TV Review: How I Met Your Mother-- Karma

This episode is the kind of installment I watch every week holding out for, an episode that reminds us all why we loved this show in its early days, and why we've stuck with it for so long.  "Karma" may not have been epic, per se, at least not in the way we spoiled TV viewers have come to expect, but it was a solid half-hour of storytelling, and it tugged at the heartstrings while simultaneously supplying laughs, which is what any HIMYM episode worth its salt manages to do seemingly without effort.

First we addressed the whole "Barney's in love with a stripper" plot line, which is shaping up to be a lot more interesting than trite.  I think after 6 seasons and change of watching Barney deceive woman after woman, it'll be a while before I grow tired of seeing one turn the tables on him for a change.  I also think I might really like Quinn as a match for our Mr. Stinson following this episode, though I'm going to need a few more appearances before I can decide if I want to see her revealed as the bride in the flashforward we've been promised at season's end.

On the other front we had Robin's adventures in the suburbs with Marshall and Lily, as well as Ted struggling with various (disastrous) hobbies as he tried to fill the literal and figurative space left behind by his ex-roommate Robin.  My expectations being mediocre as they were, I assumed both of these would be throwaway stories used as backdrop to Barney's story this week, but in a surprise twist these two plots managed to not only twine themselves together, they provided the dose of forward momentum this show has been sorely in need of over the past few months.  Robin passed on to Ted her discovery that Marshall and Lily were not enjoying life in Long Island nearly as much as they pretended; and Ted realized that the solution to everyone's predicament was a big gesture, (thankfully) a non-romantic one this time.  Turns out he never took Marshall & Lily's names off of the lease for their apartment, and he decides to remove his own so that they can move back to the city, and even decorates Robin's room for the new baby to live in instead.  Cute, right?  Everybody wins, except Ted because he's apparently homeless, and we all know how hard it is to find apartments in NYC.

Additional thoughts:  I feel like, if Karma was using that "let's go on a date" trick with all of her customers, she would have had a host of complaints by now, and maybe even an actual manager who disliked her.  Then again, it's not like I know anything about how strip club politics work.  Also (and on a completely different note), shouldn't Ted be like, at least a little bit better at building things?  I don't think I'd trust an architect who can't even get a table right (though I did enjoy his efforts at pottery).

Overall, this episode was a peak in a season of drastic ups and downs.  At this point there's really no predicting what next week will bring.

TV Review: Parks and Recreation 4.16-- Sweet Sixteen

I have to say, in a string of very strong recent episodes, "Sweet Sixteen" didn't quite meet my admittedly high expectations for this show.  This might be at least partially because the plot centered so heavily on Jerry (who we all know is as mediocre as they come); that said, the episode is still solid and funnier than most of what TV had to offer this week, it just could have been better.

We find out this week that Jerry's birthday falls on February 29th (Leap Day), which means that it only occurs every four years.  This seems par for the course for Jerry, but in a fit of guilt over neglecting some of her Parks Department duties, Leslie is determined to make it special.  She rallies the entire department (plus Ben and Ann, of course) to throw Jerry a surprise "16th" birthday part (he's turning 64, so it's his 16th Leap Day) at Donna's luxurious (and secret) lake house.  Of course, because Leslie is twice as frazzled as usual due to splitting her focus between the City Council campaign and managing the Parks Department, the planning for this event results in one disaster after another, the biggest misstep being that she forgets the small detail of actually inviting Jerry to his own surprise party.

Ron can see that Leslie is not going to be able to play both roles at full throttle for long, and nudges her toward taking a leave of absence from the Parks Department in order to focus on winning her campaign.  Leslie refuses, insisting that she can get everything done, but after botching the party for Jerry and spending the day wrangling misprinted campaign posters, she finally relents and agrees to cut her hours at work down to just ten per week.  I'm glad the show addressed this, because even given Leslie's documented ability to only sleep 3 hours per night and her obsession with her job, the notion that she could continue burning the candle at both ends and still stand a chance of winning that City Council seat is a bit unbelievable, even for her.  I also think the show has struggled a bit in the past few weeks trying to decide where its focus would be best placed.  This way they can have a largely even split between Leslie working on her campaign and the goings-on at the Parks Department in her absence, rather than scrambling to incorporate enough of both into a mere 21 minutes.

One thing this episode showcased (likely inadvertently) is the growing problem of Tom and Ann. This story line played second to the Leslie/Jerry/Ron antics, and it was extremely weak by comparison.  I would even say that it was only saved by the brilliance of Aubrey Plaza's April and her increasing frustration in her role as matchmaker-turned-relationship counselor. Now I know I was one of the people defending Ann's choice to go out with Tom and insisting that it's true to her character--and I do stand by that, because I think the writers must have their reasons for thrusting this odd pairing at us for the third consecutive week.  What is becoming hard to comprehend, though, is why either party is continuing to stay in the relationship when any chemistry that seemed palpable before seems to have evaporated.  I appreciate the maturity (particularly on Tom's part) of the decision to stop fighting about "stupid things," but at that point it seemed like there was hardly a fantastic relationship worth saving.  We have yet to see Tom and Ann have a legitimate, sincere moment together (and we all know this show knows how to do sincere moments), and continuing to assume those are happening behind the scenes (if indeed they do exist) is becoming tedious.  I need the show to illustrate why it's okay that Ann broke several of Tom's "oh no nos" and why he wants to stay with her in spite of them having almost nothing in common.

