Coming Up In This Column: Up, Summer Hours, A Night at the Museum: Battle of the Smithsonian, Easy Virtue, The Boys: The Sherman Brothers' Story, but first...
Fan Mail: Brandon suggested I may have missed some details of How I Met Your Mother, and he certainly has been a little more perceptive about the show than I was. He's right that the significance of the meeting with Stella is the connection to Tony and that it leads Ted to teaching. I will also buy Brandon's point about the story being told the kids over one day, but I was getting in a dig that has bedeviled series television from the beginning: the set-up that is difficult to sustain. Here are three examples from different decades.
Racket Squad was an early fifties show, first in syndication, then on CBS. As I wrote in my book on the history of television writing, they dropped an interesting approach: "In the first episodes, [Captain] Braddock [of the Racket Squad] narrates the stories, but in the second person, addressing the victim of the con. This supposes that Braddock knows everything about the con before the victim tells him, which makes him rather obnoxious." They changed the narration to third person.
In 1963-64 there was a ninety-minute series called Arrest and Trial. In the first 45-minutes, the cop (Ben Gazzara) arrested somebody. In the second 45-minutes, the defense attorney (Chuck Connors) proved they were innocent. As Sy Salkowitz, who wrote a couple of episodes, said, "If Ben Gazzara made a good arrest, Chuck Connors couldn't get him off. If Chuck Connors got him off, it made Ben Gazzara look like a stupid ass." The show died after a year, and it took another 25-years for Dick Wolf to figure out the simple solution to make it work: the lawyers in the second half of the show are THE PROSECUTORS. Duh.
In the first season of Crossing Jordan in 2001, Jordan solved crimes with the help of her ex-cop father by acting out what they knew about the crimes. It was obvious and clunky, and it was dropped fairly quickly.