Welcome to a new Sitcom Tuesday! This week, I’m continuing my coverage of How I Met Your Mother (2005-2014, CBS), which is currently available on DVD and streaming.

How I Met Your Mother stars JOSH RADNOR as Ted Mosby, JASON SEGEL as Marshall Eriksen, COBIE SMULDERS as Robin Scherbatsky, NEIL PATRICK HARRIS as Barney Stinson, and ALYSON HANNIGAN as Lily Aldrin.

Kids, in the spring of 2011, How I Met Your Mother was renewed for two more seasons, both of which, per last year’s framing, would now have to extend the teased lead-up towards Barney’s wedding — on which day we’ve been told that Ted will meet the mother of his offspring and thus fulfill the situation. As evidenced last week, this narrative setup allows Mother to shift its focus to the B-story of Barney’s love life and create suspense there — mostly regarding the identity of his bride, which we learn in Seven’s finale is Robin — all while maintaining tangential relevance to Ted and his A-story. However, Barney’s love life is secondary to Ted’s, so it is a narrative downgrade. And with drops of new info timed only for Sweeps, the painfully slow progression plays as contrived, especially with our awareness that it’s not ending anytime soon. Even worse, because we know Ted is not going to meet The Mother until the day of Barney’s wedding, any prospective love interest before then is little more than a time-waster — including past flames who return in Seven, like Victoria. That is, there’s no longer actual intrigue in Ted’s once premise-approved datings stories… Now, this year maybe, perhaps realizes that fact, for outside of Victoria, most of Ted’s rom-com gaze is instead on his lingering feelings for Robin, with an emotional triangle sort of developing between those two and Barney, for whom Robin still pines. But that’s tiring. Although the initial pairing of Barney/Robin seemed to suggest mutual growth that could explore them well, this was negated and regressed by their hasty, unmotivated split. By now, there’s scant character value until they both decide to re-commit. So, this stalling is terrible, particularly as Robin’s role as the bride gets increasingly likely prior to its finale confirmation. As for Ted, it looks like he’s reverted back to a pre-Barney/Robin era too, and again, since we’ve always known that Robin’s not The Mother, all of this drama can’t help but feel forced. Speaking of drama, the show continues to be more serious in its plot points this year as well, accentuating a tonal volatility that further strains enjoyment. And with some unideal arcs — Barney dating a stripper is notably stupid, as is Marshall and Lily’s brief move to suburbia and away from the situation — Seven is a disappointment. It’s less funny, less premise-connected, and less smart with its individual ideas. And the end is not yet near.

 

01) Episode 137: “The Best Man” (Aired: 09/19/11)

At Punchy’s wedding, Lily, Marshall, and Robin have secrets, while Ted is down on love.

Written by Carter Bays & Craig Thomas | Directed by Pamela Fryman

Season Seven opens with a nested flashback — at Barney’s forthcoming wedding, on which day Ted will meet the future mother of his children, they recall Punchy’s nuptials. This addresses the primary red herring that was teased last year as the potential place where Ted would discover his premised paramour. By now we know it won’t be on Punchy’s big day, it’ll be on Barney’s. Accordingly, this is a fitting occasion for Ted to be down about love and his chances of finding someone — heck, we’re all tired, Ted! — and this solid teleplay sets up most of the year’s major arcs, like Lily and Marshall’s pregnancy, and Robin’s renewed crush on Barney, with many laughs. So, this is a winning sample for Seven — one of the better, more thematically approved and narratively memorable selections here. (Once again, Chris Romano appears as Punchy.)

02) Episode 139: “Ducky Tie” (Aired: 09/26/11)

As Ted reconnects with Victoria, Barney makes a bet with Marshall involving a ducky tie.

Written by Carter Bays & Craig Thomas | Directed by Rob Greenberg

Ted’s temporary reconnection with Victoria (Ashley Williams), his girlfriend from the first season and the woman he left to be with Robin, is a fine bit of continuity that emphasizes the long-form nature of Mother’s storytelling. But it’s not dramatically interesting because we know that, since he’s already met her, Victoria is not The Mother; there’s another better, more serious love interest for Ted coming (the one whom this entire series’ premise was built to anticipate). And, frankly, it all smells like reheated leftovers — the show turning back to old girlfriends to fill time, just like it’s turning back to Ted/Robin. However, I suppose it is rom-com fare that, on its face, is thematically correct… and with a subplot that involves a bet between Barney and Marshall, along with the first pay-off of a tease from Seven’s opening flash-forward to Barney’s wedding — the ducky tie” — this does feel like a series-specific half hour, evidencing its usual storytelling and the specific framework under which Seven operates.

03) Episode 145: “Disaster Averted” (Aired: 11/07/11)

Barney tries to get out of wearing the ducky tie, while the gang recalls Hurricane Irene.