Oh, and there was also a plot about Chris bonding with Champion, Andy's dog, and making Andy feel like a worse pet owner.  I think Chris needs to be given something (or someone) to do, because whenever he is not in a relationship (which we then have to hear all about), he is extremely needy.  Sure, his antics are still funny, but I still feel like he hasn't quite found his place within this band of misfits (unlike Ben, who emerged at the same time and manages to blend right in in a way Chris has yet to manage).  I think as we move to focus more on Leslie's campaign we should accordingly see less of Chris, which might be a relief for characters and viewers alike.

On a much less related note, I think this episode may have rubbed me the wrong way at least in part due to the news that we are soon to be slapped with 5 (five!) Parks-free weeks due to the brain trust over at NBC shuffling the Thursday night lineup yet again to allow Community a return from its own unjust hiatus.  I wanted Parks to air an episode that would prove beyond a shadow of a doubt that it is the best show on Thursday and ought to be the last chosen to walk off the schedule (of course, most us would believe this no matter what).  I just wanted "Sweet Sixteen" to be the episode that really put up a fight and made the execs question their decision, and I'm not convinced that it was.

TV Review: How I Met Your Mother -- No Pressure

While this was an admittedly more tolerable episode than the last few, I still don't think I loved "No Pressure" the way I've loved episodes of How I Met Your Mother in the past.  I'm very, very grateful for the way things resolved themselves, but the path to reach that point was rocky at best.

First let's talk about the opening.  While it did do us the service of reminding us that eventually there is going to be a woman who becomes the mother we've been talking about for so long (at least in theory), it also did one of my least favorite things on this show, which is to illustrate that the current plot line (in this case Ted and Robin and the mystery of where they'll go from here) is an exercise in near-pointlessness.

We next see Ted in the present with Robin, expanding on last week's inexplicable confession of feelings.  Robin is, unsurprisingly, struck dumb by this, but just as Ted convinces himself that his declaration was nothing more than a bout of temporary insanity, Robin shows up at his door with the full intention of getting it on.  Fortunately, (extra emphasis on 'fortunately' for those of us who'd been cringing up to this point), Robin's co-worker shows up with a very convenient departure for their trip to Russia, interrupting what might have been a very big mistake.  This leaves Ted to turn to Marshall and Lily with his dilemma.

One thing I absolutely despise about Ted and Marshall's conversation is that irksome bit where Marshall points out the "signs" we should have seen over the past few months pointing to Ted's renewed interest in Robin.  And while a careful viewer could have just maybe interpreted these nearly-microscopic indicators correctly, it felt more like the writers were talking down to the audience than anything else.  I find it more than a little annoying to be condescended to by a show that has, in many regards, lost its way this season.


Easier for me to swallow is Lily's reaction, because she spends this episode serving as the sole voice of reason (at least until Robin returns to her senses later, but more on that in a moment).  Lily expresses my feelings (and, I'm guessing, more than a few others') about this backtracking perfectly, pointing out that although Ted has not, in fact, found the future Mrs. Mosby yet, he hasn't moved any further into a relationship with Robin, either.  Ted continues to be hardheaded and whiny, however, insisting that Lily is rooting against him because of a bet she and Marshall made concerning the couple in question. 

And because it apparently isn't enough to make me want to throttle Ted, Robin, and Marshall (but just a little bit; he's trying to look out for his BFF after all), we next see Ted thrust the blame for his and Robin's current predicament on Barney, who has a surprising reaction.  He spills the details to Ted about what went down back in the fall (when this season appeared to have a more defined direction for itself...) between him and Robin, and insists that he's not waiting around for her when she doesn't feel the same.  Barney also tells Ted that if he (Ted) can be the one to make Robin happy, then that is all right with him. For me this scene proves that Barney has officially become the superior character, and perhaps the better man.


Fortunately, when Robin returns from Russia she seems to have gained some perspective, and she and Ted finally have a heart to heart conversation (the majority of which we, fortunately, don't have to listen to).  When Ted asks her point-blank if she loves him, she thankfully says no and saves us all from a continuation of this awful, awful story line.  What follows is one of my favorite scenes in recent memory on this show, between Marshall and Robin.  Marshall plays the part of best friend possibly better than he ever has, telling Robin that despite the brave face he might put on, Ted is crushed by this rejection.  He also tells her what she already knows:  if things are ever going to get better for anyone involved, Robin needs to move out of Ted's apartment.

