How We Chose a Pineapple | S1E10 "The Pineapple Incident" with co-creator Carter Bays

Summary

How We Made Your Mother: Episode 10 - "How We Chose a Pineapple | S1E10 'The Pineapple Incident' with Co-Creator Carter Bays"

Release Date: June 2, 2025

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Introduction

In this compelling episode of How We Made Your Mother, hosts Josh Radnor and Craig Thomas delve into one of the most iconic episodes of the beloved sitcom "How I Met Your Mother"—"The Pineapple Incident" from Season 1. Joined by co-creator Carter Bays, the trio explores the origins, significance, and enduring legacy of this fan-favorite episode. Through insightful discussions and personal anecdotes, they unravel the mystery behind the elusive pineapple and examine how this episode encapsulates the show's unique blend of comedy, mystery, and heartfelt storytelling.

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Creation and Writing Process

The conversation begins with Craig Thomas introducing the episode's creation, highlighting its roots in the initial brainstorming sessions.

Carter Bays [03:21]: "No, I actually have it. I prepared for this thing. I prepared for this thing."

Carter Bays reveals that the idea for "The Pineapple Incident" was among the early concepts submitted to the network and studio. Despite losing their hard drive a decade prior, Carter salvaged the original document from his emails, showcasing the episode's foundational role in Season 1.

Josh Radnor [05:00]: "When you make a pilot, you are asked, as they're trying to decide whether or not to pick up your pilot, they say, can you give us some other ideas of what other episodes in season one might look like? Carter and I did that. And I would say an impressive number of those ideas made it into season one, including the Pineapple Incident."

This collaborative effort between Josh and Carter underscores their creative synergy and commitment to shaping the show's narrative from the ground up.

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Significance of the Pineapple

A central theme of the episode is the mysterious pineapple that appears next to Ted's bed—a symbol that has since become emblematic of the series. The hosts discuss the deliberate choice of a pineapple as an unresolved mystery within the episode.

Carter Bays [20:13]: "Pineapple's like, it's a funny word. It's a funny fruit. It's a ridiculous looking fruit."

The pineapple serves as a Rorschach test, allowing audiences to project their interpretations onto it. Carter appreciates that the pineapple remains an open-ended symbol, celebrating life's uncertainties rather than frustrating viewers with unanswered questions.

Professor Carter Bays [50:27]: "The Pineapple does this incredibly special thing where it celebrates that aspect of life almost like a cosmic wink, rather than bemoaning it or seeing it as frustrating or anxiety-inducing."

This philosophical approach to storytelling aligns with the show's overarching themes of fate, self-determination, and the acceptance of life's mysteries.

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Narrative and Themes

"The Pineapple Incident" exemplifies the show's innovative narrative structure, blending humor with suspense. The episode revolves around Ted's drunken blackout and the subsequent mystery of the pineapple and an unknown woman in his bed, drawing parallels to later cultural phenomena like "The Hangover".

Craig Thomas [08:17]: "We did the Hangover, and it was like five years before the Hangover came out."

The hosts emphasize how each episode often contains its own mini-mystery, contributing to the show's intricate storytelling fabric.

Josh Radnor [08:20]: "Little mysteries within a larger mystery is kind of the show."

This layering of personal and collective mysteries enhances character development and maintains viewer engagement through serialized storytelling.

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Personal Reflections

Both Josh and Craig share their personal experiences acting and writing for the episode, reflecting on their growth and the episode's impact on their careers.

Craig Thomas [15:10]: "This is a Very distant Monday Morning, by the way."

Craig discusses the challenges and pressures of playing the comedic engine of the episode, while Josh praises the portrayal of Ted's vulnerability and the episode's balance of humor and sincerity.

Josh Radnor [15:39]: "This is a great Ted episode. You're so good in this episode."

Their reflections highlight how "The Pineapple Incident" served as a pivotal moment in their professional journeys, allowing them to explore deeper emotional and comedic terrains.

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Audience and Cultural Impact

The episode features heartfelt letters from fans, illustrating the show's profound influence on its audience. One particularly moving letter from Monique from Australia details how the show provided comfort and connection during challenging times.

Monique [71:58]: "I'll be 26 shortly and I can't remember a time in my life without watching Ted. And I wouldn't want it any other way. Thank you for raising me."

Such testimonials underscore the show's role as a source of solace, laughter, and emotional resonance for viewers worldwide.

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Creative Tensions and Network Influence

A significant portion of the discussion revolves around the creative tensions between the show's original vision and network/studio expectations. Carter and Craig recount instances where network notes influenced the final cut of episodes, such as insisting on a more conclusive ending to ensure the gang remained cohesive.

Carter Bays [30:01]: "They're still friends. And, like, I don't know if I could, like, just chop that out."

Despite these pressures, the creators emphasize the importance of maintaining their unique storytelling voice, which ultimately contributed to the show's distinctive charm and longevity.

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The Pineapple as a Symbol of Life's Mysteries

The pineapple not only serves as a plot device but also as a metaphor for the show's exploration of life's unanswered questions. Carter Bays articulates how the pineapple symbolizes the acceptance of the unknown and life's inherent mysteries.

Carter Bays [50:27]: "It symbolizes the mystery, the unknown, the questions in life we have that we will simply never get answered."

This symbolic layer adds depth to the show's narrative, inviting viewers to embrace ambiguity and find meaning in the journey rather than the destination.

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Conclusion

Episode 10 of How We Made Your Mother offers an in-depth exploration of "The Pineapple Incident", highlighting its creative genesis, symbolic significance, and lasting impact on both the creators and the audience. Through candid conversations and personal anecdotes, Josh Radnor, Craig Thomas, and Carter Bays celebrate the episode's role in defining the series' unique narrative style and emotional depth. The enduring mystery of the pineapple exemplifies the show's ability to intertwine humor with profound life lessons, cementing its place in pop culture history.

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Notable Quotes

• Carter Bays [03:21]: "I actually have it. I prepared for this thing."
• Josh Radnor [05:00]: "Including the Pineapple Incident."
• Professor Carter Bays [50:27]: "It celebrates that aspect of life almost like a cosmic wink."
• Craig Thomas [08:17]: "We did the Hangover, and it was like five years before the Hangover came out."
• Monique [71:58]: "Thank you for raising me."

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This detailed summary encapsulates the essence of the podcast episode, providing insights into the making of "The Pineapple Incident," its thematic relevance, and its profound impact on both creators and fans. Whether you're a longtime fan or new to the series, this exploration offers a deeper appreciation of the show's intricate storytelling and emotional resonance.

Transcript

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[Josh Radnor]

All right, here we go. New Phineas and Ferb is here.

[Craig Thomas]

We're back, baby.

[Josh Radnor]

For 104 more days. I know what we're gonna do. Today of summer vacation. I am ready for summer shenanigans. Let's do it.

[Professor Carter Bays]

Oh, yeah.

[Craig Thomas]

We're gonna bust Phineas and Ferp once and for all. Are we gonna do this again?

[Josh Radnor]

New inventions, shenanigans, innators, adventures and songs. Brand new summer vacation. New Phineas and Ferb.

[Alec Lev]

Starts June 5th on Disney Channel and.

[Josh Radnor]

Next day on Disney on disneyplus.com disney.com.

[Fran]

Hi, this is Fran from Chile. And I just wanted to let you know that I am one of those people that has a tattoo about the show. I have a pineapple tattoo on my arm and I really hate it now because it's a really ugly tattoo. It's a really ugly pineapple. It's not well made, but I got it with a friend and I always knew I wanted my first tattoo to be about the show about how I met your mother. And so me and my friend got it together. She's got a pineapple on her arm as well, but I would never cover it up or remove it with laser because it holds a really special space in my heart because it's about the show and it's about my friendship with her. So it's just something I really hate, but I really love at the same time.

[Craig Thomas]

I'm alone. What a pity I won't be soon in New York City when I see you. Please permit me to tell you everything in New York City. Hello. Welcome to another episode of How We Made youe Mother. I'm Josh Radner. I am joined as ever by Craig Thomas. Hi, Craig.

[Josh Radnor]

Hey, Josh. How are you, my friend?

[Craig Thomas]

I'm good. I'm pretty good. I feel like tech. Not so smart. But I had trouble getting on and figuring out the mic today. But you know what? We figured it out and we're very excited because we are joined by. Professor Carter Bayes is here with us to what's up?

[Josh Radnor]

Carter Bayes is in the house. It's a special day.

[Craig Thomas]

We love CB F2s. Episode 10. Yeah. How do you spell Professor? Two Fs.

[Guest]

Two Fs.

[Craig Thomas]

Two Fs. Yeah.

[Guest]

Yeah.

[Craig Thomas]

He is here to discuss. Yes. Episode 10 of How I Met yout Mother, which is the show under discussion, under consideration. We're working our way through all 208 episodes, and we're on episode 10. So we're cruising along and this is a famous. I would say this is a famous episode. Certainly one of the season one standouts. It's called the Pineapple Incident, and it was written by. Who wrote this?

[Josh Radnor]

Me and Carter, bro. These two mfers right here.

[Craig Thomas]

Yeah. You guys wrote and. Yeah. Why don't you. Why don't we start? Well, one. I love that letter. And I love.

[Josh Radnor]

So great.

[Craig Thomas]

The tattoo.

[Josh Radnor]

I wish the tattoo was better. I wish the tattoo was. She was.

[Craig Thomas]

It feels perfect to me. It feels poetic. When you think about your twenties, you love them and hate them.

[Josh Radnor]

She woke up with a kind of a crappy tattoo. It's like the butterfly tattoo. Yeah. That was so great. Amazing. We're honored you would put a bad tattoo on your body. On account of our show. We're very honored by that. It's very cool. Carter. I was the one thing I was thinking, and I wish I had this list, this idea, and I think it was your idea. This idea was on our initial idea list we submitted to the network and the studio. You're kidding me.

[Guest]

No, I actually have it.

[Craig Thomas]

He's a professor. Of course he has his.

[Guest]

I prepared for this thing. I prepared for this thing.

[Josh Radnor]

How do you have it?

