“Girls vs. Suits”
January 11th, 2010
I picked up the fourth season of How I Met Your Mother on DVD over the holidays, and I watched a few episodes over the course of the break. I came to realize that there are a number of highlights in the season, but that many of them hinge on a story element that has since that point been entirely wasted. Episodes kept pointing towards Barney coming to terms with his playboy identity in order to confront his feelings with Robin, and those episodes are painful for me: they’re a sign of the storyline that the show cut loose before I felt it should have been cut loose, and before it had been given time to develop into something that could have become a meaningful part of this universe.
If we view “Girls vs. Suits,” scripted by co-creators Carter Bays and Craig Thomas as the show’s 100th episode, as a celebration of what they consider the show’s two most enduring elements, we find that the mythology surrounding the Mother and the audacity surrounding Barney Stinson are the show’s constants. But considering my frustration over Barney’s regression from his relationship with Robin, and considering how the story surrounding the Mother has been dragged out to the point where it has ceased being about Ted and become more about the show itself, this isn’t what my ideal 100th episode of the show would look like.
And yet, I found “Girls vs. Suits” managed to crack my cynical exterior with one of its storylines, although the other (although eventful and charming at points) simultaneously confirmed that it may have to be in desperate need of some reinvention to ensure it can “make it work” in the future.
April 29th, 2009
I will admit right now that I feel sort of like a low rent Daniel Faraday right now, my attempts to put myself on a different sleep schedule in a way not that different from Daniel’s attempt to realign himself with another time. This means that while I had planned on writing this review about five hours ago when I woke up from a short nap designed to prepare me for an eight-hour night shift this evening, instead I’m writing it after six hours of sleep and will have to skip Thursday night television in order to try to find some nap time.
I share this story not just because of my recent tweet about potentially mixing more personal anecdotes with blog posts, but also because it’s an example of providing some greater context to events, which is essentially the point of “The Variable.” The episode really only has two functions: it serves as an escalation of the “plot” (remember that thing?) that has been mostly dormant since our cast ended up in the 1970s, giving us a sense of how the end of the season is going to develop, and it serves as an answer to the question of what Daniel Faraday has been up to since we last saw him trapped in 1974 with everyone else and nobody is really talking about him.
Perhaps it’s the weird sleep schedule, or that I wasn’t feeling great when I watched the episode, but I was kind of disappointed by this, the show’s 100th episode, at least on the latter point. At times feeling like another drop in the “parental neglect” bucket for the show, the tragic journey of Daniel Faraday was strong in isolation and yet when applied to the rest of the episode and the rest of the series felt too inorganic. Yes, I empathize with Daniel, primarily thanks to Jeremy Davies’ strong performance, but at the end of the day it felt as if Faraday’s storyline was tied so closely to the island that his individuality, and its connection to our other characters, was lost in the plot.
I understand that this is the entire “point” of the episode, but I found it a little bit clumsy in its execution even if I feel they’re ramping things up at the right pace as we march towards the finale.