Written by Robia Rashid | Directed by Michael Shea

With a nested flashback centered around the Hurricane Irene that hit New York in August 2011, this installment boasts one of the year’s more unique idea-driven episodic notions, as the gang explains to Robin’s temporary boyfriend Kev (Kal Penn) why McLaren’s put up a sign forbidding “boogie boarding.” That’s amusing and original. But what I enjoy most is the continuation of the “Ducky Tie” through-line, which we know has ties to Barney’s wedding day. Here, he’s trying to get out of wearing it, and a deal is reached — with Marshall extending the number of “slaps” from Season Two’s memorable “Slap Bet” that he’s owed. This is a series-specific and almost series-defining bit of continuity that speaks to Mother’s special license for planting and pay-off in its long-form storytelling, and as a result, that gag is always situationally reflective (in broad terms) when it’s called back upon, as in this outing.

04) Episode 146: “Tick Tick Tick” (Aired: 11/14/11)

Barney and Robin plan to break up with their partners after their latest tryst.

Written by Chris Harris | Directed by Pamela Fryman

At the end of the previous episode, Barney and Robin shared a kiss — officially reigniting the possibility of a re-coupling, which is teased in this overly serious excursion that, I admit, I don’t love, for it’s a clear example of Mother leaning more on drama in this era, and not on drama related to its premised-corroborating exploration of Ted’s journey towards meeting the mom of his future kids. This creates tonal unevenness, both in the season, and even in individual scripts. That dichotomy is evidenced here, as Barney and Robin’s sober plan to dump their partners to be together (which he does, but she doesn’t), gets contrasted with a jokey subplot that I only enjoy because it takes advantage of the unreliable narrator device of recurring euphemisms — with sandwich-eating again replacing ganja-smoking. Fortunately, that is a unique facet of this series enabled by its high concept, rendering this an intentional display of sitcommery by Mother’s standards, and in particular, Season Seven’s. (Jerry Minor appears.)

05) Episode 148: “Symphony Of Illumination” (Aired: 12/05/11)

After their tryst, Robin believes she’s pregnant with Barney’s child.

Written by Joe Kelly | Directed by Pamela Fryman

Among the season’s best-remembered, this Robin-focused entry breaks with Mother’s usual framing of Future Ted narrating a story to his kids, to instead offer Future Robin narrating a story to her kids… only, as is revealed before the half hour is over, she’s not pregnant; she can’t get pregnant, and this is therefore all in her imagination. Many fans appreciate this dramatic wallop, but I don’t — I think it’s a gimmicky stunt that plays against the series’ overarching high concept yet doesn’t actually make sense within it, feeling more like a hand-of-writer contrivance. And, of course, tonally… this isn’t a good sample of any show that purports to be a situation comedy. Nevertheless, I have to highlight it here because it’s a memorable standout of the year, and in the positive column, there’s genuine value for Robin’s character, as it evolves her into a place where she’s happy about making a commitment with someone she loves… Barney. That’s a real bit of growth, based on her definition — and the parallels to the end of Season Two, where she and Ted split, only reinforce this transformation as earned.

06) Episode 153: “No Pressure” (Aired: 02/20/12)

After Ted confesses his love to Robin, he realizes that she’s in love with Barney.

Written by George Sloan | Directed by Pamela Fryman

I’m choosing “No Pressure” as this season’s MVE (Most Valuable Episode), but it’s still a quintessential example of the year’s overall issues — with a spotlight on the Ted/Robin/Barney emotional triangle that, in general, is a weakness here in Seven for all the reasons previously expressed. Most notably, Robin is well-established as not the mother of Ted’s children — the alleged focus of the series — so having him fall back to her in this way, after many years apart, looks like an intellectually regressive stalling tactic, particularly since the Barney/Robin engine is revving louder than ever before. However, to that point, this is one of the best-written teleplays of the season, with actual laughs balanced alongside its more serious romantic drama, and, for me, it succeeds in pivoting Ted away from Robin for good… well, seemingly for good. (If only!) And this is narratively smart, given what we’re being teased with both Barney and Ted, the latter of whom does need to move on if he’s ever going to be open to another love of his life. Plus, the closing moment with Ted in the sea of yellow umbrellas is a heart-fluttering bit of encouragement, reminding us of a classic symbol of the series… with the A-story perhaps starting to creep back into the fore. Meanwhile, this is a slight retread of Season Four’s “The Front Porch,” but the idea of Ted and Barney learning that Marshall and Lily take bets on their lives and sometimes intervene to influence outcomes enables the kind of re-contextualization of past events that inherently plays with perspective and the non-traditional storytelling this high-concept show is allowed to indulge via its situation. And in that regard, this outing feels exclusive to How I Met Your Mother. (Of note: Conan O’Brien appears as an extra.)

07) Episode 155: “The Broath” (Aired: 03/19/12)

Barney’s friends try to intervene when he begins dating a stripper.