[Guest]

I searched my emails. You know, honestly, I was searching my emails May 2005, so I probably have it two decades ago, right now, essentially. And yeah, this was one of the two. I found a document that I'd emailed to myself that probably came from us brainstorming. I just wanted to save it. I lost my hard drive in some catastrophic way 10 years ago, but I still have. Anything I attached in an email still exists. So I was able to sort of pull this out of the rubble of.

[Josh Radnor]

Did I explain what. This is enough. When you make a pilot, you are asked, as they're trying to decide whether or not to pick up your pilot, they say, can you give us some other ideas of what other episodes in season one might look like? Carter and I did that. And I would say an impressive number of those ideas made it into season one, including the Pineapple Incident.

[Guest]

The document. I had only had two. One of them was, okay, awesome. And one of them has a pineapple instead.

[Josh Radnor]

I thought there were more. I said that about okay, awesome.

[Guest]

Yeah, I think there may be a few others in the actual document that we sent, but, yeah, it was so funny. It was called Drunken Fiasco at the time. Like, that was what the idea was saved as. And, yeah, I remember it was like, one of the first ideas we had for the show, like, what do we do with these five characters we've concocted? If I remember correctly, we. It's maybe the second episode we actually wrote of the show. From what I recall, we had painted ourselves into this crazy corner of, like, you know, and that's how I met your Aunt Robyn. And it's like, all right, how do we transition Robin into being part of the friend group? Yeah, that created a huge dilemma. And we, like, had to spend, like, weeks breaking the three parties episode. But this one, it was sort of like, right out of the gate, it was like, while we're fresh on these characters, let's write this real. So we, like. I remember. I think we took it in the room. I think it was the first thing we broke in the room.

[Josh Radnor]

Wow. I forgot this, Carter entirely. I entirely forgot that.

[Guest]

And it was one of the most. I think that one and. Okay, awesome. Actually, I think we're both broken before that because we wanted to just sort of, like, get a handle on writing the show.

[Josh Radnor]

I remember being paralyzed with fear about episode two. What is episode two gonna be? And I think we probably did that thing where you punt the thing you're scared of and you write this other shinier fun, like, standalone. Maybe that's what we did. I think that's what we did. So coming back to me now, and.

[Guest]

It'S funny because I was looking over it, it really was like. Like we did 90% of the work before it even arrived in the writers room. Like, it was like the document that I had, and I didn't print it out, but it's. It's almost entirely. Almost exactly the story as it unfolds in the show.

[Craig Thomas]

So just for our listeners.

[Josh Radnor]

Yeah.

[Craig Thomas]

Should we log on to ref or. If you're listening to this or just not even seeing the episode, just give us the kind of pitch of what this episode is. Synopsis.

[Guest]

Okay, so Ted and Robin are friends now, but Robin has a date with a rich guy billionaire. We call him a hundred millionaire. And Ted is a bucket of neuro. His brain. Brain is a bucket of neuroses. Which I think was maybe Chris Miller's line that ended up in this script. And he's given the advice by his friends to take five shots and get super drunk. To stop thinking so much. And he gets drunk, he blacks out. He wakes up the next morning, there's a pineapple on the nightstand next to his bed. There's a girl in the bed with him, and it's him figuring out what happened the night before and sort of unraveling that mystery. I remember when the movie. I mean, the easier way to give the logline is it's the Hangover. We did the Hangover, and it was like five years before the Hangover came out.

[Josh Radnor]

Way before the Hangover.

[Craig Thomas]

Let's be clear about that.

[Josh Radnor]

Let's be very clear.

[Guest]

And I've been trumpeting about that for years without really. Without really remembering that actually, dude wears my car, did this three years before we did.

[Craig Thomas]

So we're all standing on the shoulders of justice.

[Guest]

We're all standing on the shoulders of dude, where's my car?

[Josh Radnor]

But, yeah, and it's a mystery. If you had to boil the show's DNA down to, like, the microcosmic episodes that were mysteries within this show that was itself a larger mystery in question. Whenever we could do an episode that was its own little mystery, which is. So many of these episodes have some element or the main element that is some kind of an unraveling mystery. None more than this in season one. This is a real mystery. Who is that girl in that bed? What happened? And it's one of my favorites because of that. Because it's just working off of, like, it's us discovering what the motor of the show is. Little mysteries within a larger mystery is kind of the show. And, Josh, you're so good in this episode. This is such a great Ted episode. I really was. I hadn't watched this one in years. Rebecca and I sat there watching it last night, and we're like, this is a tour de force from Radnor. This is a really good one for you.

[Craig Thomas]

I had a hard time watching 50% of it for some reason. I really. I mean, we'll talk about that. But I. A couple things really made me laugh that took me by surprise. Carl writing on Ted's arm and him get tickling. Getting tickled was very funny to me.

[Josh Radnor]

Hard laugh. Hard laugh on my couch.

[Craig Thomas]

I love the line. Was it, I need to see some pandas, right?

[Josh Radnor]

I need to see some penguins. Like, right now, I need to see some penguins. I rewound that line and made us watch it twice last night.

[Craig Thomas]

That was.

[Josh Radnor]

Yeah, I watched that line twice.

[Craig Thomas]

That was very.

[Guest]

I feel like that one because I know we gave you the note. Be Dudley Moore, essentially, in this episode, Bea Arthur.

[Josh Radnor]

Arthur.

[Guest]

And the delivery of that line especially felt like that was like.

[Craig Thomas]

It's that I heard Bea Arthur do it like Bea Arthur.

[Josh Radnor]

Yeah.

[Guest]

Do it like Bea Arthur.

[Craig Thomas]

Yeah.

[Guest]

Calling on Rose. No, but the. The way like you sort of like garbled the G and penguins. Like penguins. I need to see some penguins right?

[Josh Radnor]

Like right now.

[Craig Thomas]

You know what else is so funny to me is like everyone putting him to bed and him just like ending up right back in that bar.

[Guest]

Yeah.

[Craig Thomas]

Where did my. My horse. Windjammer. What the hell? Windjammer. Where did that come from?

[Josh Radnor]

That really made me laugh. I feel like that's Windjammer has you written all over it. Carter. Isn't that a Carter Bay's line? It was. It was not me. That's a great line. Go to my stables. He's so drunk he thinks he has stables.

[Craig Thomas]

And I wrote you this little ditty to sing to you in New York City. We'll be right back.

[Josh Radnor]

Josh, how much do you think about your wardrobe when you're on tour playing shows or night to night or what? How much are you thinking about? What am I wearing while I'm playing this show?

[Craig Thomas]

Not a lot because I actually packed. I under packed because I was worried that I would have too much merch to take back. So I left a lot of room in my suitcase and I. But I didn't. That's funny. Yeah. But I also, my style is very casual, but I also. I sometimes overthink it, you know?

[Josh Radnor]

Aha.

[Craig Thomas]

Yeah.

[Josh Radnor]

Well, you know what?

[Craig Thomas]

It's more about comfort. You know what I'm saying?

[Josh Radnor]

It's more about comfort. Everything you just said. I've got the solution for it. Ready? Yeah, I know. It's not my solution. This is a commercial for quince. Yes. With quints you can get a high end style upgrade with versatile pieces at prices that don't break the bank.

[Craig Thomas]

That sounds.

[Josh Radnor]

Those are all my words.

[Craig Thomas]

Yeah.

[Josh Radnor]

Yeah.

[Craig Thomas]

Quinn says all the. All the must haves like Mongolian cashmere sweaters from $50 iconic hundred percent leather jackets. I thought that was gonna say leather pants. And I was like, are those back? Leather jackets for 100 bucks and comfortable pants for every occasion. And also stuff that you can get your wife. Which I did. Which you didn't. But I got.

[Josh Radnor]

I know we got a free thing for. From quints and they were both. So they were nice enough to give us stuff. I ordered myself a lovely stuff sweater for me and then Josh was like, I got something for my wife and I felt like the worst person in the world. So, Quint, we'll talk. We'll side. Quince, we'll side. I'm addressing quints directly now. We'll sidebar. I'll get some for my wife. Hey, listen to this. The best part. All Quinn's Items are priced 50 to 80% less than similar brands.

[Craig Thomas]

By partnering directly with top factories, Quint cuts out the cost of the middleman and passes the savings on to us.

[Josh Radnor]

And Quint only works with factories that use safe, ethical and responsible manufacturing practices.

[Craig Thomas]

Is.

[Josh Radnor]

It's great. Along with premium fabrics and finishes. I will say I enjoyed my sweater so much that was free that I went and bought some. A couple pairs of jeans. And those were great, too. I'm just throwing that in there. Quince, you can send me more free stuff too. Or my wife. Just my wife.

[Craig Thomas]

Indulge in affordable luxury. Go to quince.com your mother for free shipping on your order and 365 day returns. That's Q U I N C E.com your mother to get free shipping and 365 day returns. Quince.com your mother. Alec, I have a question for you.

[Guest]

Sure.

[Craig Thomas]

Do you ever leave your house and go places?

[Alec Lev]

As seldomly as I could, but there have been times I've left.

[Craig Thomas]

Yeah. You get to a certain age and you just want to hunker down and I don't.

[Alec Lev]

I don't want to go anywhere.

[Craig Thomas]

Where have you been recently? Outside of the home.

[Alec Lev]

I actually. Well, I went on a big trip. I went to. I went to Sancerre. Sancerre where? Sansaire.

[Craig Thomas]

That's in France. It is in France.

[Alec Lev]

It clearly is in France.

[Craig Thomas]

Wow. How was that? What were you doing there?

[Alec Lev]

It's an incredible town. I was. I was taking a language course for two weeks, four hours a day, immersed in. In French. In this.

[Josh Radnor]

You get it. You're smarter than us. Just move through. Move through.

[Alec Lev]

A thousand years old. But I'll tell you this. I don't. It's very famous. Sancerre. It's very famous for wine and cheese. I don't drink wine and I don't eat. I was. I took a lot. I was in the wrong town, but it was beautiful. It's an amazing place. And now I'm. I'm doing research for a project that I'd like to.

