“How I Met Your Mother” Ends Mediocre Season With A Fine Frenzy’s “Lifesize”

In 2006, “How I Met Your Mother” ended its brilliant first season with a touching montage set to Bloc Party’s “This Modern Love.” In 2010, the show wrapped its worst season to date with A Fine Frenzy’s gorgeous “Lifesize.”

But while the season itself was a disappointment, the episode, entitled “Doppelgangers,” was outstanding for more than just its soundtrack selection. The episode finally showed some of the emotional, character-driving storytelling that made its first two seasons so spectacular, and while the new over-the-top, slapstick tone found its way into every plot development, it did not frustrate the way it did earlier in the season.

The episode had everything working against it. The “doppelgangers” storyline had become one of the worst comedy arcs on television; it is inexplicable how something so unfunny could become the fundamental plotline for a show as creatively brilliant as “Mother.” Even with Marshall and Lily using their search for Barney’s doppelganger as a clock for when to begin trying for a baby, the plot device just could not repair itself. To base the finale around that search for the final double seemed insane.

Further, Robin’s storyline–debating leaving her friends (and new boyfriend Don) for a new job opportunity in Chicago–was, on the surface, identical to a previous storyline in which she moved to Tokyo for a job opportunity. Could a “Mother” finale really deliver while relying on a recycled storyline?

But, for whatever reason, it did deliver. Marshall and Lily’s storyline moved past the doppelgangers in commenting that people–not the universe–get to decide when they are ready for the next step. Lily’s initial dismissal that the taxi driver looked like Barney (when it, in fact, was Barney) coupled with her later declaration that she had seen the doppelganger in a hot dog vendor (who looked nothing like Barney) was every bit the sappy storyline that makes “Mother” what it is. It was a ridiculously cheesy touch, but it was also infinitely effective in telling a story about decision-making . Signs can only present themselves when people want to find them, and by so convincingly making it clear that Lily finally wanted to have a baby (we already know Marshall did), the show made viewers want to see it happen. Babies greatly risk jeopardizing the creative integrity of the show, but after the touching season finale, if that is indeed the direction Carter Bays and Craig Thomas are taking their show, fans will forgive.

The storyline also marked the return of the more sensitive, closet-relationship-supporting Barney. Barney is, without question, at his comedic best when playing the over-the-top womanizer (see this season’s rare bright spots in “The Playbook” and “Perfect Week”). But the character itself has always become more genuinely likable when showing that he is not categorically opposed to relationships, love and family, and it was a welcome touch to see Barney going out of his way to convince Marshall and Lily that they were seeing his doppelganger and ready to have a kid. From a character perspective, Barney’s highlights over the years have been revelations of his heart–examples include the revelation that he flew to San Francisco to convince Lily to return home and be with Marshall, as well as the way he took to being an uncle for James’ baby. This was not quite as touching, but it was still a welcome return to the real world for a character that so frequently flirts between being comedic and being absurd.

Meanwhile, what seemed like a rehash of Robin’s prior “moving away for her job” storyline turned into a pivotal development for the show’s ‘female Barney.’ While not entirely unexpected, there was something moving about seeing Robin so calmly select her relationship with Don over an opportunity to further her career. Previously, Robin was not even willing to do that for Ted, an individual whom she clearly loved. So to see her progression over five seasons was truly a delight, and it again made it hard to imagine how the writers will reveal a titular “Mother” that is more endearing and ideal for Ted than Robin.

The heartbreak she suffered upon learning that Don, the news station’s backup choice for the job, took the position after Robin declined, was even more powerful. Though Robin’s potential for heartbreak had been displayed after her earlier breakup with Barney, the whole thing never felt sincere. The fact that the “sadness” was added several episodes after the fact only furthered the unbelievability of the situation. Robin obviously puts on a front, but the idea that she was somehow masking this brutal state of depression and sadness–from a group of friends with whom she literally spends every waking moment–just did not seem realistic. Her reaction here did, and it was a pleasure to learn that Robin is now capable of making herself vulnerable enough to get hurt when the object of her affection does not share the same love (an ironic twist given the fact that Don, not Robin, used the L word earlier in the episode). As the show approaches what will presumably be its final three seasons, there is now legitimate belief that Robin will be able to find someone and view the relationship not as an inconvenience but as the thing she wants most in the world.

Since last week’s storyline was Ted-centric, this week’s episode largely relegated Ted to a side storyline. The blonde hair gag was similar to the atrocious storyline involving his red cowboy boots, but for some reason, he made it work better here. The clash between his inherent “douchey-ness” and his insecurity about looking stupid made for great comedic relief, and the valuable role it played in preventing Ted and Robin from hooking up–again–was almost like an “anti-Curb Your Enthusiasm” moment.

“How I Met Your Mother” is presently nowhere near the funniest comedy on television. NBC has “The Office,” “Parks and Recreation” and “30 Rock.” ABC has “Modern Family.” FOX has “Glee” and “Family Guy.” HBO has “Curb Your Enthusiasm” and “Hung.” And even “Mother”‘s CBS has the funnier “Two and a Half Men” and “The Big Bang Theory.” But “Mother” reiterated Monday why it is still one of television’s best comedies–it, for all its slapstick and over-the-top moments, knows how to make its characters come to life, and it truly connects audiences to the characters. For all their humorous moments, no one really cares what happens to characters like Tracy and Kenneth on “30 Rock.” People do, however, care what happens to this group of five friends on “How I Met Your Mother.”

Those people felt something this week.