The episode closes not on this conclusive note, but with a scene between Marshall and Lily that left me scratching my head.  When Lily insists that it is now finally time for Marshall to pay up on their bet concerning Ted and Robin's relationship, he stoutly replies, "not yet."  I can't tell now if this is simply Marshall's unwavering optimism, or if it is the writers' attempt (in a very lazy move, if it is the case) to leave the door open just a crack should they want to (heaven forbid) revisit this plot again in the future.  As for me, I'm hoping for the former.

Crash Course in Downton Abbey: The Modern Appeal of a Period Drama

 If you're anything like me (and most television viewers), you've probably heard at least whispers about Downton Abbey, especially in the wake of its recent popularity explosion (did you hear it placed second to the SuperBowl?).  And if you're like me up until the moment I actually watched the first episode, you're probably wondering what in the world all the hype is about.  As a seasoned television watcher and amateur analyst, I like to think I have a certain degree of authority when it comes to telling the people who are silly enough to heed my advice what they should watch.  And even if I didn't feel I had that authority, I would probably still be telling you to watch Downton Abbey.  It's that good.

Now, you might be thinking that despite my glowing praise you still won't enjoy the show, because let's be honest, sometimes I like very obscure things that don't have as broad an appeal as I think they do.  However, I think the case can easily be made that Downton Abbey has a little bit of everything the modern television watcher is seeking:  cultural relevance, chaste romance (because come on, aren't we all a little tired of seeing so much sex on TV?), political rumblings, the impact of warfare, and oh yeah, Maggie Smith being the best outspoken grandmother on television.  The reasons abound for you to tune in, and the timing couldn't be better:  the finale of season 2 airs this Sunday on PBS' Masterpiece Theatre, which gives you about 30 hours to catch up on the prior 13 installments.

Occupy Downton

If you're looking for an interesting examination of the 99% vs. 1% problem that (most likely) doesn't hit too close to home for you, the class division between the Upstairs and Downstairs crews on this show is both intriguing and relevant.  Of course, the Crawleys are a bit more benevolent than the Wall Street types who are gobbling up all the money these days (though they might not seem it at first); they are creating jobs, after all, and they are almost always willing to give the servants the benefit of the doubt (excluding Thomas, who of course doesn't really deserve it).  The Ladies Crawley are even more progressive than their parents, and are often to be found sympathizing with the servants and actively trying to better their lot (think Sybil helping Gwen score a secretary position, Anna's rapport with and concern for both Carson and Anna, the whole house's investment in Mr. Bates' fate).  Add to that the fact that at the end of the day the servants have a consistent roof over their heads and food to eat, and you could do a lot worse than Downton Abbey for minimum-wage employment.

The Times Are A-Changin'

One of the most interesting features of this show is the vastness of the time period it's already managed to span.  In the course of no more than 14 episodes (at least the way PBS has divided them), we've literally traveled through almost a full decade, with the first episode opening in the days following the Titanic disaster (in April 1912) and last December's Christmas episode taking us through to January 1920.  Needless to say, there is a huge evolution of culture in the intervening time, with the Victorian splendor of the 1800's gradually giving way to the confused and changed world that emerged in the aftermath of the Great War. This is a time span that often gets overlooked in contemporary film and television (whereas WWII and the Vietnam era are given almost too much attention), and it is incredibly interesting (especially if you're anything of a history nerd like I am) to be plunged into such a compelling experience of the moments most of us have only read about in history books.  Stories of the past always feel nearer to us when they're given a human face, and Downton Abbey's writers have absolutely mastered this.

Good Old-Fashioned Romance

There's a pairing for everyone who watches this show, it seems.  Matthew and Mary are of course the star will-they-or-won't-they romance (Michelle Dockery remarked in an interview that she'd heard them referred to as the "Ross and Rachel of period drama", which is both hilarious and fitting), their longing glances and loaded exchanges surviving even the darkness of World War One and an endless strings of miscommunications and misunderstandings.  For those looking for a relationship built on genuine compassion and patience, you've got the seemingly doomed romance of Anna the ladies maid and Mr. Bates the valet.  It seems the universe will stop at nothing to try to keep these two apart, despite their endlessly good intentions.  And of course, there is the rebellious romance between Lady Sybil Crawley and Branson the chauffeur which is not only a meeting of two politically inclined minds but which shatters the assumed barrier between the Upstairs and Downstairs dwellers (plus he's got an adorable Irish accent to boot).  Though the romances themselves occasionally veer toward the soap opera-esque, it is satisfying to see how such well-articulated characters can complement and even improve one another in a world still preoccupied with increasingly archaic social constructs and concerns.

Stings, Doesn't It?

