls it a day as to not do anything anyone would regret. It shows growth, even.
This episode does a good job of showing how when one door closes, another can always open. Robin isn't meant to be the one, but that shouldn't be a problem to Ted. The one is still out there. His time will come to find her. I wouldn't call this a great episode, but it's a solid outing with a decent emotional core behind it.
Also, keep an eye out for Conan O'Brien's cameo. The story behind it is pretty clever, and worth a paying attention to.
Directed by Pam Fryman
Written by George Sloan
One Paragraph Synopsis: Following the previous episode, Ted and Robin briefly reconnect, only for Robin to post-hastily realize that she has a work trip to Rome this week, and leaves in a couple of hours. The two put their future on hold, as Marshall and Lily give Ted conflicting advice on how to handle things. It seems like Lily particularly wants their relationship to not work, which is confirmed when Barney discovers something- Lily and Marshall's box of bets. It turns out that Lily has bet against Ted and Robin working out, but Marshall's confidence in their success has prevented him from paying up. After getting over how shitty this is, Ted realizes that he and Robin aren't meant to work, when she returns. Marshall then recommends that Robin moves out, which she graciously accepts.
For all of my moaning from the previous episode, I forgot how things actually turned out here lol.
But this shows how the two don't, and likely can't, work. Robin doesn't allow for much dreaming, while Ted still keeps his head in the clouds. Even when Ted doubts himself, he's never entirely forgetting his goals, which will always be different than Robin's. Not only do they not have the same spark that the two had back in the second season, but Fryman doesn't seem to even allow them to, anymore. Their relationship is done for, and it's for the best.
Since I find Marshall and Lily's betting creepy (also, if I had the motivation to, I would start a mini-rant about Marshall's adamant refusal to accept that Ted and Robin won't work, but I'll save the spoilers corner for another day), enough to be to the episode's detriment, I want to focus on Ted and Barney before I call this brief review off. Primarily, I think that the way that the two handle Barney's previous attempt to reunite with Robin was done smartly. While he is still attracted to Robin, Barney is doing a good job of not taking advantage of Robin's vulnerable situation, which is worthy of respect. He expresses pity, but calls it a day as to not do anything anyone would regret. It shows growth, even.
This episode does a good job of showing how when one door closes, another can always open. Robin isn't meant to be the one, but that shouldn't be a problem to Ted. The one is still out there. His time will come to find her. I wouldn't call this a great episode, but it's a solid outing with a decent emotional core behind it.
Also, keep an eye out for Conan O'Brien's cameo. The story behind it is pretty clever, and worth a paying attention to.
How I Met Your Mother Review- "The Drunk Train"
The Drunk Train (7x16)
One Paragraph Synopsis: This time for Valentine's Day, Ted and Barney are trying the train ride from Manhattan to Long Island that Lily dubs "the drunk train", where a slew of drunken college students typically come home on after a night out. They both strike out due to being a bit too sober, but even after trying the train totally wasted, Barney doesn't seem able to get a girl out of his mind from the other night. And it looks like Quinn, the girl in question, can't get over him, either. As for the actual couples, a romantic week in the snow is planned for the four of them, when a bombshell is dropped via Kevin's proposal to Robin. Dumbstruck, she reveals her own bombshell, admitting to Kevin that she can't have, and doesn't want kids. A lengthy reflection allows for Kevin to make his own decision, as he calls off the proposal.
Ugh, that ending.
Why am I very much pro Robin and Barney, but the concept of Robin and Ted getting back together turns me off? I think this stems from where the characters are now, and how Robin views the boys. With Barney, there's still a spark between them, and unfinished business to take care of. They both still want each other, even if it'll take relationship gymnastics to make it together, but a big part of both of them want to.
Ted and Robin don't really have unfinished business, though. They were together for a much longer span, and had a more complete ending. Even though Ted swears here that he's willing to be okay without kids to be with Robin, that's a crock, and he knows it. Any future together is bound to be doomed, unless Ted can find a way to convince Robin to adopt.
Not to mention that Robin doesn't seem interested in Ted romantically anymore. They worked well back in 2007, but that was 5 years ago, and a lot of what made the two gel has changed, while what caused them to split hasn't as much. This seems like a dead space, since it's all but confirmed that Robin can't be the mother.
This last-minute revelation pisses me off, but the rest of the episode is very good. Well, I'm not crazy about Barney and Ted's ploy to hit on drunk girls, but if they're drunk too, that kind of balances itself out. I think?