Written by Carter Bays & Craig Thomas | Directed by Pamela Fryman

As suggested above, I’m not a fan of the storyline where Barney dates Quinn (Becki Newton), a stripper, for most of the emotional conflict revolves around her profession and the hangups that some characters (like Barney himself) have about it. It’s all very Sweet Charity (that is, clichéd) and actually feels reductive for Barney’s characterization, which doesn’t really evolve or get explored from it. And perhaps that’s no surprise — Quinn seems entirely like a love interest time-filler before Barney and Robin reunite; we don’t know that for sure yet, but we soon will. So, admittedly, I don’t like many of the shows from the Barney/Quinn era… However, I appreciate the named Bro Oath — or “Broath” — along with the be-cloaked ceremony scene, a memorably visual centerpiece that’s individual to this series and Barney’s well-defined character. And with the return of the group’s “Intervention” trend, not to mention a re-contextualizing structure that reveals an overarching Barney scheme — or “play” — there are indeed aspects here that are unique enough to Mother to make highlighting this excursion a necessity.

08) Episode 156: “Trilogy Time” (Aired: 04/09/12)

The guys’ tradition of watching the original Star Wars trilogy every three years sparks reflection.

Written by Kourtney Kang | Directed by Pamela Fryman

One of the season’s strongest showings, “Trilogy Time” is fun because it’s got a complicated structure. With a string of nested flashbacks that progress chronologically, and era-specific fantasies within them, this type of storytelling exemplifies the prime way How I Met Your Mother relishes in spicing up its long-form narrative, reminding us of its high-concept capabilities as a result of an unreliable narrator who’s not bound by a strictly linear trajectory. What’s more, these flashbacks — and fantasies — move through time, going from 2006 to 2009 to 2012 and eventually 2015, enabling the script to not only flex its muscles with regard to its tight command on the series’ self-established continuity (revisiting where each character was in each particular year), but also to set up a post-finale tease where Ted is a new dad, having had one of the kids to whom he’s narrating the entire show, thereby proving that mother-meeting is in the not-too-distant future. So, this is classic Mother, evoking the premise as best it can, and in a unique storytelling package that is alone situationally affirming, and supported by characters who are explored in the process. Oh, and the Star Wars detail that unites the guys every three years is fun as well — that’s tailored to who they are as bros. (I chose “No Pressure” for my MVE because it’s more emblematic of Season Seven as a whole, but this was a real contender.)

09) Episode 159: “The Magician’s Code (I)” (Aired: 05/14/12)

Ted and Robin try to distract Lily to delay her labor while Marshall rushes to her side.

Written by Jennifer Hendriks | Directed by Pamela Fryman

Season Seven’s two-part finale — which originally aired in a single hour-long block — is no great shakes narratively. We’ve seen many frazzled births before — father rushing to be by mother’s side as she’s going into labor. But I appreciate that Mother tries to inject some of itself into the formulaic proceedings by having more nested mini flashbacks, as Ted and Robin, who reunite themselves as friends, try to distract Lily and keep her from delivering the baby without Marshall. It’s a device that this series often uses, and is permitted to use, because of its high-concept premise. Additionally, I just want to shout out the guest work by the recurring Vicki Lewis (of NewsRadio) as Lily’s doctor — she adds laughs, as does Chris Elliott as Lily’s dad.

10) Episode 160: “The Magician’s Code (II)” (Aired: 05/14/12)

Robin encourages Ted to pursue Victoria while Barney plans an elaborate proposal for Quinn.

Written by Carter Bays & Craig Thomas | Directed by Pamela Fryman

The second half of Seven’s finale has bigger narrative things to accomplish than its predecessor, setting up the arcs that Eight will have to work through before earning (what we hope will be) its ending — Barney’s wedding where Ted will meet the future mother of his kids, thus fulfilling the series’ premise. But these arcs are all predictable rom-com tripe — Ted reunites with Victoria (whom we know isn’t The Mother) and Barney proposes to Quinn (in a subplot that nevertheless boasts laughs individualized to his character) — so that both men wrap this season with women who are not their implied endgame paramours. Indeed, Seven concludes on a bookending flash-forward to Barney’s big day, where the bride is revealed to be, as we’ve expected, Robin… which means we’re now anticipating where this plot is going and are therefore braced for ongoing frustration, as another whole season will likely be slow-walking this primary narrative with both its merged A-story (Ted and The Mother) and B-story (Barney and Robin). It’s getting closer, but as early Eight will prove, not close enough…

 

Other notable entries include: “The Naked Truth,” where Ted’s efforts to select a woman to bring to an event would have higher stakes if we believed one of them could be the future mother of his kids, “The Stinson Missile Crisis,” where Robin’s feelings for Barney have her acting a manic mess (à la Daphne right before she and Niles ran off together), “Mystery Vs. History,” which has a fairly straightforward episodic dating story for Ted, “The Burning Beekeeper,” which has a gaudy and somewhat contrived storytelling construct where we see one event play out from the perspective of each different room in a house (Malcolm In The Middle did this, and funnier), and “The Drunk Train,” which precedes and thus sets up my MVE above. I’ll also take this space to cite “The Slutty Pumpkin Returns,” where Katie Holmes plays Ted’s one-off love interest — in a role that is an inherent callback to Season One, reinforcing the series’ long-form narrative continuity; I wish it were funnier.

 

*** The MVE Award for the Best Episode from Season Seven of How I Met Your Mother goes to…

“No Pressure”

 

 

Come back next week for Season Eight! And stay tuned tomorrow for a new Wildcard!