[Guest]

I'd like to do there.

[Craig Thomas]

Oh, fantastic. Are you aware of how much money you lost by not hosting your home on Airbnb while you were in Sol?

[Josh Radnor]

Boom. You didn't see that coming, did you, Al?

[Guest]

No.

[Josh Radnor]

You thought you were all smart with your Sancerre language class. Guess what you lost out on making money with your apartment. You could have been hosting it on Airbnb while you were in Sancerre. Alec, your home might be worth more than you think. Find out how [e-mail] host.

[Craig Thomas]

And now back to the show. I had more. Like, as an actor, I watched it, and I could feel like I knew I was the comedic motor of the episode. And I think I sometimes look at it and I think, like, oh, I would just play that differently, or I'd, like, throw that away or I wouldn't hit that so hard. Like, you do a lot of Monday morning quarterbacking 20 years later after watching.

[Josh Radnor]

This is a Very distant Monday Morning, by the way.

[Craig Thomas]

Yeah, yeah, yeah. This is a couple. Yeah. And then. But the morning after, I found myself more watchable from. From. For a number of reasons, but one of which, I just felt like I was. I had a little bit more of, like. Like, honest verbs to play. Like, what. What happened? Like, tell me what happened. Like, I felt there. There was more grounded sincerity in the. The kind of morning after stuff.

[Josh Radnor]

Yeah, yeah, yeah.

[Craig Thomas]

But I. You know, this episode, like, I knew. I remember when I read this, I was like, ugh, this is a gift. Like, this is a. This is a comedy gift. And I think I felt a little bit, like, the pressure of delivering comedic.

[Josh Radnor]

Interesting.

[Guest]

So what do you mean?

[Josh Radnor]

You do. Do you mean, like, when you watch it, you feel like, oh, you. I was pushing too much because I knew it was this opportunity, so I was amped up. It doesn't play that way to me. I thought. I loved rewatching it.

[Craig Thomas]

I thought it was great.

[Josh Radnor]

This is a great portrait of how crazy we all are and how brutally too hard on ourselves we are, even 20 years later. That is an A Man. That is one of the best Ted episodes. Right, Carter? These. I love that we're peeling back the scene.

[Guest]

I have some notes on the editing, but I think the performances are great.

[Craig Thomas]

Maybe it's a little bit of a watching, you know, you. You. Like, I care about that character, which I found is actually a good sign. It's not just because I played him. Like, I'm actually invested in him already as a viewer, and I feel some real distance from the fact that I was actually doing those things. But there is a sense that, you know, the more he keeps calling Robin, you just feel like it's like the calling the answering machine and swingers. You know, you're like, stop, stop, stop, stop.

[Josh Radnor]

It's painful to watch. Yes, it's painful.

[Craig Thomas]

It's a little painful to watch. But then, I don't know. There's also something funny about his complete confidence with Trudy in the bathroom. He's got. He really. He turns off his brain. That's kind of what the episode's about.

[Josh Radnor]

Yeah, he turns off his brain. And there are some results. He does get some results from it. That's really interesting. And I like the morning after when Robin is playing Ted. That clip of him making the crazy sound, three and a half minutes. And Ted's defense of it is, like, without a breath. That's gotta be some kind of record. Like, Ted's trying to sort of make lemonade out of this situation. I thought you played that really funny. But that's interesting because you're not usually on this show. You were not usually asked to be the Tasmanian Devil. Out of control.

[Craig Thomas]

Right.

[Josh Radnor]

Ted is like. In this episode, Ted's like a baby that keeps crawling out into traffic. You know what?

[Craig Thomas]

It is exactly what it is.

[Josh Radnor]

And it's funny that you watch that and you go, wait, what am I doing in this episode? But it's so great. That's what's so great about it. I think you really were. You played out of control very well.

[Craig Thomas]

Yeah. Yeah. Well, I think you had established enough of his, like, sanity to then by episode 10, you could make him insane. And there was a lot of comedy fuel in that.

[Josh Radnor]

Yeah. Yeah. It was the right moment to sort of twist Ted and show him in some different light. And it's all burnt. I mean, Carter, I think part of this episode is us going, like, we need to escalate this Robin situation a little bit. Right. This one launches into a few episodes. Like, this was us kind of turning up the heat under the. Like, Ted's drunkenly calling Robin at 2 in the morning. Like, this is a problem. This sort of spun us out season wise into, like, that coming back around, didn't it? That was part of the. Part of the point of this one.

[Guest]

Yeah, I. I guess it did. I'm trying to remember where. Where the show. I mean, I guess I. We're getting. It's. What is this, 11? This is the 11th.

[Josh Radnor]

And then we started.

[Guest]

We were like, the wedding.

[Josh Radnor]

The wedding stuff. Yeah.

[Guest]

That's where it kind of comes to a head.

[Josh Radnor]

So, yeah, this was, like, starting to turn up the simmer on Ted a little bit here.

[Craig Thomas]

So. So I'm curious where. I mean, if I've been asked about one thing, like, I don't know that I'VE been asked about anything more than, like, what the hell was the pineapple like? And I know we kind of solved it in a DVD extra. Isn't there something where we actually saw. A lot of people haven't seen it.

[Guest]

But it's not canon if. If we can use that word. Because I feel like I'm so glad we didn't solve that. And I like that. It's just like.

[Craig Thomas]

To put it in.

[Guest]

It's an unknown.

[Craig Thomas]

To put it in Jewish terms.

[Josh Radnor]

I like that, too.

[Craig Thomas]

This is the Torah, and that is the Talmud. It's just the commentary.

[Guest]

Exactly.

[Craig Thomas]

Yeah. So, okay, so Henry claims to be.

[Josh Radnor]

As good as the Torah. What a bunch of.

[Craig Thomas]

That's what gets us canceled. Unbelievable. So where did the notion of this pineapple, like, where'd that come from? Do you guys remember.

[Josh Radnor]

We wanted one thing to be unknown. Right. It was just.

[Guest]

I think the pineapple came out of the room. That's as close as I can get to an answer. It's not in the. In fact, we still have that amazing sort of quasi animated moment of, like, things flying as he gets drunk and, you know, the memories. But the pineapple wasn't in that list of things. So I came out of the room. I don't know. I think pineapple's like. It's just part of it is. It's a funny word. It's a funny fruit. It's a ridiculous looking fruit.

[Craig Thomas]

It looks like a comedy. Comedy. It's a comedy fruit. And it's also like, any bigger and it'd be less funny. And any smaller, it'd be less funny. Like, it's the perfect size for a mysterious object. Like an apple sitting by your bed is like, I don't. It's. Someone put that there. Like, who cares? A pineapple.

[Josh Radnor]

Vegetation.

[Craig Thomas]

It shouldn't.

[Guest]

It shouldn't be in a temperate climate.

[Josh Radnor]

It always looks crazy. It always looks crazy. Even if, you know you bought it, it still looks crazy.

[Craig Thomas]

Yeah. And it's a porcupine. It's like an edible.

[Josh Radnor]

It's a porcupine.

[Craig Thomas]

Yeah, yeah, yeah. But it has, I think, enter. I mean, it is certainly in the. The canon of Beloved, How I Met yout Mother. Props and images, you know, I mean, like, if someone makes a collage of How I Met Mother, there's a pineapple in there.

[Josh Radnor]

Yeah.

[Guest]

It's a top five tattoo.

[Craig Thomas]

Yeah.

[Guest]

Of the show.

[Josh Radnor]

Top five bad tattoo.

[Craig Thomas]

Yeah, yeah, yeah.

[Alec Lev]

Also, I'll say that the proudest moment I had working on the show at all is that in the final dvd Box set. The big box that has all of it. I wrote to some random person, said, can we get a pineapple sticker to be on that box? And there is. There is that. When you buy that originally.

[Guest]

I know that sticker.

[Josh Radnor]

I remember that. Yeah.

[Craig Thomas]

Yeah. You know, it just occurs to me, and this is. We. We try to really academic this show into the ground, but it occurs to me that the professor's here. There's a microcosm of the actual show within the show here, which is. Memory is fallible. How do we remember what happened? How do we.

[Guest]

Especially because Craig and I were very drunk for most of that time.

[Josh Radnor]

We don't remember writing this. It was a script and a pineapple. We woke up the next morning, we go, all right, we'll use both.

[Guest]

But it's true.

[Josh Radnor]

No, it's true. It's true. It is. Memory is fallible. I love that blackout moment, Carter. I love that moment so much. The blackout moment. And then into the crazy images flying. Because it's just one of those. It's like you'll see all of these things. All of these things will be part of the story. You know what I mean? It's like in the opening couple messages, you're gonna have all these boxes. The red dragon is the new card, and there had to be one that didn't get explained. That's why I think. I know. I know we did that DVD extra about the captain and all this, so people can look it up if they want. I do like it being unexplained. Even though we went on to explain.

[Guest]

It, I feel like we should disavow that.

[Josh Radnor]

It was fun.

[Guest]

It's unexplained. It's a mystery.

[Josh Radnor]

There had to be one thing that didn't get solved. There just did.

[Craig Thomas]

Yeah. Yeah. And it's an amazing thing, though, to have a standalone episode that has just enough. Gets like, just enough yards on the field down, like, closer to the. Like. Because you're. You're barreling toward you. You actually, at this point, episode 10, are you thinking about, have we been picked up for back nine? Like, when you're writing this, had we been picked up for back nine, we'd been picked up. So, you know, you got 22.

[Josh Radnor]

Yeah.

[Craig Thomas]

And you're. You've got your eyes on the goal. So you're still. Like. You're planting seeds. The robin stuff is still. It's like moving the ball down the field.

[Josh Radnor]

It does. It escalates that situation in a really good way. And the next few episodes benefit from that. But yeah, it was, it is, it is. It's like memory is fallible and Ted's.

[Craig Thomas]

Twenties are a bit of a blur anyway.

[Josh Radnor]

Your twenties are a blur? Yeah. The very act of the Ted is doing in that episode what the future narrator is attempting to do in 2030, which is just construct from these memories, try to put it into some sort of coherent story. It is, it's such a microcosm of the whole, like the whole overall endeavor in a way, which I love.