Of course, all of the characters on this show are well-spoken and many of them dispense a great deal of wisdom and wit.  There is no competition, however, when it comes to the best one-liners and overall commentary.  That honor goes to the Dowager Countess of Grantham herself, portrayed flawlessly by Maggie Smith.  Chances are, if the DC is talking and whatever she's saying sails right over your head, someone just got majorly burned.  Also, she really hates Americans.

This show has the potential to make you laugh, cry, and lament the death of chivalry all in one sitting.  Not to mention, the British accents will make you feel like you're indulging in something classy, even if you're only watching to see the next twist in your favorite romance unfold.  And for those who want to appear in the know right off the bat, remember that it's DownTON Abbey and not DownTOWN Abbey.  It'll save you a lot of time and embarrassment, take it from me.

The Art of Quitting While You're Ahead: A Case for 2 TV Favorites to Bow Out Gracefully

When it was recently announced that FOX's House would be drawing to a close this spring, my initial thought was that it was about darn time.  However, upon reading that it was the show's creator and lead actor who were largely behind the decision to close the doors of Princeton-Plainsboro, both my interest and my respect spiked.  According to various sources, the network would have likely been game for another season of House, despite its dwindling ratings and sub-par execution in the last year or so.  The show runners, however, knew that it was time to quit, and gave themselves enough time to write a (hopefully) satisfactory ending to a show that still has a fervently loyal fan-base as well as some seriously talented performers.  This of course got me thinking of a few other shows that might consider saying their goodbyes in the near future...

The Office

As I wrote nearly a year ago in this post, The Office was just about unimaginable without the genius of Steve Carrell to steer the ship.  And while the show has had some shining moments in an otherwise uneven season (the past few weeks' episodes featuring Dwight's leadership arc have been surprisingly hilarious), on the whole it has flattened in much the way I (and many others) anticipated.  The show runners attempted to fill the void left by Michael Scott with James Spader's Robert California (whose every appearance many dread, as he is hugely unlikeable, and not in an exciting way) and a handful of other guest players who just haven't gelled with the Dunder-Mifflin/Sabre staff they way those in charge clearly hoped.  And with news of a potential Dwight spinoff and the news that Mindy Kaling has been tapped for a pilot on FOX, not to mention the escalating film careers of John Krasinski and Ellie Kemper, it is quickly becoming a question of which cast members will remain and continue to put their best efforts and energies into the show.  Not to mention this past Thursday's series low rating, disappointing for a show which, just a few years ago, was the centerpiece of NBC's Thursday night lineup.

I think that if the show's writing staff were to make peace with the idea of wrapping the show up either this season or next (preferably the former), it would allow them the time to pen a truly satisfying ending to the show.  As it stands we're seeing some weak efforts to keep the week-to-week buzz going (the Andy and Erin saga can only continue for so long, and I'm still 100% sure Jim will not cheat on Pam despite the show thrusting this plot line at us), and I think it might benefit everyone involved if they had the opportunity to wrap up the dangling threads in a satisfying way, and give long-time viewers a conclusion befitting the show we all fell in love with way back in 2005.  I would rather see a moving, unified sendoff for our favorite paper pushers than a slow trickling out of the characters I've come to enjoy so much, and much more than seeing them replaced by lackluster newcomers (the last addition to the cast who really managed to win me over was Ellie Kemper as Erin, and that is a testament to her talent rather than what she's been given to work with).  I'm sure the still-struggling NBC is reluctant to pull the plug on one of the shows for which it is still so widely recognized, yet I think they do a disservice to the talented minds who make the show each week by keeping them around past their prime.

How I Met Your Mother

I've hinted at this one in a couple of my recent reviews, and I stand by it even more firmly as Season 7 continues to (in more ways than one) unravel.  How I Met Your Mother is renewed for next season already, which seeing the inconsistency of this season seems like a hasty decision (it was confirmed before this season even began) on the part of CBS.  Then again, this is the network that continues to push reality-giant Survivor on us in its 24th(!) season. 

The real problem with HIMYM lies in the ambitious nature of the show itself.  By beginning the show back in 2005 (are you seeing a common thread here?) with the notion of telling "a love story in reverse," the creators and writers knowingly committed to a narrative structure which requires a commitment and skill beyond nearly every other sitcom on television.  That doesn't mean that the show always has to be better or funnier than its competition, but it absolutely does mean that the story has to unfold in a certain way, and with a certain consistency.  And as the show has rumbled along into its seventh season, it has become clear just how restrictive its chosen structure can sometimes be.  Bays and Thomas (the show's 2 creators) openly admit that they never expected the show to continue for this long, and have had to adapt as it has received repeated renewals.  That's all well and good, but there have been entire episodes in which it really feels to even casual viewers like the minds in charge no longer have a plan for the show and its characters.  I think imposing an end-date on the series ASAP would really help in moving away from this problem.  I'll cite as examples the show runners over at ABC's LOST, who gave themselves a deadline for concluding the series early on, a move which allowed them to tell the story they intended without continuing to waste episodes on irrelevant plots (as we saw in the second and third seasons of that show).  LOST

