The Sopranos: Denial, Anger, Acceptance

“And the Romans- where are they now?"

"You're lookin;' at 'em, asshole."

An unusually short third episode starts with Christopher and Brendan being absolute bell-ends in a way which makes it quite clear that at least one of them (and Brendan is the bigger bell-end) is going to get “whacked”. But this episode, as ever, is about Tony- and the anger which he, the classic exemplar of what we now call toxic masculinity, uses as a displacement for other difficult emotions. His reaction to the Impressionist-ish painting in Dr Melfi’s waiting room is revealing- he sees decay where others don’t. But his experience here is, of course, legitimate, in spite of his obvious inferiority complex where it comes to education and culture.

What is affecting Tony more than anything, at the moment, is Jackie’s cancer, which is obviously killing this much-likes man- and the title obviously mirrors the process Tony goes through. He arranges a girl and a party with booze for his friend, whose life has now shrunk to the hospital room within which he will very shortly die. It would upset anyone.

But Tony uses anger as a displacement emotion elsewhere too. Artie and Charmaine are broke, moving to a smaller house near the Sopranos, and the insurance company suspect arson which will leave them in penury. This is, of course, all Tony’s fault, so he reacts angrily to the pathetically loyal a Artie recounting his woes while acting as chef for a charity do at their house- and Charmaine, acting as waitress, is humiliated. A sudden class rupture seems to be destroying Carmela’s attempts to get close to Charmaine again, leading her to reveal that she once slept with Tony- but ultimately chose the decent, honest Artie.

There’s an interesting sub-plot with a family dispute between some Hasidic Jews who behave with an old-fashioned honour which Tony admires.

We end with a nice juxtaposition. Meadow and her friend Hunter perform the choir recital they need to do to get some kind of points to get to a good uni (ridiculous) which moves Tony deeply- but Junior has had a chat with Livia, who drops some wonderfully subtle hints. So Christopher gets a traumatic mock execution but gets to live- mistakenly thinking its Tony’s doing after he supplied crystal meth to Meadow. But Brendan is killed, in true Roman fashion, in the bath, ending a truly awesome episode as Junior watches...

The Sopranos: 46 Long

"Time and patience change the mulberry leaf to silk..."

We've had the introductions; now we get straight on with developing the characters and arc plot as David Chase hands over to lesser mortals to write and helm this second episode. The result is not quite as superlative but nevertheless constitutes superior telly. 1999 was a long time ago, though; no one has a mobile phone and a pay phone plays an important role, the Internet is not a thing for most people, while DVD’s are fancy new tech. It all felt very modern at the time, with the Millennium approaching.

Carmela and the kids take a back seat as this episode focuses on Mob conflicts and Tony's impossible relationship with his mother. The opening scene is suitably ominous, with a poker game soundtracked by a news programme about the inexorable decline of what we never hear described as the Mafia- and of omerta. Tony and his lieutenants Paulie, Big Pussy and Silvio- all fleshed out a little more in this episode- take refuge in pop culture references to The Godfather; Martin Scorcese's later cameo appearance is certainly appropriate.

This is a dysfunctional crime family; Giacomo (Jackie) is seemingly acting boss while some senior Soprano (isn't Tony's dad dead?) is in the slammer, but tensions are growing between Tony and his prickly Uncle Junior. These are largely because of the combination of Tony's incredibly thick and arrogant nephew Christopher and his even worse friend Brendan, both of whom keep robbing Junior’s stuff. This seems to reach almost a crisis, and frankly I’m surprised Tony doesn’t shoot Brendan. But he certainly isn’t happy.

Far worse than any of this, though, even the comical and Tarantinoesque shooting dead of the lorry driver, is Tony’s purgatory at the hands of Livia, the passive aggressive and drama-loving mother from Hell who knows how to wound with words. We learn that Tony has sisters who are estranged from her mother, but in setting her hob on fire and running over a friend she makes it clear that she can no longer live alone, spurning help with a combination of casual racism and emotional knife twisting. It’s no surprise that Tony’s mother- Nancy Marchand is brilliant- causes him such emotional turmoil, and Dr Melfi fulfils the time of Greek chorus here; this is far from a normal mother/son relationship. And it’s far from a normal television drama, too. More please.