[Craig Thomas]

When you guys rewatched, what were, what were other things that struck you?

[Guest]

I took notes, I took notes. Let me, let me see. I was drunk when I was taking notes though, so I don't know what any of this means.

[Josh Radnor]

By the way, this is an intervention for you.

[Guest]

Well, you know, one thing that I'm remembering about it was that the thing that I felt was a small rebellion in the, in this, in this, in this episode. The way it was structured was it doesn't have a B story, which I really liked. I remember being on a bit of a, a crusade against B stories in general as, just as a part of, because it's a show about storytelling and when you tell a story, you don't, you don't say like. But meanwhile, over here, this completely unrelated thing that we just needed to give these actors something to do this week was going on. You know, it's like that and okay, awesome. I think both, I think it's not accidental that those were like the two, first two, that sort of, sort of, as we were writing the DNA for the show, we sort of picked two stories that there's like concurrent action going on in different places, but it's all of a piece and it's all like working towards telling one big story that week. And, and I, I, I always, I remember especially that first, you know, because, you know, the first year we were working with, you know, we were in a writer's room that no one had ever seen an episode of how about yout Mother before. And so like, we didn't, we didn't know exactly what it was. And I remember that was something that we had to, I, I, I, yeah, I don't know. I don't know if this holds up. It probably doesn't. But like, I feel like some of many of our best episodes don't have B stories. And I think that's, that was not something you saw on a multicam show with a five person cast.

[Craig Thomas]

There's also something true about a group of friends, like when every once in a while you trade off being the main character, quite literally in your friend group. If you have a night where you wake up, you black out, you wake up in the bed with a girl, you don't know who it is in a pineapple. No one's going on what happened in your night. It's like you're focused on. That's the headline, that's the story, and that's all anyone cares about. They don't even want to be the main character. They just want to solve the mystery.

[Josh Radnor]

It's why people like Agatha Christie type mysteries so much. There's something exciting about everyone in a room trying to solve the same thing. And everyone can have their own little game. I love that Marshall's obsessed with the pineapple. Marshall's specifically obsessed with the pineapple. And everyone can have their own little game to play, maybe, but everyone being together and on the same thing, that's the appeal of those knives out.

[Craig Thomas]

But there's also something funny about that. There is a body, but it's Trudy. Like, she's alive. It's not a dead body. So there's something funny about the. The high stakes energy, but relatively low stakes, like.

[Josh Radnor]

Yes, right, Right. Yeah. But it feels really important. I love that Lily does name check it at one point. She's like, she is alive in there. Right. Ted? I like, because it just puts it in the air that this could be.

[Craig Thomas]

That this could turn very dark.

[Josh Radnor]

You just don't. You don't know for sure. She wants to double check that. But I love the kind of real time energy of that next day where it's just like, sing my thing. And I remember one of the jokes I love in the episode I think it might have been my joke was Marshall. And it's so heady, but Marshall saying, hang on, I want to go make popcorn. And he goes into the kitchen to make popcorn. And the reason I pitched that joke is it's the exact length making popcorn is. The length of a commercial break on terrestrial television. So I thought it's just the whole show stays in real time during the commercial break. And then Marshall comes back with popped popcorn. For some reason. That was funny.

[Craig Thomas]

It's like, what were you doing during the commercial break? We were making popcorn.

[Josh Radnor]

Yeah. They held the story for Marshall making popcorn.

[Craig Thomas]

Yeah. I have a question.

[Josh Radnor]

Sort of a product tie on that.

[Craig Thomas]

Because how I met your mother was such. I mean, fundamentally, the entire thing is a mystery. But sometimes there's each episode like Ted Mosby, architect, or a pineapple incident. Like they're actual mysteries. Do you Guys, were you mystery readers or lovers, or do you just, like, like, messing with people?

[Guest]

Yeah, we used to. I mean, that was like my, like, one of my earliest memories as a kid was watching Mystery on Masterpiece, like, with my, my family, like, Sunday nights. Like, that was like. Yeah. So I think that. And like, like, it's funny because I haven't thought about this in a long time. But, but Murder She Wrote, like, I, I, I probably saw like, every episode of Murder She Wrote, and I don't like it. It's not like, if you asked me to list my favorite hundred shows, it probably wouldn't be on there. But, like, I did spend a lot of my childhood watching that with my family.

[Craig Thomas]

But don't you think, I mean, it's kind of cool when you tease out, like, your influences are just floating around in there and they're largely unconscious. Right.

[Josh Radnor]

I grew up pretty obsessed with comedy mysteries. I watched Clue and Murder by Death over and over, and I just love those movies so much. A comedy mystery is delightful, and we got to do it.

[Craig Thomas]

And every writer, on some level you could make the case is a mystery writer, in that the judicious withholding of information until such time as it's appropriate to be revealed is a large part of narrative suspense and telling a story, even if it's like a literary novel or something, you.

[Josh Radnor]

There's great mysteries and cliffhangers.

[Craig Thomas]

Did you guys read Taffy's book Long Island Compromise?

[Josh Radnor]

No, I want to read that.

[Craig Thomas]

There's such a good twist in there, like, such a good mystery twist that she reveals in the last couple pages what really happened. And it's just, it's such a good reveal. It's worth it. Worth. It's definitely worth reading.

[Alec Lev]

Can I ask about the, the, the studio network's reaction to an unresolved sitcom episode? Did you, did anyone say, hey, what the hell are you doing?

[Guest]

I had one. There was watching it back, you know, as we, like, like, like when I said I have notes, like, I. Actually there's a few moments where it's like, ah, we could have made that cut a little bit. You know, I'm like, looking at things that, like, could have been a little different. Like the, I felt like the crowd noise at the bar at the very end was when the bar was empty. It was like, sounded like the bar was still full. Like, I would have tweaked that a little bit.

[Josh Radnor]

Sound mix notes.

[Guest]

I remember at the time fighting this. And 20 years haven't changed my opinion on this. I felt like them all eating the Pineapple together at the end felt, too, because I remember that that wasn't in the original script. And I remember that being added because I think there was, like, a studio note of some sort of.

[Josh Radnor]

Like, you're still part of the group, right?

[Guest]

They're still friends. And, like, I don't know if I could, like, just chop that out. I would. That would. I sort of feel like it.

[Josh Radnor]

I see that.

[Guest]

And also, I felt like it deadened the uncertainty of where Ted and Robin are going to go next. And that leads you into, I guess, the limo episode where Robin is a.

[Josh Radnor]

Good note going off with someone else.

[Guest]

For New Year's Eve. You know, I agree with that.

[Josh Radnor]

I think it was a note, Carter. I think it was like, we still want to see the. It's too early not to end on the gang being the gang. And a note of discord. I think. I think there was some panic about that. We want it to be like this.

[Guest]

Corny, kind of like a group hug at the end. It's like, no. And it's not a group hug.

[Josh Radnor]

It also demystifies the pineapple. Like, I feel like they just. They'd still be staring at that thing going, what?

[Craig Thomas]

Could be poisonous. It could be poisonous.

[Josh Radnor]

It could be poisonous.

[Craig Thomas]

Yeah.

[Josh Radnor]

Yeah. That's interesting.

[Craig Thomas]

It's an interesting thing, that tension, though, between the network and studio, which, I mean, this is a total cliche, but they are so afraid of people missing things and turning it off in frustration because they don't understand it. So they value clarity in a way that I think writers like a little more gray and a little more obfuscation and you know what I mean? Like, less like, they like to show, not tell. But that's an interesting tension because I do know you guys have said, and any of our lovely studio, network executives who are listening, that sometimes you'd get a network or studio note that actually saved you and was a great note.

[Guest]

Oh, tons of times.

[Josh Radnor]

So many smart notes. Yeah, we had great experience.

[Guest]

I can't think of any. But, yeah, I'm sure.

[Josh Radnor]

There was a premium at the beginning on the group has to seem happy and together and connected all the time. And I think we knew we were heading toward this late season one discord, and we knew we were heading towards some stuff that was gonna maybe be controversial with the studio and the network. And it was. Right, Carter. It just was. We got some pushback on some of the dramatic stuff we did at the end of season one and only over several seasons of us kind of proving ourselves and them realizing this is actually a superpower of the show. It's not a flaw of the show. It's good that this show does kind of soap oper, if you will, or emo.

[Craig Thomas]

It's what distinguished the show from every other show.

[Josh Radnor]

It is. And once they got that, we didn't get that note anymore.

[Guest]

It was also. It was. It was such a pivot point for all of television and the way people watch television. Because it was just a couple years before, like, DVDs were new and it was a couple years before streaming. And we, like especially cbs, there was no. They certainly did not want us to think of this show as each episode is a chapter in a book. They wanted to think of it as like, each episode is a little like a short story. They want each one to be its own short story. That's like a box of chocolates. Like the box of chocolates.

[Josh Radnor]

That's what it is.

[Craig Thomas]

But also, I mean, a lot of times you develop your voice or your creativity through that tension, right? Because like I said, this is a standalone episode. You could tune into this not knowing these characters, and you could figure it out very quickly. The world of it, the alliances, who was. But. But again, it. It was. It was season. It forwarded the plot of the season all at the same time. And I think that there probably was, you know, there's a great Leonard Bernstein quote, and it something like, how do you create a work of genius? He said, you need a good idea and not quite enough time. And I think, like, there's something about creative tension and limitation. I know from directing independent, like, oh, we're being kicked out of this bar. We had five shots left. We only have one shot. What are we going to do? You know what I mean? Like, and that happened on Happy. Thank you. More, please. And my ad came up with this shot that is actually one of my favorite shots in the movie because I think it's really elegant storytelling. So sometimes these limitations or these barriers or they, they. They force you into creative thinking. And I think. And I. And I feel like you guys, in trying to. In being so young and in wanting to be deferential to these people who are writing your checks and allowing to be on the air, but you also had to subvert a lot of their notes and smuggle in stuff that. You know what I'm saying? There was a really interesting creative tension going on.