I do think that the drunk train concept is a funny idea, and it's even better knowing that this is based on a real phenomenon that Gerard and Zinman have experienced first hand. They delve into it a little on the episode's commentary, and it's definitely worth picking a copy of season 7 up for alone.
As a social observation, this works great. Getting Radnor and Neil Patrick Harris to play drunk to fit in works even better, as they're both gifted as comedic actors. Radnor pulls off the loud jackass beautifully, while NPH is great at playing a drunken buffoon. Together, and with a nice group of drunken fools, they work beautifully.
Barney's pursuit of Quinn works okay. We've seen Barney pine for something a little more serious with other women before, and while Quinn is shown to be a worthy match mate for him, there isn't a whole lot to root for yet. It also felt like the flashbacks to their night together hurt the episode more than helped, as their wordplay wasn't strong enough to pull the material off. Watching Ted's failure with his date was actually more fun, as brief as their moments are.
Lily and Marshall's stuff is solid enough, helping to show that they actually aren't the "perfect couple", but I'm more interested in getting towards Robin and Kevin. While I have generally liked their time together, it isn't surprising to see the two make their separate ways. Despite Kevin's ability to listen being one of his job skills, he can only be patient enough to Robin for so long. Her inability and refusal to have children is the straw that breaks the camel's back, as he has been showing restraint with her for a little bit.
Kevin was a fun addition, as he got to interact with the rest of the gang pretty well, and in some moments, felt like one of the boys. It's a little saddening to think that he received more opportunities to be a part of their group than any of Ted's exes or Nora, which seems sexist in a way. Like the girls don't get the chance to be fun, but one of the show's few male love interests can.
It is deceptive for Kevin to constantly reinforce his proposal, only to deny it shortly after. Even as reasonable as his reason to call it off might be. To give up a lifelong desire for children must hurt. Possibly more than leaving someone that you thought the world of. I feel bad for Robin, but I can't exactly blame Kevin, either.
So yeah, good episode. Mostly great, with a couple of things aside.
Directed by Pam Fryman
Written by Craig Gerard & Matt Zinman
One Paragraph Synopsis: This time for Valentine's Day, Ted and Barney are trying the train ride from Manhattan to Long Island that Lily dubs "the drunk train", where a slew of drunken college students typically come home on after a night out. They both strike out due to being a bit too sober, but even after trying the train totally wasted, Barney doesn't seem able to get a girl out of his mind from the other night. And it looks like Quinn, the girl in question, can't get over him, either. As for the actual couples, a romantic week in the snow is planned for the four of them, when a bombshell is dropped via Kevin's proposal to Robin. Dumbstruck, she reveals her own bombshell, admitting to Kevin that she can't have, and doesn't want kids. A lengthy reflection allows for Kevin to make his own decision, as he calls off the proposal.
Ugh, that ending.
Why am I very much pro Robin and Barney, but the concept of Robin and Ted getting back together turns me off? I think this stems from where the characters are now, and how Robin views the boys. With Barney, there's still a spark between them, and unfinished business to take care of. They both still want each other, even if it'll take relationship gymnastics to make it together, but a big part of both of them want to.
Ted and Robin don't really have unfinished business, though. They were together for a much longer span, and had a more complete ending. Even though Ted swears here that he's willing to be okay without kids to be with Robin, that's a crock, and he knows it. Any future together is bound to be doomed, unless Ted can find a way to convince Robin to adopt.
Not to mention that Robin doesn't seem interested in Ted romantically anymore. They worked well back in 2007, but that was 5 years ago, and a lot of what made the two gel has changed, while what caused them to split hasn't as much. This seems like a dead space, since it's all but confirmed that Robin can't be the mother.
This last-minute revelation pisses me off, but the rest of the episode is very good. Well, I'm not crazy about Barney and Ted's ploy to hit on drunk girls, but if they're drunk too, that kind of balances itself out. I think?
I do think that the drunk train concept is a funny idea, and it's even better knowing that this is based on a real phenomenon that Gerard and Zinman have experienced first hand. They delve into it a little on the episode's commentary, and it's definitely worth picking a copy of season 7 up for alone.