When you think about it, there are really only a few plot threads (I remember reading somewhere that one writer counted 18 loose ends, which seems like an overestimate) that need to be resolved by series' end.  We need to find out who Barney and Robin, respectively, end up with (if anyone).  We need to see Marshall and Lily have their baby.  We need to see how Ted winds up in the right place at the right time, with that yellow umbrella in hand, and finally, after literally years spent sitting on that sofa listening to the story, tells his children how he met their mother.  Whether the writers go the literal route of closing the series at that exact moment or allow us time to get to know the mother as a character (I think the latter would be a greater payoff for seven-plus years of fan investment), there is more than ample time to wind this series to a close by May 2013. 

Oh, and of course, there are two slaps remaining...

TV Review: Parks and Recreation 4.15-- Dave Returns

Okay, let's just throw this out there first:  I would willingly watch an entire episode/several episodes featuring Ben's inability to act like a human around cops.  I love Adam Scott so much anyway, but moments where he gets to play impossibly awkward are my absolute favorite.  I also feel a sense of kinship with this character facet, because I too am irrationally afraid of police officers (they have guns, guys!).

But setting that aside for the moment, this episode's focus is on Leslie attempting to secure the endorsement of Pawnee's police chief.  This is complicated by the return of her ex-boyfriend (also a cop), Dave, played by none other than the hilarious Louis CK.  Naturally, an intensely awkward three-person dinner ensues.

Meanwhile, Andy is at his most enthusiastic as he tries to organize the team to record "Catch Your Dream," the official theme song for Leslie's campaign.  There are several pieces moving at once during these scenes, including Chris' unfortunate lack of any musical talent, Ron's desperation to avoid being identified as his alter ego Duke Silver, and of course, Tom's continued attempts to woo Ann (more on that in a minute).

I think one of the best things in the dinner scene and the hijinks that follow is Leslie's clear influence on Ben.  When we first met Ben Wyatt his first instinct was to judge the people of Pawnee, openly casting them as "weirdos" and the like.  Now, however, he is willing to give Dave the benefit of the doubt to an almost foolish extent, because he trusts Leslie as a judge of character so much.  Unfortunately, this renewed naivete results in his being handcuffed to a urinal so that Dave can try to run away with Leslie.  Moral of the story:  sometimes it pays to be a little critical, especially when it comes to your girlfriend's ex.

And now I'd like you to bear with me while I express some (expansive) thoughts on the recent arc concerning Tom and Ann.  I’ve been reading a lot of negative thoughts on this episode because people don’t like the way the Tom and Ann story played out.  I am ambivalent about it (I want to see one more episode featuring the two of them & their dynamic before really passing judgment), but I’ll say this.

Everyone is complaining about Ann letting herself be “worn down” by Tom, and saying that she can do better and blah, blah, blah.  And hey, I love Ann, and she probably can do better, but the thing is (and her history on the show illustrates this) I don’t think Ann thinks that Ann can do better.

Look at her relationships on the show:  when we met her she was with Andy who, let’s face it, was kind of a huge tool in Season 1.  We found out they’d been dating and living together for a long time, and it was very clear that Ann was letting herself be walked all over.  Arguably her healthiest relationship on the show was with Mark, because she was the superior one in that relationship (having the experience of having dated someone long term), but she eventually got bored with that because Mark didn’t test her patience or push her buttons, and even then it took her ages to end things with him.  Then she dated Chris, who I might remind everyone also had to work hard to wear her down.  He was very self-absorbed, especially as their relationship progressed, yet Ann put up with it because she liked the idea that such a nice, cute guy wanted to be with her (she also may have been influenced by the huge increase in vitamins and supplements in her regiment).  When she broke up with Chris we saw her at the height of her insecurity, bouncing from sub-par guy to sub-par guy while her self-esteem continued to plummet.

This season we’ve seen an Ann who has been throwing herself into helping Leslie’s campaign and her work with the Health Department likely because she was trying to downplay or ignore the failures in her romantic life.  When Leslie and the gang threw Ann’s single-ness into sharp relief in last week’s Valentine’s episode, Ann was the most vulnerable we’ve seen her in a long time.  Of course the attentions of someone like Tom who, annoying as he is, has repeatedly told Ann that she’s beautiful and kind (which is probably exactly what she wants to hear right now, even if she won’t admit it/doesn’t fully realize it); are going to be flattering on some level.  I think the writers are to be applauded for giving Ann even the small amount of power in the relationship that she has— if this were Grey’s Anatomy or some similarly dramatic show, Ann would’ve already slept with Tom to try to up her confidence; her saying yes to a date with him is not the anti-feminist throwing in of the towel that some viewers have made it out to be.