[Josh Radnor]

I think we were. Trojan horsing. Is that the verb I'm looking for? Trojan horsing and some weirdness into what looked to be a traditional sitcom and that was. There was tension to that at times. There was tension for sure. Do you know what I liked in this episode? Josh playing off of something you have said before, Carter? Josh said an interesting thing at one point that was like, I wish Ted. I think it was in the Sweet Taste of Liberty episode, you said this about Josh. Like, I wish Ted would sometimes. Yes. End Barney a little more. Would be a little more happy to go along with Barney's thing in this one. He does Barney's like, do these five shots and unlock your brain. And Ted's like, yeah, I'm gonna do that.

[Craig Thomas]

Yeah.

[Guest]

I love the confidence of, like, this isn't gonna get me drunk. I'm gonna take these five shots.

[Craig Thomas]

And I'm a good drinker. I'm a pretty good drinker.

[Josh Radnor]

It's so great.

[Guest]

He suddenly married from Raiders of the Lost Ark.

[Josh Radnor]

Yes, totally.

[Craig Thomas]

And this old man, he must admit he fell in love with you. New York City.

[Josh Radnor]

And now commercials.

[Craig Thomas]

Craig, are you familiar with the book by. I think it's Barry Schwartz, but I'll have to look it up. The Paradox of Choice. Do you know this book?

[Josh Radnor]

No, but I've heard the phrase is. It's a good one.

[Craig Thomas]

I think it's essentially about how the human brain, our brains, our old. These old brains that haven't evolved in many years, we get paralyzed by choices when we have, you know, the. The market says, oh, you want infinite choices? Here's infinite choices. We don't want infinite choices. We want two or three pretty good choices.

[Josh Radnor]

Yep.

[Craig Thomas]

Right? Yep. People feel that in the dating world, they're swipe, swipe, swipe, swipe, swipe, swipe. They just can't deal with all the choices. And we're hungering for some more simplicity. Wouldn't you agree?

[Josh Radnor]

I would agree. I can't make a choice.

[Craig Thomas]

No.

[Josh Radnor]

I just want to be told what to do.

[Craig Thomas]

Yeah, that's right. That's right. So I was thinking about this vis a vis dating, vis a vis casting movies where, like, you know, a good casting director will winnow that down for you. Right.

[Josh Radnor]

Oh, yes.

[Craig Thomas]

What if you had. What if you had a good casting director, but for one of the biggest and most difficult purchases we make in our lives. Buying a car. How many cars are there? Too many.

[Josh Radnor]

There's too many.

[Craig Thomas]

There's too many cars.

[Josh Radnor]

Too many cars.

[Craig Thomas]

So wouldn't it be great if you had, like, a casting director for cars?

[Josh Radnor]

Yeah, but such a thing doesn't exist.

[Guest]

Wrong.

[Craig Thomas]

It does exist, Craig.

[Josh Radnor]

Oh, my God. I watched. Right in your trap.

[Craig Thomas]

It's called Car. Car gurus.

[Josh Radnor]

Cargurus.

[Craig Thomas]

Cargurus.

[Josh Radnor]

It exists. It is a casting director for your car. Josh came up with that phrase and I really want them to literally can Cargurus. Will you start just using that? It's a casting director for your car. This is true because so many actors come in and the casting director sees them all and they say, hey, look at these 10. And then every once in a while one of them turns out to be Josh Radner as Ted Mosby on How I Met yout Mother.

[Craig Thomas]

That's right.

[Josh Radnor]

And it's the best. And so Carguru is. Does essentially that maybe. Yes.

[Craig Thomas]

They also do real price analysis, vehicle history, price drop alerts and the best deals. No bad dates, just good cars.

[Josh Radnor]

Boom. Cargurus will connect you with trusted dealerships when you're ready, ensuring a transparent and hassle free buying process. With over 4 million listings, CarGurus has more car listings than any other major online automotive Marketplace in the U.S. major online automotive marketplace in the U.S. so you can find the best deal. Cargurus gives you the control to shop how you want to shop. With the tools, information and data driven deal ratings you need, it's no wonder.

[Craig Thomas]

Similar web estimated traffic data shows Cargurus is the number one most visited car shopping site. Buy or sell your next car today with [e-mail] Go to CarGurus.com to make sure your big deal is the best deal.

[Josh Radnor]

But how do you spell that, Josh?

[Craig Thomas]

Well, that's. Thanks for asking, Craig. That's C A R G u r u s.com cargurus.com Got it.

[Advertiser]

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[Josh Radnor]

End of commercials. Back to show Barney's Christmas morning joy that Ted has said yes to one of his plans. And Ted's doing those shots. And Neil is just giddy. Neil. It's almost like Neil is feeling that emotion. He's like, I love it, I love it, I love it. He's going crazy. And the way Barney is worshiping chaos throughout the whole episode, he's just like, I don't know what he's gonna do next, but I wanna see what it's gonna be. I loved that energy from him and that Ted did Barney's idea and to.

[Craig Thomas]

Be fair, did hook up with.

[Josh Radnor]

He did hook up with Winnie Cooper in this episode, which going back to our childhood. Could you imagine watching the Wonder Years being in love with Winnie Cooper?

[Guest]

That was pretty exciting. That was an exciting bit of Josh.

[Josh Radnor]

Hooks up with Winnie Cooper and it freaking happens.

[Craig Thomas]

Well, it wasn't the only time in the.

[Guest]

We hadn't really stunt cast the show very much. And she was probably one of the most famous, iconic people to appear on the show at that time. That was like, she comes back.

[Josh Radnor]

Totally.

[Guest]

And she comes back. Yeah.

[Craig Thomas]

Yeah. Well. Well, I remember first season there were two guest stars that were real. Pinch me. Guest stars. And I think first or second season, Danica McKellar was one because I watched every episode of the Wonder Years and Michael Gross as my dad. The dad from Family Ties.

[Josh Radnor]

Starstruck.

[Craig Thomas]

Yeah, Family Ties. Family Ties was. I mean, I saw every single.

[Josh Radnor]

It's an Ohio show for you guys. You guys must love that as kids.

[Craig Thomas]

I remember being like, this is so trippy to be. And the fact that I was on the show. I wasn't guest starring on their shows. Like they were coming onto a show I was on. You know, it was so radical to me. And they were both so lovely, too. I mean, I love, you know, if you're in the business long enough, you really do get to work with people that you just have admired for so long or were in love with when you were 12 or. You know what I mean? Like, there's something so nice about getting to work with people you admire so much and also. Right. Sizing them, you know, like, it was.

[Josh Radnor]

Crazy for me because when I was like 12, I had a big poster of Michael Gross on my wall.

[Craig Thomas]

You were a mess around him. I remember I was a. Messing together. A sentence.

[Alec Lev]

Yeah.

[Craig Thomas]

Yeah. But I mean, that's, that's, that was part of the thrill of being there for nine years with so many.

[Josh Radnor]

Oh, my God.

[Craig Thomas]

Came through. Yeah. You know, look, when you're 12 and you live in Ohio and you watch the Wonder Years or you watch Family Ties, that world, those worlds feel, they feel both familiar because they're in your living room, but they feel very far away. And the first time you see. I, you know, I remember I was in New York with my family. I must have been like 10 or 11 maybe. Like, remember the show? Head of the class? The.

[Guest]

Yeah, sure.

[Craig Thomas]

I. I was in Carnegie Deli in New York City with my family on a trip and Two of the guys, two of the students walked in together.

[Josh Radnor]

Yeah. Oh, wow.

[Craig Thomas]

And I lost the power to speak or move. Like, I was so unbelievably starstruck. At first I was like, I know those guys. And then I was like, like, when I realized it, why, you know them. And. And I think that, like, growing up in Ohio, you know, we grew up, like, not on sound stages. Like, we're not, like, we're not like, showbiz fans. You know what I mean? So when you first start meeting these people, like, I. One of my first shows was. Was I played one of Sally Field law clerks in this show called the Court. And, you know, it took me, like a little while to just be able to say two sentences to her.

[Josh Radnor]

Right, I bet.

[Craig Thomas]

But then you work with people, you see their process, you see them work, and you see, oh, they're doing what I'm doing. Like, they're. They're analyzing a script. They're doing their best. They just. I've just watched them for a lot of years and. Yeah, and it's also strange because now people have watched me for a lot of years and they have all sorts of.

[Josh Radnor]

I was gonna say, you're on the.

[Craig Thomas]

Receiving end of that, but I remember it actually gives me compassion for people. The floor drops out underneath them when they see someone they know from TV or movies, you know, because I remember that I had the same response when I started out. But it's very good, I think, to work with actors you've long admired. Most of the time they're incredibly lovely and just really professional. But it's nice to right size them because you feel. You don't feel as much of a gulf between you and them, and you're like, you know what? We're both professional actors. We're both employed on this show, and we're gonna do our work together. And it's really fun. I don't know, I always considered it a thrill.

[Guest]

Part of the job, living in LA does that because you've sort of, like. You also just sort of realize, like, oh, this person just lives in a neighborhood in la. They go to a Ralph's. Like, they.

[Craig Thomas]

They. You know, my. My wife has this funny thing where she really wants to believe that the characters are, like, in Middle Ages or whatever. Like, if she's watching, you know, Game of Thrones, she's like, don't tell me they get smoothies at Air1. I don't want to know. I know that it ruins the illusion. So. Yeah.

[Josh Radnor]

Who was. Can you guys remember the first. Was that head of the class one. Your first moment like that, Josh and Carter, I want to know your first, if that would. Do you remember your first one, Carter?

[Guest]

I remember it's very similar too, because. And I grew up in suburban Ohio, as did Josh. And I remember, like, reading that William Cat, the greatest American Hero, was going to be in a play. He was in a play at the Cleveland Playhouse.

[Josh Radnor]

Yeah.