As a social observation, this works great. Getting Radnor and Neil Patrick Harris to play drunk to fit in works even better, as they're both gifted as comedic actors. Radnor pulls off the loud jackass beautifully, while NPH is great at playing a drunken buffoon. Together, and with a nice group of drunken fools, they work beautifully.
Barney's pursuit of Quinn works okay. We've seen Barney pine for something a little more serious with other women before, and while Quinn is shown to be a worthy match mate for him, there isn't a whole lot to root for yet. It also felt like the flashbacks to their night together hurt the episode more than helped, as their wordplay wasn't strong enough to pull the material off. Watching Ted's failure with his date was actually more fun, as brief as their moments are.
Lily and Marshall's stuff is solid enough, helping to show that they actually aren't the "perfect couple", but I'm more interested in getting towards Robin and Kevin. While I have generally liked their time together, it isn't surprising to see the two make their separate ways. Despite Kevin's ability to listen being one of his job skills, he can only be patient enough to Robin for so long. Her inability and refusal to have children is the straw that breaks the camel's back, as he has been showing restraint with her for a little bit.
Kevin was a fun addition, as he got to interact with the rest of the gang pretty well, and in some moments, felt like one of the boys. It's a little saddening to think that he received more opportunities to be a part of their group than any of Ted's exes or Nora, which seems sexist in a way. Like the girls don't get the chance to be fun, but one of the show's few male love interests can.
It is deceptive for Kevin to constantly reinforce his proposal, only to deny it shortly after. Even as reasonable as his reason to call it off might be. To give up a lifelong desire for children must hurt. Possibly more than leaving someone that you thought the world of. I feel bad for Robin, but I can't exactly blame Kevin, either.
So yeah, good episode. Mostly great, with a couple of things aside.
Wednesday, August 5, 2015
How I Met Your Mother Review- "The Burning Beekeeper"
The Burning Beekeeper (7x15)
One Paragraph Synopsis: It's a Mary Richards dinner party, thrown by Lily Aldrin. Ted and Garrison Cootes get into a spat when Ted is convicted (by Barney, who is actually guilty) of eating one of the few vegan items available at the party. Cootes and Marshall are also having issues, since Marshall has to go back to work later that night. Barney's about to sleep with a woman who has a history of cutting off unloyal men's packages. And Mickey's collecting bees, for some reason.
Apparently, if there's one episode Bays regrets, it's this one. Not because it's a complete misfire, but due to how they weren't able to get the full potential out of this episode's concept. Or it could be because, y'no, it does suck.
There's an interesting idea in "The Burning Beekeeper"'s framing. A recently deceased professor of my school's film program used to teach that time is not linear, a concept that works. We still get from point A to B, but maybe not directly. Sometimes it makes more sense to reach point D first, but we can still save points C and E for later. Not everything that happens in the universe is direct.
That's why I do welcome the concept of an episode like "The Burning Beekeeper", which keeps a sense of chronology in tact, but plays with it. Certain plot elements are snuck or hidden until later on in a way that should reward repeat viewings. But similar to another high-concept sitcom episode, Seinfeld's "The Betrayal", the novelty doesn't help what is, in actuality, a weak episode.
A few jokes do land. Robin and Ted have an amusing argument, while Barney's ineptitude to take responsibility was also fun, especially his delivery of "I don't know" when he gives Mickey the tip on kerosene. But that's about it, since the majority don't.
Martin Short tries to keep the environment going, but it seems like he can tell that this is a poor script based on his mixed atmosphere. Despite solid delivery, there's a sense of dread in Cootes' lines. He also just doesn't have strong chemistry with Radnor, as evident by their lifeless argument. Short works a little better with Segel and Chris Elliot, but there isn't much zest regardless.
And the beekeeper stuff similarly runs flat. Mickey's bee puns are pleasant enough for pun fans, but are pretty one-note otherwise. It also doesn't help that bee keeping is just a weird idea for Mickey to try out, one with no real purpose. It's leading up to a punchline that doesn't pay off for anything.
Nothing else really works. Lily's aggravation isn't expanded on well, as believable as it is. Robin's feelings of being too pushy is an afterthought that feels out of place here. And Barney's material with the penis-chopping woman is old hat.
All of this together makes for a flat episode. A flat episode in a unique package, but still a dud throughout. I don't think that a single HIMYM episode is bereft of good moments, but Bays, Thomas, and Fryman can do better.
