March 21st, 2011
There is something hypocritical about the status of Barney Stinson as a character within How I Met Your Mother. On the one hand, he is the character who will change the least: because of his popularity, and because of the broad comedy the character is known for, Barney Stinson will never dramatically alter his behavior. And yet, at the same time, the character is uniquely positioned to engage with more emotional and transformative elements due to Neil Patrick Harris’ dramatic acting ability and the value of having a narcissistic character show signs of selflessness and vulnerability.
Ted Mosby is always on the verge of a dramatic life event, but is never allowed to reach that moment because it would fundamentally change the course of the series. However, because there are assurances that Barney’s essence will not be changed, he’s allowed to do what Ted is not: he’s allowed to meet his father, allowed to confront a potentially life-changing moment on a show which in its sixth season is largely resistant to fundamental change.
The result is a tremendous showcase for Neil Patrick Harris and John Lithgow, achieving an emotional complexity that has been absent from Ted’s story for what seems like a very long time without sacrificing the essence of the character. While there are some who remain frustrated with the lack of momentum on the eponymous story, the show’s sixth season has been quite effective in crafting stories about the other side of the parental coin that have really landed.
Even if they aren’t quite as transformative as Ted’s love life.
January 17th, 2011
Response to “Bad News,” HIMYM’s last original episode, was decidedly mixed. What struck me most was the way the episode-ending reveal that Marshall’s father had passed away became so problematic despite the fact that this is the kind of show which should be capable of handling such delicate matters. I’ll certainly agree with those who felt that there was some potential incongruity between the playful nature of the countdown and the eventual reveal, requiring a sudden gear shift which made the episode considerably divisive.
However, while the series is no so heavily serialized that we need reserve judgment on an individual episode until seeing how it carries over into the next, I would say that “Last Words” is in a position to sort of payoff the buildup offered in “Bad News.” The result, I feel, is an infallible merging of the comic and dramatic elements mashed together two weeks ago – with more time to establish the balance, Bays and Thomas emphasize the way in which well-drawn, longstanding characters offer great potential to take even a fairly rote storyline to a truly emotional place through some sharp writing and some stellar performances.
And that’s the sort of self-actualization the show was missing last season.
January 3rd, 2011
How I Met Your Mother is willing to make sacrifices.
In its balance of a long-running serial narrative and episodic storylines, the show is always looking for ways to balance one with the other: sometimes heavy mythology means slightly weaker standalone work, and sometimes a lack of mythology creates a lack of meaning to a particular story. Often, the mythology is emphasized to evoke pathos, and yet in the process the series has sort of fallen into certain patterns: the show can still hit Ted’s romantic notes well, for example, but it’s hit them enough times that the novelty may well have worn off.
In “Bad News,” we have an example of sacrificing coherent storytelling for the sake of slowly revealing an ongoing gimmick which, once fully comprehended by the audience, becomes the driving force behind a moment which was legitimately affecting. In doing so, the writers all but admitted that “Bad News” wasn’t going to be an all-time classic, but that seemed a conscious decision which allowed for that final moment to hit as hard as they wanted it to hit.
It was manipulative, to the point of damaging the structural integrity of the episode, but that final moment was perhaps worth that sacrifice.
“The Mermaid Theory”
December 6th, 2010
“The Mermaid Theory” is interesting in two ways. And since they’re not particularly substantial ways, I’m just going to cut the introduction off here and we can get into the meat of it.
November 8th, 2010
Always ostensibly interested in the passage of time, “Natural History” has How I Met Your Mother very purposefully digging into both past and future. In fact, the season as a whole is structured around the passage of time: the Arcadian was once a beautiful building, and yet it stands in the way of urban progress and has decayed to the point of ill repute.
Here, through a trip to the Museum of Natural History, that storyline is merged somewhat awkwardly, but ultimately effectively, with two more storylines that deal with memories of the past and their relevance in the present day. It’s one of those rare episodes which in and of itself doesn’t necessarily resonate, but the way in which it consolidates the entirety of the season is a really sharp pivot heading into the remainder of the season.
October 11th, 2010
This is precisely the kind of episode which is particularly dangerous for a show in How I Met Your Mother’s position. “Subway Wars” feels like a gimmick from the very beginning, and the show is at a point where it risks seeming unsubstantial. Back in the second season, something like “Subway Wars” might have seemed novel, but in the context of a sixth season it seems almost a bit desperate.
That being said, I think “Subway Wars” ends up working because it quite successfully ties the race towards Woody Allen into a personal journey for each of its characters. By grounding the journey in Robin’s belief that New York is turning on her, and Marshall and Lily’s struggles to conceive, the episode manages to make broad subject matter transition into legitimate character stories without too much difficulty.
It isn’t quite as well-oiled as it may have been four seasons ago, but I think that the risk ended up enough reward to make “Subway Wars” a solid entry.
September 20th, 2010
Look, I was pretty harsh on How I Met Your Mother last season, but it was harshness which stemmed from love: I care about these characters, so to see their individual arcs subjected in order to make way for standalone stories which fought against the series’ greatest, if not only, strength (its serialized elements) was unfortunate.
Now, I’m not one of those people who believes that the show needs to spend more time discussing the Mother: in fact, I am more or less completely uninterested in that storyline, other than the fact that it largely allows “wistful romantic Ted” to emerge and I’ve got a soft spot for that particular characterization. Rather, my issue is that I need the character to feel like they’re evolving, that they’re reaching a point in their lives when they are considerably less aimless than when they began. My problem, then, is less that Barney and Robin split up, and more that they split up and went back to fairly reductive versions of their respective characters.
“Big Days” is an intelligent premiere in that it keeps things decidedly simple: other than yet another future milestone that we can start counting down the days until, the episode creates a small scenario which speaks to the series’ past, present and future without feeling too strained. Nothing it does feels particularly monumental, but the episode nonetheless captures the sense of purpose that the show was missing for the bulk of last season.
Which, if it holds, will be a welcome return to form.
May 24th, 2010
How I Met Your Mother has always been a show about ideas: the central premise of the show is more complex and philosophical than your traditional sitcom, leaning on themes of fate and narrative which are not necessarily what one would call common comedy fare. However, it was also a show where things happened within the thematic realm, where characters felt like they were making decisions and potentially heading “off course” from our expectations.
In its fifth season, HIMYM has lost that dynamism, as seen in a finale where nothing that happens feels of any consequence. “Doppelgangers” has a plot, and some “big” things happen in the series’ realm, but none of it feels organic or noteworthy. Instead, the episode feels like a rumination on the idea of controlling your own fate which just happens to relate to things characters happen to be experiencing at this point in time.
And while I still value that part of the series’ identity, and still appreciate these characters, the heart of the series has been notably absent in what I would easily call the show’s weakest season, and unfortunately “Doppelgangers” does nothing to change this even while providing one of the emotional moments we’ve been anticipating since early in the series’ run.
May 12th, 2010
I don’t think this was, in particular, one of the show’s funniest episodes. There were certainly some clever lines in “Hawaii,” as the show tried out some familiar but not yet tapped out character combinations within the central family, but the show wasn’t going for what you’d call broad humour here.
However, there was a nice sense of realism in the way these stories unfolded; everything reaches a heartwarming conclusion, but rather than undercutting some sort of broad comic satire it seems like a logical extension of a trip which got “real” in a hurry. Everyone was caught dealing with certain realities they hadn’t faced in their daily lives which people are technically supposed to leave behind on vacations, and that led to a focus on these characters as real people in a way the show sometimes elides in its search for comedy.