[Guest]

And I remember I read that, clocked it and forgot about it. And I was like. And I lived in a town called Shaker Heights, which is like a few towns away from the. But it's like a nice town. It's kind of. It's connected everything with like the rapid transit, like the trail, the light rail. And so I sort of clocked that, that he's going to be in it and forgot it. And then I'm like walking around my neighborhood, like on a suburban street, on a sidewalk, no one else around, and there's a guy coming on the sideline, the opposite direction, coming towards me, flying, flying at me. And it was William Cat. And it was like, that was the first, like, celebrity I ever saw. Like, that was. Yeah, there's nothing else to that story either.

[Josh Radnor]

That's totally. That's a huge moment, man.

[Guest]

And Howard Hessman. Actually, Howard Hessman was.

[Josh Radnor]

You're kidding.

[Guest]

He was in a. He was in a play at the Cleveland Playhouse also. And I remember I saw him on stage and like, I think I may have, like, gotten to sign my. My program and like, that was like a huge deal.

[Josh Radnor]

Mine, man. I think my. The New York Mets lived in my hometown, some of them in port Washington, New York, like during the 86, 87 seasons. And I would see them around. I know this is an actors. But it was just like. Like, I see them on TV and here they are. And one time we saw like Billy Joel driving around Long Island. I just remember those are my. Some of my first ones of like, oh, these people exist in the real world. But then the funny thing is you. You think you get inured to it in la, living in LA for years and then. But every now and again, one really gets you. Like, we've been living in LA for a couple years doing How I Met yout Mother. We had our own TV show. And I was walking down the street one day and I passed the actor James Marsden, I think is no James Marsters. Forgive me, who played Spike in Buffy. I'm a huge Buffy the Vampire Slayer fan. And here I was, like a professional. I think I was a showrunner at the Time living in Los Angeles. And he's walking up to me and I go, spike, like the dorkiest fucking fan in the world. I call him his character name. I freak out. He's clearly uncomfortable. And then I was like, that was. I guess you never fully let go of, like, every now and again, one's just going to catch you and you're going to be a total dork.

[Craig Thomas]

One thing to remember, I think, is that if you go into TV and film, you are almost assuredly a fan of TV and film.

[Josh Radnor]

That's it. Maybe you don't want to lose that part.

[Guest]

Was probably psyched that it's like, oh, my God, that's the showrunner of How Met yout Mother. Like, I want to know.

[Craig Thomas]

I try to remember that, like, when I'm shocked that people are so disoriented when they meet me. I try to remember that. Like, I shared that back before I got behind the curtain of it all, you know? And now it's like, it's just my workplace, you know, there's still. There's a. I'm not particularly starstruck. There are a few people that, like, can kind of make me a little wobbly. But I. Most of the time, I just. I know what they do. I know. You know what, I might respect them quite a bit, and I'm. I would want to, you know, talk with them, but not in a way, like, it's. It's very. I've spent so many years trying to humanize myself when I meet people like that, to be like, you're. I'm like, I'm having lunch with my wife. Like, I'll take a moment, you know. But it's. Yeah, it's. It's. It's such a strange thing for people to not be expecting to see someone they know from TV in a day. And it's. You know, Clooney said this. I remember George Clooney said this in a New Yorker profile that he said, I try to remember when people see me on the street, it's the high point of their day. It's like the story they're going to tell at the end of the day. And sometimes they really lose that, their minds. And it's up to me at some point to ground them, to get their name, to get them back in their body so they don't feel humiliated by the experience of meeting me, so they can have, like, a nice experience.

[Josh Radnor]

That's a really thoughtful take on that. That's very cool.

[Craig Thomas]

I thought about it for a long time and I. And I try to do that. Like, at my best, I do that. Sometimes you have indelicate moments, and some people probably think, like, that guy's not a nice guy. But, you know, you. I do my best.

[Guest]

I, I, I literally had a moment like that on the other side of that, because in my neighborhood. Bob Balaban lives in my neighborhood, and he's like, the level of guy that, like, you know, you see Bob Balavan, it's like, I, like, that's, like, serious starstruck. And I was with my daughter, and we had just, like, we were. We, like, literally watched the first 20 minutes of waiting for Guffman, like, and then, like, went out to, like, get dinner and, like, saw him. And I had a moment where I, like, I, you know, just the fan in me just sort of took over, and I was like, excuse me, are you Bob Balaban? He was like, yes. I was like, can I shake your hand? And he was like, oh, no, I'd rather not. I just wash my hands. And in that moment, I just said it sort of. I tried to say it casually, but he could have kept walking and turned that into the story that I'm running in my head. I wouldn't have slept for a week if he hadn't. But he was so sweet after that and talked to me and talked to my daughter and was just absolutely lovely. And it was a good. I mean, I still have not slept since that moment. And thinking about, like, I shouldn't have tried to shake his hand, but, like.

[Craig Thomas]

It was like, to any people out there, there is. I'm not, like, super germaphobic, but sometimes, like, after these shows I've been doing on tour, like, people really want to shake your hand. And by the time you've shaken, like, 20 hands, it's like you feel like you really gotta sterilize.

[Josh Radnor]

Yeah.

[Guest]

No.

[Craig Thomas]

Yeah.

[Guest]

Like, in the moment, I heard myself saying. I was like, no, no, he doesn't wanna shit, because it is. And also, like, it's.

[Craig Thomas]

It.

[Guest]

It sort of made me, like, culturally, we might. Are we passing handshaking made me realize, like, I don't. I don't really shake people's hands when I meet them. Like, I feel like maybe that's.

[Craig Thomas]

There were a lot of people during COVID that were like, I hope handshaking is over.

[Josh Radnor]

Yeah, I think this bump is better for sure.

[Guest]

Yeah. Courtly bows, I think was supposed to come back. Like, that was going to be the.

[Craig Thomas]

My. My wife, Jordana. This is a section Carter. I think you remember this, but we call it Questions and observations from a clinical psychologist who's never seen How I met your mother and also happens to be married to Josh. Good title. We have an acronym segment. Yeah, we have an acronym. It's impossible. Yeah. But this was her question and observation from the Pineapple incident. Let's give it a listen.

[Professor Carter Bays]

So for me, this episode emphasizes the importance of quieting your mind and moving into your feelings, instincts and body. Clearly we see that Ted goes a bit too far, but there can be real benefits to this process, especially if you're particularly cerebral. So my question is, when have each of you let yourself lose your mind a bit? Alec, you too. And were there benefits? Were there consequences? And what did you learn? I'll also say that my favorite part of the episode is definitely the Pineapple. You leave us with an unsolved mystery and you had faith in your audience to interpret it however we wanted to, to project whatever we needed to onto that Pineapple. Almost like it was a Rorschach test. To me it symbolizes the mystery, the unknown, the questions in life we have that we will simply never get answered. And I think the Pineapple does this incredibly special thing where it celebrates that aspect of life almost like a cosmic wink, rather than bemoaning it or seeing it as frustrating or anxiety inducing, which is so often our go to when it comes to the unknown. And I think that might be part of the Pineapple's real staying power as a symbol for the show.

[Josh Radnor]

She's smart.

[Guest]

Very well said. Yeah, yeah.

[Alec Lev]

And end of show, I mean, come on.

[Josh Radnor]

I know. I don't know what we can say that would top that. I. I love that she interpreted the Pineapple that way because she's a first timer. She's never seen the show.

[Guest]

Yeah, that's it. Okay.

[Craig Thomas]

She got it.

[Guest]

She got what we were going for, so. Yeah.

[Craig Thomas]

Well, in some way, I mean, you can retrofit the Pineapple into the larger story, which I think that like you guys said you were figuring out this show as you went. And I think you were also getting bolder about taking bigger swings as the season went on, as the network and studio gave you a longer leash, kind of like let you do it, you know, more and trusted your guys vision. But I do think in the, in the How I Met yout Mother verse, you could make an argument that, I mean, certainly mystery, the unknown, which, which Ted is so scared of. And Barney, I mean from a Lord of Darkness perspective is. Is like more attracted to, but from a. Like a more chaos, you know, perspective. But, but there Is. I think part of Ted's journey is he has to make peace with mystery. He has to make peace with the unknown. You know, so there's this. There's this kind of epic symbol of that sitting beside his bed one morning is almost like a wink from the universe.

[Guest]

I know I've always fel so much of the, like, the central tension of the show is that struggle between fate and self determination. Like, even down to, like the title How I Met yout Mother. It sounds like it could be an instruction manual, like how to meet the love of your life. As though that's something you can just go out and do, when in fact it's really like how this happened, what had to happen for this to unfold.

[Craig Thomas]

And also it occurs to me Barney has all kinds of, like, systems and formulas. He's trying to game the universe also.

[Guest]

Yeah.

[Craig Thomas]

Even though he's a little more open to the unknown. But.

[Josh Radnor]

Yeah.

[Guest]

But you cannot make it happen. You have to embrace that part of life that is just gonna deliver things to your doorstep and you make. Make with them what you will.

[Craig Thomas]

Yeah. And I think that that's part of the. The starting the show when they're 27 is like, your 20s are so confusing. And you've been liberated from a system where, especially if you did college and maybe even grad school, like, you're liberated from the system that's very ordered and regimented and you know where you have to be when. And you have your meals here and. And then you're thrust out into the world and you just have to make sense of the chaos of, like, being young and in New York City and not having a ton of money and not knowing who you're going to marry and where you're going to live. And like, there's so many unknowns. And I. I agree. I mean, I think it's a. A story about many things, but one of them is about a young man who has to accept mystery in his life and, and. And the. The wisdom of the unknown. You know, that, that there's actually something guiding him. I mean, if he'd married Stella, if she'd shown up at the altar, like, he'd be divorced now. You know what I mean? Like. Like there were. There were things that would not have worked. So he was actually. What looked like heartache was actually him being protected on some level.

[Josh Radnor]

So maybe them eating the pineapple was them internalizing and ingesting that mystery. Maybe it was genius that they ate the fucking pineapple.

[Guest]

I see it now. I didn't See it?