I also think it’s not inaccurate to say that Ann likes a project in her relationships.  She thought she could push Andy toward being an adult (and was subsequently disappointed when he began to mature after their relationship had ended), and she was able to try and mold Mark into the boyfriend she thought she wanted, so maybe she thinks she can do the same with Tom.  You could see the little flicker of hope on her face when Tom said he wanted to cut the crap and be straight with her (before he started singing, of course); there is clearly a part of Ann that sees through Tom’s nonsense and still (maybe naively) believes that she can sort of train him to act normal, without losing the parts of his attentions that make her feel good about herself.

I think that's enough out of me, yes?  

TV Review: How I Met Your Mother-- Drunk Train

Okay, honesty time. I didn't review last week's episode, not because I forgot or was busy, but because it was so gosh-damn boring I couldn't even think of things to say about it.  I was also hesitant to write anything on this week's installment, given that I've already expressed my frustrations with a certain story arc concerning Ted and Robin (here).  However, there were a few good features of "Drunk Train," including a promising plot line for Barney and his newest love interest.

The first big surprise in this episode comes relatively early on, with perpetually too-smitten Kevin asking Robin to marry him.  First, haven't they only been dating a few months, at the very outside?  And second, you would think that if Kevin feels they know each other well enough to get married, he would know Robin well enough to be familiar with her views on marriage and children.  But ignoring that (just as the writers apparently have), we see that at least Robin is thinking somewhat straight, telling Kevin she needs time to think it over before giving her answer.

Fortunately, Marshall and Lily are around to lend a pair of listening ears, being more useful in their brief exchange with Robin than they have in weeks.  Robin spills the secret about her infertility and cites it as the reason she does not want to marry Kevin.  While I am very glad that she's found someone to confide in, I take issue just a bit with the use of this twist as the sole reason for turning Kevin down.  I think that, even prior to finding out she can't have children, Robin never showed signs of being 100% invested in the relationship (especially when she, you know, cheated on him with Barney), and I also think it's possible that the writers didn't want to rehash the issue of Robin simply not wanting to get married (a stance which few television shows seem brave enough to validate, even in this day and age).  In any event, Marshall and Lily rightfully advise her to be honest with Kevin, and he responds in a manner that is either charming or kind of desperate, depending on your level of cynicism (I tend toward the latter), insisting that he still wants to marry her.

The other major arc in this episode involves Barney and a girl he met whilst out serving as Ted's wingman a few nights ago.  While I am fully on board with the idea of Barney getting another serious girlfriend (especially if he's set to walk down the aisle by season's end), I think the writers were a bit heavy-handed with the hints that Barney likes Quinn in a more serious way than his usual conquests.  A few seasons ago this would have absolutely been necessary, but in the face of all of Barney's growth as well as his relationships with Barney and Nora, the possibility of seriously dating a woman didn't need to be treated as so unusual for him.  That said, I like Quinn as a character based on what we've seen here.  She started out a bit too reminiscent of Nora on her introduction, dismissing Barney's tactics, but the plot twist that emerged in the tag (that she's in fact a stripper at Barney's regular haunt) seems like it might be just the thing to keep this relationship interesting. 

Getting back to Robin and Kevin, we finally got a scene with some real honesty, however harsh.  Kevin again reiterates his desire to marry Robin despite her infertility, but doesn't realize she not only can't have kids, she doesn't want them.  This is (finally) a dealbreaker for Kevin, and the two part ways, concluding one of the more tedious relationships this show has ever thrown at us.  But the fun (and by fun I mean nonsense) isn't over yet...

The episode's last scene opens with Robin on the roof of the apartment, looking sad about her breakup.  She is quickly joined by a possibly still drunk Ted, who listens as she tells the whole story of her and Kevin's unraveling.  And instead of saying something reassuring or even just offering a hug (you know, like a good friend would do), Ted makes not one but two completely illogical statements.  When Robin laments that she doesn't think any guy will ever be able to look past her non-desire for children, Ted responds thus:  "I could.  I love you, Robin."

Now, as we've previously established, I am completely against another walk down this road.  Ted and Robin's romance was, in my opinion, put to rest seasons ago, and as of this moment there is no discernible narrative reason to revisit it.  Additionally, I am extremely bothered by the way Ted makes this proclamation.  First of all, he has always, always wanted children.  It's been in his plan since the very beginning, and there has been absolutely no indication that this has changed in the intervening time.  Second, while there have been moments that could conceivably be stretched to indicate a renewed interest in Robin, I simply cannot buy that Ted is now so in love with her again that he would be willing to give up his dream of having kids in order to be with her.  I'm hoping that this was simply a drunk, irrational Ted making his usual too-sweeping declarations, and that it will be resolved in next week's episode, but the fact that I can't be sure of that worries me.  For now we'll just have to keep our fingers crossed that Robin knocks some sense into him, and that this whole story line can be resolved in a minimally annoying way.

