Directed by Pam Fryman
Written by Carter Bays
One Paragraph Synopsis: No subplot here- the entire episode is about what kind of crazy night Ted had after being goaded into trying out Carl the Bartender's new shots. All five, bitch. Lily, Marshall, Barney, and Carl all help Ted retrace his tracks after he wakes up next to a girl he doesn't recognize and a pineapple nobody can explain. It's a roller coaster ride from start to finish as we see what Ted is like without his thinking cap on.
One of the best feelings of getting into a TV series is landing onto that first incredible episode. Not just the pilot that drew you in, but felt incomplete. Not just the good to passable following episodes that show that the series still has some kinks to work on. But when you feel like you just obtained a fantastic orgasm, where seemingly everything fits and the promise that you've been hoping for in the show has landed. Some series take until its second or even third season to hit that point, but here we are, 10 episodes in.
My word, where do I even begin? This time, I'll get straight to the episode's strong point- the show's pacing. In the previous review, I talked about how tighter the editing and timing has become on the show, which is definitely true here. Keep in mind how the episode cuts between present time in the core apartment and the past via flashbacks. I can't recall a scene at the apartment lasting two minutes or longer, wisely allowing more time into Ted's various incidents at night. The use of the swoosh sound in between cuts is another strong factor in the show's favor, usually helping to keep we the audience on our feet as the timeframe switches as rapidly as it does.
Timing is key here, since if the episode took too much or spent too little time on the mystery, it wouldn't work. Thankfully, Bays and Fryman both understood what needed to happen for the sake of story, cutting out any resemblance of a subplot. This forces every character in the episode to be an essential part of the tale, as they should be.
Somehow, despite the razor sharp approach, the episode doesn't feel lightweight at all. I'd say that it's perfectly timed myself, giving the audience a plethora of plot, memorable character moments, and great dialogue to fit in a tight half hour package. Everything is in its right place, and I wouldn't dare cut a single bit out, which might just be the best thing you can say about a piece of fiction.
Before I get to the plot itself, I do want to mention one more thing. Many a person has considered HIMYM to be derivative of Friends, and while there are some similarities (Bays and Thomas themselves admit that Friends and Cheers were the primary influences on the show, and I plan to delve into why the latter certainly is at some point), I always considered the series to be a spiritual successor to Seinfeld more than anything. Both were made by writers with no experience in sitcom writing, and both quickly took to messing with the situational comedy format as they started to find their groove. It's weird to say, since I've never heard the creators namedrop Seinfeld before, but if any show is worthy of being called the next Seinfeld, HIMYM is it.
Especially consider how the series is shot. This is clearly a multi-camera setup, but there's no live-studio audience. The show can switch from point A to B at rapid fire, often between an inside set to a quick moment outside and back in. Even the shots move quicker than in most shows. "The Pineapple Incident" brings in added flashbacks to the show, helping to build a unique groove that it will maintain until the very end. HIMYM is as quickly paced as it is witted, but seldom ever cuts from a joke too soon. There just isn't anything like it, and that's why I'm glad to be here writing about it.
As for the plot itself, on the one hand, part of me feels annoyed that Ted's feelings for Robin are front and center again. At the same time, the rest of the gang seems even more annoyed than I am, and thankfully this has taken a few episodes off.
Ted's crush on Robin makes for much of the mystery, as despite his attempt to erase his thoughts, Robin just can't escape his mind. As the night gets longer, Ted's calls to her become increasingly desperate and increasingly pathetic, which, while this must be painful for the both of them to deal with, it's gold for the audience. There's little topping seeing Ted sing Robin Cheap Trick, only to fall mid-verse.
It's also a pain for poor
And wow, Josh Radnor is great here. He really is starting to nail down the Ted Mosby character. While he's usually great as a straight man, here Ted is the joke, so Radnor brings an eclectic sense of energy to the character that keeps him alive. While Ted is drunk, Radnor bumps it up to eleven and allows Ted to build up into a ball of energy until it fizzles out in the morning. Watching the story switch back and forth from calm, albeit still active Ted to blasted out of his mind Mosby is a delight.
The rest of the gang aren't slouches, either. Robin plays the straight man this week, as she plays the choir and reminds us that the audience isn't alone in finding Ted's pining tiresome. Even in another part of the city, she's great at the role, keeping her eyes in tune to the right motions. Marshall continues his admission into his belief of the world of the paranormal, resulting in a great opening bit where he considers Carl to be a vampire. Lily meanwhile is able to play the game, if slightly bored, cohort that both keeps Marshall's theory entertained and helps to convince Ted to take the shots. Barney, meanwhile, is pure Barney in this episode, and that is not a bad thing at all tonight.
The cast help to live up to the fantastic writing and direction of the episode, which only continues the winning streak the previous episode started. Many a fan consider "The Pineapple Incident" to be the starting point of the show's excellence, which I couldn't dare to argue with. And there's much more to come!
No comments:
Post a Comment