[Josh Radnor]

Do you see it now? I'm trying to think of how to answer Jordana's other part of the question, which is like, can we remember moments like that just thinking about it as it pertains to the show? I think the entire endeavor of launching the show. Carter and I were essentially drunk with our own lack of experience, meaning we had no idea how to write a sitcom. We had never even even written on a proper like multi camera sitcom. And I think the sort of like way we just staggered through kind of season one, we're just like, we're gonna write it like a sopa. We're gonna write it like it's a drama. It's gonna have cliffhangers. You're gonna have to watch there. There will be these through lines. We knew season one would end with this crazy sort of like, again, we're trying to not do too many spoilers, but something buoyant and full of elation and also full of heartbreak on the sort of, of two sided coin that ends season one. And Carter, don't you look at it as though we were like, we just didn't know enough to be afraid. We didn't know enough. We sort of were like we had turned off the part of our brains that thought we can't do this and we just wrote what we wanted to write. The whole show was kind of us doing the pineapple incident.

[Guest]

Yeah, well, there certainly wasn't. There wasn't a feeling like I vividly remember this and I can be neurotic about a million things in my life, life, but I remember just with absolute clarity feeling like this show is, is going to go the distance, like right from the beginning and, and, and I've been on other shows where I, where I thought, where I thought that. But I, I always kind of like thought like, it's probably going to get canceled and it did. And this one, like, I remember. Yeah, like we were just like, to be like tuning out those voices of like, you know, head your bets. Don't, you know, don't. Don't swing for the fences too hard because you're on the bubble, you know, I just like, I just felt like, I don't know. And it was foolish and it was but good foolish, I think, because it was just like, I love this show so much. I love the people I'm making this with. Like, the world is not going to take this away. The world is. This is, this is going to keep going just because there's so much love here. It's so corny. But it, like, totally, like. Yeah. And I think that's how we managed to, like, do things like. Like the pineapple, you know, and just knowing, like. I just remember feeling like we're gonna have years to do this show.

[Josh Radnor]

I felt it too. I felt it, too. And I felt like we had turned off the parts of our brain that would let anything but that in. You have to have this kind of positive, productive delusion that it will keep going and that if you put cool shit out there, cool people will come and you'll be able to all make something together. And we're.

[Craig Thomas]

We.

[Josh Radnor]

I think we were. We were. We were basically in that state certainly when we were launching the show. We did not let those fears in. We didn't overthink it.

[Craig Thomas]

It strikes me that you guys knew just enough to write it in a way that was, like, recognizable of the form, but you had a kind of blissful ignorance in other ways that allowed you to be, like, somewhat bolder and weirder, I think.

[Josh Radnor]

Bolder.

[Guest]

It's funny because the. The thing that jumped into my mind from Jordana's question was because I've just, like, my son is really into baseball, and he's working on hitting, and he's been having trouble hitting. And sort of the advice I've been trying to give him and that his coaches have given him is like, five shots. Yeah, take five shots. No, he's all like, what are you doing with your legs and your. I don't know. I don't know anything about baseball, so I'm useless as far as, like, what the advice is. But there's a lot of advice. And, like, you have, like. Yeah, you know, like, you can. You can shout from the sidelines. Do, you know, do this, do that, choke up, whatever. Whatever it is. But, like, it. It. It's sort of like the thing. The thing that sort of broke through for him is like, you have to, like, you have to know that you've done enough learning to do this. Like, you. You've. You're prepared. Like, you. So when you're actually doing it, don't think about. It's like. Like playing music. Playing music is. Is. Is exactly the same thing where it's like. It's. It's. You're. You memory as opposed to, like, your brain memory. And like, I don't sit down when I play. Like, when I play, I don't have to think like, okay, a C chord is a C, E, and a G, like, my hand does it. And I know. And I know what. That's what An F is going to sound like next, you know, And. And that's kind of like when you're up there with the bat in your hand, don't be thinking about, like, okay, I gotta bend my knees just like this. I gotta do this with my hip. Like, you're not. Don't think about that because you've already learned that. Your body has already learned. Learned it. Just. Just swing. Just. Just do what. What comes naturally. And. And I feel like that's kind of how we approached the show. Like, you could definitely say on one hand we were very inexperienced, we'd never run a show before, but, like, I don't know, like, I'd watch 10, 000 hours of. Of Charles in Charge. Like, I knew how to write a sitcom, you know?

[Josh Radnor]

Like, I knew.

[Guest]

I knew I knew what a sitcom looked like, you know? Yeah, only Charles in Charge. I haven't. I've never watched another show. I've been very careful about that.

[Craig Thomas]

Well, but. But I do think that some of you, Your youth, inexperience was an asset because you were not so rigidly indoctrinated into a system or into a form that you couldn't play jazz with it. You know what I mean? It feels like you guys had, like, sitcom was the melody line, and then you were just playing jazz. You were just like, good musicians.

[Josh Radnor]

Tom Waits had some quote that I won't get right, but I think it was to the effect of, like, you don't want to get so good at music that it doesn't surprise you anymore. Like, as a songwriter, you want to not know that much because you want to just be like, well, this sounds good. I don't know what this is. Like, let's just go find out what that thing is. And you can hear that in great songwriters. It's great. Songwriters aren't always amazing musicians.

[Craig Thomas]

Thank you.

[Josh Radnor]

And we didn't know enough. We didn't know enough. We didn't know all the notes.

[Craig Thomas]

That's an artist who has refused to uncouple with mystery. He's like, no, I don't. I want to trip into the space of not knowing. I want to be surprised and delighted and fascinated and chanted, you know? And I think, like I said, I just think you guys knew just enough to write it with. With great professional polish. But you also, you know, you weren't like. Like, that's not how we do it.

[Josh Radnor]

You know, we had a meeting once, Josh. We had a meeting, like, a year or two before we wrote how much Mother? With some guy. Some Showrunner guy that had been on lots of staffs and was. Had a pilot that year, and he was just.

[Craig Thomas]

We.

[Josh Radnor]

We didn't love the pilot. We had the meeting just trying to get a job. We were like out of work writers. And I remember Cardinal, if you remember this. But the guys that we said, oh, great. You go in there and you compliment the pilot even if you didn't like it. You go, that was so great. We got sent the tape. We watched it before the meeting. It's great. And he goes, yeah, it's kind of like a, B minus, C plus. If this one doesn't go, I'll just write another pilot next year. And we're like, oh, captain, my captain. And you're just in the back of your head, you're like, let's never be that guy. Let's write the one we have to do for fucking decade. And we will just die trying because we love it so much. And I think that we didn't know any better. We didn't think there was another pilot next year. This was it.

[Craig Thomas]

I was listening to a podcast with James Hollis, who's a great Jungian analyst and writer. And it wasn't his quote, but the name of the podcast that he references. It's something like. It might have been Bukowski or something, but it's find what you love and let it kill you.

[Josh Radnor]

It's a great line, man. Well, that's.

[Craig Thomas]

We done it.

[Josh Radnor]

That was the show. Yeah.

[Alec Lev]

Georgiana. Name checked me, and I just want to say this about that. It's Josh. I'm a little stunned that she has just seen right deep into my soul. I don't know what you've told her about me, but, yes, the difficulty in Letting Go is like, literally what I talked to my therapist about. And since I just had to cancel my therapy session for tomorrow, literally. I'm glad she brought this up. This is me. But my answer is, interestingly, exactly like all of yours. My version of Letting Go is doing something artistic sort of freely, right? Like the day up until you get to shoot or whatever it is. That's all the brain stuff, right? That's all the structure stuff and the checking and the right and the wrong. And then for me, it's like when I get a chance to be on set directly, then it's. Then that's Letting Go. That's like, oh, we just finally get to do this thing. And that has this sort of feeling of freedom. And that's what I'm hearing from you, too. And I mean, for Ted, it's a little more just. He's just kind of out there. He's getting drunk and he's letting himself do things he wouldn't otherwise do. But the letting go so that you can create is definitely the inspirational moment for me.

[Guest]

I think that's really astute, Alec, because I. And I think that that's like. I feel like it's reminding me of, like, back in the days when, like, I guess when, like, when like the Apatow movies started coming out. And like, you know, it was that style of making TV and film that where there's a lot of improv. Like, we sort of like, come up with the sort of. We were like, there's not really a script. We're just gonna. Or like curb enthusiasm. And I remember a lot of writers really, like, bristling against that where it's like, oh, so. So like a. A joke that an actor comes up with on a set in the moment is going to be better than this. Than this joke that we worked on in the room for two weeks. And it's kind of like in a lot of cases. Yeah, because like, you're sitting in a room working on it for two weeks as opposed to just like being in the moment and like reacting to the moment. And. And I don't know that so much of good stuff comes out of that.

[Craig Thomas]

Part of my. My reaction when I was talking about at the beginning of watching myself is that I think. I mean, it's 20 years later. I just feel like a better actor now because 20 years, 20 years more of doing the thing, you'll get better at it. But I think one of my issues as a younger actor was really wanting to do it right, which is like, that's a illusory goal. Like, there's no such thing.

[Josh Radnor]

Yeah, but you don't know that at that time.

[Craig Thomas]

You don't know that. And I was trying to be good and trying to do it right and be funny, but. But I wish, especially in the drunken stuff, even though I was almost like playing at anarchic, but in a more controlled way. Like, I wish I had surprised myself more is what I. What I'm saying. Interesting, you know, having worked now with like, Al Pacino, like, that guy is not trying to get it right. He's just trying to get a moment of truth that the camera catches and he's willing to be like, do all sorts of weird shit. So that happens, you know, And I feel like a little bit more like I understand the magic of on camera acting, which is you're Just trying to live life under, you know, you're an imaginary truthful under imaginary circumstances, as they say. But like, yeah, like you're trying to catch lightning in a bottle. You're trying to catch something where you're like, I hope the cameras were rolling on that one, because that felt real, you know, that felt true. And I. I think I was just. I was young. I was. It was my first kind of very public leading role. And I think. I think I had some of those moments I'm describing on how I met your mother. I don't think I was completely locked in my head, but I do notice sometimes in these early episodes, I remember this feeling like I wanted to be very good and I wanted to get it right.

[Josh Radnor]

Yeah, yeah, yeah.