Directed by Pam Fryman
Written by Carter Bays & Craig Thomas
One Paragraph Synopsis: It's a Mary Richards dinner party, thrown by Lily Aldrin. Ted and Garrison Cootes get into a spat when Ted is convicted (by Barney, who is actually guilty) of eating one of the few vegan items available at the party. Cootes and Marshall are also having issues, since Marshall has to go back to work later that night. Barney's about to sleep with a woman who has a history of cutting off unloyal men's packages. And Mickey's collecting bees, for some reason.
Apparently, if there's one episode Bays regrets, it's this one. Not because it's a complete misfire, but due to how they weren't able to get the full potential out of this episode's concept. Or it could be because, y'no, it does suck.
There's an interesting idea in "The Burning Beekeeper"'s framing. A recently deceased professor of my school's film program used to teach that time is not linear, a concept that works. We still get from point A to B, but maybe not directly. Sometimes it makes more sense to reach point D first, but we can still save points C and E for later. Not everything that happens in the universe is direct.
That's why I do welcome the concept of an episode like "The Burning Beekeeper", which keeps a sense of chronology in tact, but plays with it. Certain plot elements are snuck or hidden until later on in a way that should reward repeat viewings. But similar to another high-concept sitcom episode, Seinfeld's "The Betrayal", the novelty doesn't help what is, in actuality, a weak episode.
A few jokes do land. Robin and Ted have an amusing argument, while Barney's ineptitude to take responsibility was also fun, especially his delivery of "I don't know" when he gives Mickey the tip on kerosene. But that's about it, since the majority don't.
Martin Short tries to keep the environment going, but it seems like he can tell that this is a poor script based on his mixed atmosphere. Despite solid delivery, there's a sense of dread in Cootes' lines. He also just doesn't have strong chemistry with Radnor, as evident by their lifeless argument. Short works a little better with Segel and Chris Elliot, but there isn't much zest regardless.
And the beekeeper stuff similarly runs flat. Mickey's bee puns are pleasant enough for pun fans, but are pretty one-note otherwise. It also doesn't help that bee keeping is just a weird idea for Mickey to try out, one with no real purpose. It's leading up to a punchline that doesn't pay off for anything.
Nothing else really works. Lily's aggravation isn't expanded on well, as believable as it is. Robin's feelings of being too pushy is an afterthought that feels out of place here. And Barney's material with the penis-chopping woman is old hat.
All of this together makes for a flat episode. A flat episode in a unique package, but still a dud throughout. I don't think that a single HIMYM episode is bereft of good moments, but Bays, Thomas, and Fryman can do better.
Monday, August 3, 2015
How I Met Your Mother Review- "Tailgate"/"46 Minutes"
Tailgate (7x13)
One Paragraph Synopsis: Even with his father gone, Marshall still intends to keep their tradition of watching the Vikings and the Bears' yearly game against each other alive, by tailgating at Marvin's stone. In between passes, Marshall shares some of what's gone on in the past few days, primarily New Years Eve. This includes Robin playing cruise control for Sandy during the ball drop, Ted and Barney bringing the bar Puzzles to life in their apartment, and Marshall and Lily's argument about faith (in the supernatural), as she reels over her father's disinterest in her pregnancy.
46 Minutes (7x14)
One Paragraph Synopsis: Lily and Marshall's move to Long Island is official, as they head out shortly after the gang's nightly MacLarens trip. Even though it's really a short distance from them, it's still a rough blow to the gang, but Barney tries to keep Ted, Robin, and Kevin's spirits alive by taking them to a strip club. Here, they meet Stripper Lily again, and well, things go crazy from there. Meanwhile, Mickey's last-minute moving into Lily and Marshall's new house is increasingly getting on their nerves, as he constantly goes too far. After rightfully being kicked out, Mickey goes ballistic and sets traps up for the two before they reach an agreement.
"Tailgate"'s a good episode, but not quite a great, especially compared to the previous episode.
The wraparound of funeral goers, along with Marshall and his brothers at Marvin's burial comes off as a sweet way to end the episode, but almost doesn't feel tied to the rest of it. Marshall's annoyance with visiters coming over while he tries to tailgate is only something that occurs in his little bits, and doesn't really connect to the rest of the episode's stories. As such, I find it a little cloy, even if Bays and Thomas can usually make cloy work.