Movie Review: Extremely Loud & Incredibly Close

This is the (almost impossibly) dark horse in the Oscar race for Best Picture this year.  Extremely Loud and Incredibly Close has had its ups and downs in terms of buzz and critical response, and many thought it would slip through awards season under the radar, as it had until the Academy Award announced its 2012 nominations just a few weeks ago.  Since then, the film has enjoyed an uptick in people talking about it (of course, the talk has hardly been all flattering), mostly wondering how in the world it made the list of the nine best films of this year.

And now having seen it, I can tell you (with authority I've awarded to myself) that it made that list because it is one of the better movies of this year.  It is well-crafted and genuinely heartfelt, and the performances by everyone involved are superb.  Of course, it would appear that the majority of moviegoers over at Rotten Tomatoes disagree with me, but I'd like to make the case for disregarding their opinions.  This film is easy to fall into and enjoy immensely, there are simply a few things you need to keep in mind, things that the critics have been too quick on the draw to point to as reasons for the film's failure.

First, the film is not about 9/11.  That might sound strange, and I'll clarify:  it's not about 9/11 in the way you're expecting (and the way some of the ads have made it look).  Yes, they address the attacks and their impact, but from a singular perspective (Oskar and his family's), and the event itself is an impetus for the real story, rather than the story itself.  The real story here is one about the things and people we lose on our journey through life, and the sometimes difficult-to-see threads which tie us to one another.  It's a story about how everyone has a story, even one you might not anticipate on first meeting them, and that those stories can help us understand and co-exist with each other more than just about anything else.

Second, the film is not about autism.  Yes, the possibility of Oskar suffering from something on the autism spectrum (and I'd like to be clear that it is never confirmed, in the film nor the book, that he does) is an interesting facet of his character, and one the film chooses to highlight and make accessible rather than making it into a "there's something wrong with the kid" type of film.  However, I think Oskar can be read in a variety of ways, and the more important takeaway is how trauma can worm itself into our lives (this is showcased brilliantly in the differences between Oskar and "the renter", both traumatized by past events and both coping with it in unusual ways) and really impact who we are and how we interact with the world.  Oskar might have been any other child, a little bit quirky and socially inept but earnest, but it is the terrible thing he has experienced that exacerbates his stranger tendencies and drives his obsession with establishing a connection to his deceased father.

Finally, and perhaps most importantly, the viewer (most particularly those who've read the novel upon which the film is based) must bear in mind that while this might seem an imperfect adaptation, it really is doing the best it can.  Extremely Loud and Incredibly Close is a very complicated novel with (in typical Safran Foer fashion) numerous threads running through its narrative, connecting characters through space and time in unexpected ways.   A film adaptation was never going to successfully capture the novel's scope verbatim; rather, it sought (and in my opinion, succeeded) to serve as an interpretation of the book's essence, of painting its message with broad strokes rather than scrambling to include details.  Of course, it would have been great if we'd gotten the more fully-realized back story on the renter that the book provides, and yeah, it would have been cool to see even more of Oskar's various travels, but that might have taken away from the film's tone, and its expression of something really pure and human about the way we deal with our ties to other people, and the loss of those connections.

Just about every actor in this movie turns in a phenomenal performance.  Thomas Horn carries the admittedly difficult role of Oskar with visible dedication and passion (though his over-eager narration can be a bit much at times), Sandra Bullock and Tom Hanks are wonderful as his parents, and Max von Sydow gives the best silent performance not featured in The Artist of the year (his surprise nomination for Best Supporting Actor makes sense after just a few minutes of screen time).  Additionally, and on the unfortunate side, this film gives us the second moving, remarkable musical score for which Alexandre Desplat has not been awarded or even nominated (the first, of course, is last summer's Harry Potter and the Deathly Hallows Part 2).  In my book there are few composers who really give voice to a film the way Desplat does, and it's about time he started earning more recognition for his work.

Trouble Ahead? How I Met Your Mother's Sweeps Plans

Mr. Thomas, Mr. Bays, I certainly hope you know what you're doing.  We've trusted you so far, after six and a half seasons of edging only incrementally closer to finding out the identity of (at least, theoretically) the most important character on your show.  It's been a funny, heartfelt journey, and so we've forgiven you the occasional backward step or joke falling flat.  But if the rumors of what you've got in store for this month are true, that trust, slightly wavering in the face of an uneven season seven so far, might just run out.

For those of you wondering what I'm referencing, I'd refer you to this article (with accompanying photos for those who don't mind being spoiled), which reveals that the HIMYM writers appear to be headed back down a road already traveled, and that Ted's February sweeps story line will involve none other than his roommate and BFF, Robin.  Talk about beating a dead horse.