[Craig Thomas]

And I sometimes want to tell that young actor, like, you know, relax, like, be babbed, like, surprise yourself, like, yeah, yeah, yeah.

[Josh Radnor]

And sort of fascinating that you're saying that. This is the most. You've said that, and it's in the episode where Ted was supposed to be cutting loose the most.

[Craig Thomas]

I know it's ironic, but I know it is. But I think I felt the burden of being the comedic engine, and you were the engine.

[Josh Radnor]

You knew and you knew you had to carry the energy of so much of that.

[Craig Thomas]

I just knew it was a good Ted episode and I wanted it to be.

[Josh Radnor]

Well, guess what? It is a good TED episode. You're crazy. But also, I understand how you're crazy.

[Craig Thomas]

So, yeah, yeah, I think it was.

[Josh Radnor]

Such a good one. I'm so proud of that one. Carter. Our names came up on it and Rebecca was like, oh, you guys wrote that one. That's a good one.

[Guest]

Yeah, it was pretty good. No, I know. It was so much fun watching it. I hadn't seen it in years and years, and that was really. I'm sorry, I'm just looking over because I'm trying to think if I had notes, like, observations. Okay, this is one thing that. I don't know if you guys have talked about this on the podcast at all, and I feel a little icky even bringing this up, but I remember at some point someone pointing this out first season, like, about halfway through first season. And. And it sent a shiver down my spine. There are jokes about Lily peeing in almost every episode of the first season. Like, Lily peeing. And there are like, big, like, either it's like a little, like a one, one off joke or like a whole, like, plot point will come up and come out of it.

[Josh Radnor]

And only a few episodes from now, there's a Whole big peeing thing. Oh, my God. What was coming up?

[Craig Thomas]

I say she's got a big tank.

[Josh Radnor]

She's got a big tank.

[Guest]

She's got a big tank. Yeah. When that moment happened, it reminded me. It, like, brought me back to, like. Oh, God. That's right. There was that thing that, like, for.

[Craig Thomas]

Whatever reason, like, we have not discuss Lily peeing. No, it has not come up.

[Josh Radnor]

Belly full of turkey lilies. We're talking about. There was the double public urination bit. Barney got arrested for peeing out of church. At least Barney was with her in that one. But you're right, there's a lot of peeing on this show.

[Guest]

Yes.

[Josh Radnor]

In general.

[Craig Thomas]

Coming up after drum roll. Isn't it, like, where she. Marshall watches her pee.

[Josh Radnor]

Zip, zip, zip. Where they've never seen.

[Guest]

There's a whole storyline about that. About. Yeah.

[Josh Radnor]

Oh, my God. All right. You're right. We're.

[Craig Thomas]

We're.

[Josh Radnor]

We're. Something's. We got to look at inside ourselves.

[Guest]

Going on in our lives. I. Oh, another little thing. I don't know if this is. If this is worth mentioning, but our friend Pat Butler was. Was in the episode.

[Josh Radnor]

I forgot it. Pat Butler, who's in our band the Solids, and is. We've been in bands of Pat since college. And he is sitting at the bar at one point. Yeah. And Rebecca and I were watching. We're like, it's Pat. I forgot. Completely forgot. I'm glad Pat was in a classic. I'm glad we got Patty into a classic.

[Guest]

Yes.

[Josh Radnor]

As well deserved.

[Guest]

What else? Vomit 3 since 93. That was based on my life. And that was. Yeah, that was.

[Josh Radnor]

I forgot that that was you.

[Guest]

Yeah. And. And. And it. It's making me realize, like, I think I've only vomited, like, twice in my adult life. Like, I've actually kept it going for.

[Josh Radnor]

Wait, are you good since 93 still? Are you?

[Guest]

No, no.

[Craig Thomas]

90S.

[Guest]

Because, I mean, however, like, possibly autobiographical. This is. There was like. There was a night, like, in the late 90s, I think that the streak broke. And then I had some bad chicken about 10 years ago and vomited my.

[Craig Thomas]

Entire work as well.

[Alec Lev]

Vomit free since 83.

[Guest]

You really me?

[Josh Radnor]

Alec labs a very anti. Vomit. Alec thinks about this a lot. He's very. His whole life is about not vomiting. His whole life is designed.

[Craig Thomas]

You guys got to get out of your heads and come do some ayahuasca with me right away.

[Josh Radnor]

Oh, my God. I forgot that you were the source of that. Carter, that's impressive.

[Guest]

Yeah.

[Josh Radnor]

God knows it ain't me. I threw up twice during this podcast.

[Alec Lev]

We're off the rails here. Anything else incident?

[Josh Radnor]

Let's end on pee and vomit. Thanks for joining us.

[Guest]

That's all I got. That's all I've ever got.

[Craig Thomas]

All right, this is another wonderful letter we received. If you want to write us a letter or share a voice note with us about what How I Met yout Mother means to you or any other How I Met yout Mother related delights, please go to how we made your mother.com contact and it should be pretty clear how you submit something. And we love reading these letters. This one is from Monique from Australia and she writes When Hymnim first started airing I was six years old. Yes, my dad let me watch with him every week from the beginning as a kindergartner. I think he only regretted that choice when I kept asking when there would be another episode about the damn pineapple. I remember physically writing out scripts for TV show ideas I had as a young child, acting them out for him, and him telling me that I could write my generation's version of How I met your mother someday. Obviously I couldn't write anything as magical as Himyim. I just wanted to make him look laugh as much as Himyam made him laugh. My father passed away in 2010 and I had just turned 11. School was starting back up and my best friend at the time and I spent our lunch reenacting scenes from Himyam which made that era of my life have some normaly attached to it. And that is something I'm eternally grateful for. Did we understand all the jokes and innuendos? Not a chance. But we knew when we were older we would be watching with occasional jaws to the floors when the dirty joke or double entendre finally made sense to us.

[Josh Radnor]

Us.

[Craig Thomas]

I watched every episode of Himyim every week until the last episode that aired less than a month before I turned 15. I felt my father's presence while also being able to feel myself shape into the woman I was becoming over these seasons, a feeling I'll have with no other show. My father was only 33 when he passed away, which obviously I had no comprehension whatsoever about still being a young age to pass away. The gang growing up and growing old together, having adventures through their 30s, still having things to figure out made me understand how much life there is to live, how much we can miss out for ourselves when we don't embrace the now and the future, and how important it is to have hope. These sentiments have pushed me out of my darkest moments and into the light my grief shifted from anger at the world blossoming into finding pockets for the love I feel for people in the past, future and present, which I fully attribute to the characters of the show, especially ted. I'll be 26 shortly and I can't remember a time in my life without watching Ted Kim Yim. And I wouldn't want it any other way. Thank you for raising me. Thank you for forcing me to believe in love even when I'm brokenhearted. Thank you for the laughs and for the tears. Cheers, Monique.

[Josh Radnor]

Wow.

[Craig Thomas]

Thanks, Monique.

[Josh Radnor]

I don't know what to say. I. I feel like I'm in a burst into tears. That's so nice. Thank you. Thank you, Monique. Oh my God. I'm sorry for your loss and so happy that she show was any help to you at all and continues to mean something to you. Thank you for that story, truly. It's why we wrote the show.

[Craig Thomas]

There's a, there's, there's a How I Met yout Mother for everyone. Like there's as many How I met your mothers as there are people who watch it and love it. Right?

[Josh Radnor]

Yeah.

[Craig Thomas]

And we all have our own. Like, I have a very specific relationship with How I met your mother.

[Josh Radnor]

Like I played yours is the most specific.

[Craig Thomas]

I have a very specific relationship to it and a very complicated relationship to it. And there's also, there's a certain way that some of these people have. Their relationship to it is so simple and beautiful and just a point of connection with like. Like being able to be a bridge for people who, you know, it didn't sound like they had trouble connecting, but it, but it does sound like it certainly deepened their relationship to be able to share this and her interest in, in comedy and her delight in making her father laugh, all of that is so lovely. And just the fact that we were a part of that without knowing we were a part of that, that's what always floors me.

[Josh Radnor]

That's what such a gift about getting to hear these stories. It's such a gift that fans are sharing with us that this is really our way of talking to the fans and connecting with people and hearing what the show meant to them. And yeah, proof positive that you make something needs to send it out into the world.

[Craig Thomas]

And it belongs to Australia.

[Josh Radnor]

It belongs to the world. It belongs to Australia. It belongs. This is hers. This is her version of the show. And that's mind blowingly amazing and beautiful and thank you.

[Craig Thomas]

Yeah, thanks, Monique. I am guilty. Please acquit me. All sins are forgiven in New York City.

[Alec Lev]

How we made your Mother is hosted at and executive produced by Josh Radner and Craig Thomas. The show was produced by me, Alec Lev and our co producer is Doug Matica. Our audio producer and mixer is Alex Reeves at Point of Blue Studios and our digital Content producer AKA Gen Z Master is Emily Blumberg. Artwork by John Morrow. Please follow, rate and review the show on Apple Podcasts or your podcast player of choice. It really does help the show. Our theme song is NYC by our own Josh Radner with additional music by Craig Thomas and Andrew Majewski. Special thanks to Lola Kennedy and Elliot Connors. Visit how we madeyourmother.com to sign up for our Substack mailing list and for links to our social media. You can also click on the contact page to send us an email or a voice message. Your stories and questions are an important part of the show. Want some merch? Click on the store link or go to howyougetyourmerch.com subscribe to Josh Radner's Muse Letters on Substack. Order Craig Thomas debut [e-mail] novel and you can subscribe to My Dead Fathers Society, also on Substack to learn about how you make a difference. This show's ongoing campaign to raise money for congenital heart disease research. Check out the Make a Difference tab at the top of our website. This episode was made possible by the support of Backyard Ventures. People will in fact dance the real.

[Craig Thomas]

Question it just hit me. Am I in love with you or just New York City?

[Unknown]

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[Guest]

La barbecue que quettono del fondo de la Cajita Hot Fudge Sundae Creamy Chili McCrispy Strip Dip Los Nuevos McCrispy.

[Craig Thomas]

Strips out in McDonald's.