However, the rest of the episode's material is generally strong. Robin's quest to keep Sandy around for the ball drop continues her quest for finding her place in the journalism industry, by showing how it's not exactly her biggest issue right now. Between everything that's happened to her lately, Robin is superficially interested in keeping her job steady, to the point that she's almost forgetting her goals. Kevin proves his worth as a boyfriend by pushing her to take Sandy's place at the end, which is not only good on his part, but does allow Robin to push herself forward. Maybe 2012 will be her year after all. I also give points to her delivery of the line stating that she gave up dreams that she didn't know she had, which really stings in context. Brilliantly keeping the memory of the previous episode alive.
Marshall and Lily's paranormal discussions are true to his character, as Marshall's fascination for conspiracies like Bigfoot and Nessie are attributed to the way he views faith. Marshall takes everything by face value and to heart, as his defense for Nessie's existence reflects.
This more or less takes over for a debate about religion, as Lily plays the skeptic to Marshall's believer. The gang's beliefs isn't otherwise mentioned on the show, so this almost works as a way to announce Lily's atheism, and having her suggest that they raise their children without religion.
This also brings faith into the mix, as Lily has no faith in her father. Which, to be fair, is warranted, although Mickey does come through at the end. Lily has little reason to believe that her father can help out, let alone has much interest in their child, given his years of neglect. Lily seems to hold some faith onto a turn around for Mickey though, as he comes by to little surprise.
Meanwhile, Ted and Barney's bar plot is pretty silly, although it works for what it is. Bringing Doug back from season 4's "The Fight" is a welcome surprise, as he adds some funny moments, but this is pretty common stuff, some of which was repeated from season 4's "Three Days of Snow". Kevin, surprisingly, brings in some of the more fun moments, primarily with his disharmony added to the two's Cheers-like theme song. Funny stuff.
"46 Minutes" is a little less strong, primarily due to the Long Island plot. Chris Elliot's shtick gets old fast, as his Mickey is starting to overstay his welcome for the audience as well as for Lily and Marshall. There are only so many masturbation jokes that an episode can pull off, and this gets old by the second act. The Paranormal Activity-esq bits also don't work, and almost come off as lazy.
The material with the rest of the gang is more fun, delving us into the crazy adventures the gang could have if they listen to Barney more often. So yeah, don't do that. But Stripper Lily and New Marshall do bring up some funny scenarios. Again, Kevin allows for some of my favorite moments, as his and Robin's quest to maintain their position as a fun, new couple increasingly tires them out, despite their best efforts to stay chill. Smulders and Kal Penn keep the pace going well, in particular.
But what makes the episode a keeper is its last line, stating that the gang will always be close together, no matter what. It's the bond of these five people that has kept the show afloat thus far, and is what keeps me going through the series again.
Directed by Pam Fryman
Written by Carter Bays & Craig Thomas
One Paragraph Synopsis: Even with his father gone, Marshall still intends to keep their tradition of watching the Vikings and the Bears' yearly game against each other alive, by tailgating at Marvin's stone. In between passes, Marshall shares some of what's gone on in the past few days, primarily New Years Eve. This includes Robin playing cruise control for Sandy during the ball drop, Ted and Barney bringing the bar Puzzles to life in their apartment, and Marshall and Lily's argument about faith (in the supernatural), as she reels over her father's disinterest in her pregnancy.
46 Minutes (7x14)
Directed by Pam Fryman
Written by Dan Gregor & Doug Mand
One Paragraph Synopsis: Lily and Marshall's move to Long Island is official, as they head out shortly after the gang's nightly MacLarens trip. Even though it's really a short distance from them, it's still a rough blow to the gang, but Barney tries to keep Ted, Robin, and Kevin's spirits alive by taking them to a strip club. Here, they meet Stripper Lily again, and well, things go crazy from there. Meanwhile, Mickey's last-minute moving into Lily and Marshall's new house is increasingly getting on their nerves, as he constantly goes too far. After rightfully being kicked out, Mickey goes ballistic and sets traps up for the two before they reach an agreement.
"Tailgate"'s a good episode, but not quite a great, especially compared to the previous episode.
The wraparound of funeral goers, along with Marshall and his brothers at Marvin's burial comes off as a sweet way to end the episode, but almost doesn't feel tied to the rest of it. Marshall's annoyance with visiters coming over while he tries to tailgate is only something that occurs in his little bits, and doesn't really connect to the rest of the episode's stories. As such, I find it a little cloy, even if Bays and Thomas can usually make cloy work.