To be clear, I didn't have a problem with the early buzzings of this plot, because I am fine with Ted using his relationship with Robin, the longest one he's had since we met him in the pilot, to assess where he's been, where he is, and where he's going.  However, I am concerned by the fact that this seems like a bit more than that, like maybe Ted's thinking he and Robin should give things yet another go.  Hopefully she sets him straight (the photos of her with a suitcase seem to support this theory), because if she doesn't, I'm not sure I can stay on board.  A Ted and Robin redux would be a blatant stalling mechanism, a huge step backward in a season that is supposed to be preparing Ted to finally meet the woman he'll marry.  It has been confirmed a dozen times over that there is no possibility Robin is this woman, and to revisit a romance with her in season 7 just seems insulting to those of us who have been invested in finding out how this all will end.

Whether or not Robin reciprocates Ted's apparently resurrected feelings, it does seem that this will be part of what causes the casually referenced strife between Robin, Ted, and Barney.  I have to admit I didn't really consider the possibility that Ted and Barney would be at odds with each other over Robin (mostly because it's been done before), but given that this season has already given us a heavy dose of Barney/Robin suspense, this thing with Ted is going to be a bit jarring to everyone, not just those of us watching the show.

The biggest problem with a significant step backward at such a critical moment in Ted's story is the growing concern that we are running out of time.  Yes, the show has been renewed through next season, but beyond that I'm not sure about its chances at surviving for a 9th season (I'm also on the fence as to whether it should).  If we assume that the writers will (hopefully) begin scripting a slope toward the series finale within the next year, then this plot emerges as an unnecessary roadblock.  There are so many loose ends to tie up (and not just with Ted), that it's hard to believe the writers are finding time to waste.

TV Review: Parks and Recreation 4.14-- Operation Ann

Valentine's Day a few weeks early?  I really couldn't allow it from any other show, but as usual the Parks gang gets an allowance to make me laugh, and they rose to the challenge spectacularly.  Not only was this another great episode in this season's winning streak, it featured a number of brilliant callbacks to some of the show's best minutiae from seasons past.

The first of these references to make a reappearance is the ladies-celebrating-ladies tradition of Galentine's Day (and yes, Leslie, I agree that it should be a national holiday), in which Leslie gathers all her favorite gal pals on Valentine's Day morning for breakfast foods and some of the most thoughtful gifts ever.  And this outing of course brought our attention to one Miss Ann Perkins, who is single and not exactly loving it.  Naturally, Leslie instantaneously embarks on a mission to improve her best friend's romantic situation.

After walking the Parks gang through what she thought Ann might be looking for in a potential partner (apparently he ought to fall somewhere between Ryan Gosling and Joe Biden in terms of attractiveness...), Leslie convinced her co-workers to recruit their best candidates for the position and bring them to the annual Pawnee Valentine's dance.

Also happening in this episode:  the most magnificent scavenger hunt adventure featuring Ben (for whom Leslie designed the hunt), Andy, and Ron, a (not so) reluctant participant.  Ron turns out to be the best sleuth of the three, but would like the record to show that he does not enjoy riddles.  The 25-clue wild-goose chase takes Ben and the others on a trip down memory lane, literally.  There's a stop at JJ's Diner (mandatory, as Leslie's favorite food is whipped cream), the snowglobe museum (which we've never actually visited, and which featured a guest appearance by Martin Starr, Adam Scott's erstwhile co-star on the cancelled-too-soon Party Down), and ultimately, the Lil' Sebastian memorial.  But if you thought that was the night's biggest mystery, you would be sorely mistaken.

The intrigue that quickly made its way to the forefront was the question of who Ann would end the evening with.  Leslie's search turned up very few potential mates for her BFF, and we got a few hints that the recently-dumped Chris might be looking for a rebound.  Leslie certainly expected as much when she followed Ann out of the dance and let Ben in on her suspicions.  Ben was surprisingly vindictive, wanting to catch Chris out on a date with his subordinate (reminding us just how hypocritical that would be), but he and Leslie could not have been more wrong about the identity of Ann's date.

Who was it?  Well, Tom, of course.  Okay, not of course (though I'd like to smugly point out that I did predict this particular twist), but it was definitely interesting.  What intrigued me more about this twist was the revelation that one April Ludgate-Dwyer had been the one to arrange the rendezvous.  This was another great instance of April showing her soft side, helping Ann (who she frequently claims to hate) enjoy an evening with "the one guy who made her smile all night".  I don't know what kind of future this couple has (if any), but I think any furthering of this plot has the potential to really take both Tom and Ann out of their respective elements in a really interesting way. 

Overall, a hilarious themed installment (and I usually loathe the obligatory Valentine's Day episode), that was both really funny and genuinely captivating.  It also gave us this gem, and a reminder that Leslie's love life hasn't always been the (relatively) smooth-sailing journey it is now:

Ann:  Well, it's Valentine's Day and I'm single and I'm at a couple's dance.  I can't imagine a more depressing place to be.
Leslie:  What about a wedding where you used to go out with the groom and you're the only one without a date, so the bride makes you dance to "Single Ladies" by yourself?