However, the rest of the episode's material is generally strong. Robin's quest to keep Sandy around for the ball drop continues her quest for finding her place in the journalism industry, by showing how it's not exactly her biggest issue right now. Between everything that's happened to her lately, Robin is superficially interested in keeping her job steady, to the point that she's almost forgetting her goals. Kevin proves his worth as a boyfriend by pushing her to take Sandy's place at the end, which is not only good on his part, but does allow Robin to push herself forward. Maybe 2012 will be her year after all. I also give points to her delivery of the line stating that she gave up dreams that she didn't know she had, which really stings in context. Brilliantly keeping the memory of the previous episode alive.
Marshall and Lily's paranormal discussions are true to his character, as Marshall's fascination for conspiracies like Bigfoot and Nessie are attributed to the way he views faith. Marshall takes everything by face value and to heart, as his defense for Nessie's existence reflects.
This more or less takes over for a debate about religion, as Lily plays the skeptic to Marshall's believer. The gang's beliefs isn't otherwise mentioned on the show, so this almost works as a way to announce Lily's atheism, and having her suggest that they raise their children without religion.
This also brings faith into the mix, as Lily has no faith in her father. Which, to be fair, is warranted, although Mickey does come through at the end. Lily has little reason to believe that her father can help out, let alone has much interest in their child, given his years of neglect. Lily seems to hold some faith onto a turn around for Mickey though, as he comes by to little surprise.
Meanwhile, Ted and Barney's bar plot is pretty silly, although it works for what it is. Bringing Doug back from season 4's "The Fight" is a welcome surprise, as he adds some funny moments, but this is pretty common stuff, some of which was repeated from season 4's "Three Days of Snow". Kevin, surprisingly, brings in some of the more fun moments, primarily with his disharmony added to the two's Cheers-like theme song. Funny stuff.
"46 Minutes" is a little less strong, primarily due to the Long Island plot. Chris Elliot's shtick gets old fast, as his Mickey is starting to overstay his welcome for the audience as well as for Lily and Marshall. There are only so many masturbation jokes that an episode can pull off, and this gets old by the second act. The Paranormal Activity-esq bits also don't work, and almost come off as lazy.
The material with the rest of the gang is more fun, delving us into the crazy adventures the gang could have if they listen to Barney more often. So yeah, don't do that. But Stripper Lily and New Marshall do bring up some funny scenarios. Again, Kevin allows for some of my favorite moments, as his and Robin's quest to maintain their position as a fun, new couple increasingly tires them out, despite their best efforts to stay chill. Smulders and Kal Penn keep the pace going well, in particular.
But what makes the episode a keeper is its last line, stating that the gang will always be close together, no matter what. It's the bond of these five people that has kept the show afloat thus far, and is what keeps me going through the series again.
Sunday, August 2, 2015
How I Met Your Mother Review- "Symphony of Illumination"
Symphony of Illumination (7x12)
One Paragraph Synopsis: Continuing from the previous episode's bombshell, Barney copes to the news of Robin's pregnancy, even though it isn't exactly official. Barney does his best to show Robin the perks of parenthood, but she's still disinterested. A check with Dr. Sonya proves that she isn't actually pregnant, which is good news... until Robin later learns that she can't have children. Something she's okay with, but the realization of it hurts more than she could imagine.
Part of me was afraid to tackle this episode, but I also knew that I absolutely had to hit this one, so here we go.
But how do you touch such an episode? The series has had plenty of dramatic moments before, but a lot of them were pretty standard for sitcoms, but done very well- losing a parent, dealing with the return of a distant parent, rough break-ups. But infertility? This isn't necessarily untouched territory, but not that many comedies take this subject on.
Fryman and Kelly keep the show's traditional sense of humor alive, even adding in a silly (but not meritless- I'll come back to that) subplot, but Robin's news flash is treated with respect. Just as her character is throughout, with this episode being one of Smulders' biggest highlights. She knows all of Robin's comic beats, and keeps the script's energy alive through all of its highs and lows, nailing each of her lines.
And more importantly, Cobie is an extraordinarily competent actress, who can do dramatic roles very well. She proves this in the third act especially, where Smulders gives her all without reaching even in the slightest. A fantastic balance that she gets like nobody's business. Her entertaining take on the show's narration becomes delicately somber, delivering her plea of not wanting children with a rough embrace that makes her hurt all the more believable. Even Smulders' facial reactions are saddening, but never borders on tacky.
Good acting can save bad writing, but thankfully Kelly's script gives Robin a great arc in the episode. It's risky to have Robin's emotions switch so frequently in one episode, but all the more important in how its delivered, especially given the context of her character. The Robin of a few years ago wouldn't want to keep the child, just as the Robin of the episode's first act didn't plan to either, but the reality of the situation, and the likelihood of what she's losing comes in.
In a way, it's a bit of tragic irony that Robin, a woman who for most of her life never wanted children, has been told that she can't. The fact that she laments this fact isn't a fault on her or the writing, but rather a human trait, to want what we can't have. In this case, Robin's heartache not only is believable, but all too tragic. The realization is what kills her.
"Symphony of Illumination" still keeps the show's silliness alive, even with a problematic line or two, but never feels weakened for this. And that's the joy of HIMYM, as the series can offer serious character stories on top of fun with rotten teenagers and boob jokes. Marshall's storyline with Scott is goofy, but offers a realistic point for Marshall, as he's starting to embrace the suburban life. Marshall wants to be the cool adult for the local kids, but his naive nature is going to be his downfall. Literally. Hopefully he'll adjust better, but here it's shown that Marshall needs to bone down a little.
I wish that I could do this episode justice, since it's really one of the best. I haven't even mentioned Barney's patience with Robin's conflicting view points, since he did a good job. Even with his opening remarks.
Directed by Pam Fryman
Written by Joe Kelly
One Paragraph Synopsis: Continuing from the previous episode's bombshell, Barney copes to the news of Robin's pregnancy, even though it isn't exactly official. Barney does his best to show Robin the perks of parenthood, but she's still disinterested. A check with Dr. Sonya proves that she isn't actually pregnant, which is good news... until Robin later learns that she can't have children. Something she's okay with, but the realization of it hurts more than she could imagine.
Part of me was afraid to tackle this episode, but I also knew that I absolutely had to hit this one, so here we go.
But how do you touch such an episode? The series has had plenty of dramatic moments before, but a lot of them were pretty standard for sitcoms, but done very well- losing a parent, dealing with the return of a distant parent, rough break-ups. But infertility? This isn't necessarily untouched territory, but not that many comedies take this subject on.
Fryman and Kelly keep the show's traditional sense of humor alive, even adding in a silly (but not meritless- I'll come back to that) subplot, but Robin's news flash is treated with respect. Just as her character is throughout, with this episode being one of Smulders' biggest highlights. She knows all of Robin's comic beats, and keeps the script's energy alive through all of its highs and lows, nailing each of her lines.
And more importantly, Cobie is an extraordinarily competent actress, who can do dramatic roles very well. She proves this in the third act especially, where Smulders gives her all without reaching even in the slightest. A fantastic balance that she gets like nobody's business. Her entertaining take on the show's narration becomes delicately somber, delivering her plea of not wanting children with a rough embrace that makes her hurt all the more believable. Even Smulders' facial reactions are saddening, but never borders on tacky.
Good acting can save bad writing, but thankfully Kelly's script gives Robin a great arc in the episode. It's risky to have Robin's emotions switch so frequently in one episode, but all the more important in how its delivered, especially given the context of her character. The Robin of a few years ago wouldn't want to keep the child, just as the Robin of the episode's first act didn't plan to either, but the reality of the situation, and the likelihood of what she's losing comes in.
In a way, it's a bit of tragic irony that Robin, a woman who for most of her life never wanted children, has been told that she can't. The fact that she laments this fact isn't a fault on her or the writing, but rather a human trait, to want what we can't have. In this case, Robin's heartache not only is believable, but all too tragic. The realization is what kills her.
"Symphony of Illumination" still keeps the show's silliness alive, even with a problematic line or two, but never feels weakened for this. And that's the joy of HIMYM, as the series can offer serious character stories on top of fun with rotten teenagers and boob jokes. Marshall's storyline with Scott is goofy, but offers a realistic point for Marshall, as he's starting to embrace the suburban life. Marshall wants to be the cool adult for the local kids, but his naive nature is going to be his downfall. Literally. Hopefully he'll adjust better, but here it's shown that Marshall needs to bone down a little.
I wish that I could do this episode justice, since it's really one of the best. I haven't even mentioned Barney's patience with Robin's conflicting view points, since he did a good job. Even with his opening remarks.
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