You would not believe what I went through today for a simple hour of television.
I knew walking in to work today that the wires would be abuzz with news of the Sopranos finale. Sure enough, the story's on our front page as you wake up today. Luckily, I was charged with another section of the paper, but still a simple message to the newsroom -- pointing out that my last name happens to end with a vowel and there could be consequences for ruining my evening that may or may not include me dreaming of the culprit as a fish at an inexplicable Asbury Park boardwalk fish market -- served as my meager protection from the only piece of news I was really interested in this evening.
I knew it was possible to make it through the evening, as someone had pulled off a full shift without finding out who'd won American Idol.
Things started getting behind and I was forced to work on the Sopranos story on my PC without actually looking at it -- moving it from e-mail to the page. I have my co-workers to thank for keeping me blissfully ignorant. Still, I didn't get out of the newsroom until about 12:30 a.m. and was then detoured to Wawa for bread so I could have a sandwich. I sang audibly along with "Girls Just Wanna Have Fun" in the store in case the many goofy looking meatheads in there decided it a great place to ruin my night.
I'm pretty proud of myself. I've never been successful at such a clean getaway. I've actually had multiple Survivor episodes/finales ruined in circumstances surrounding work. But I also haven't been so excited for an episode of the Sopranos since I was in college (not that that was eons ago or anything).
If this lead-in hasn't been long enough to slow you down, I'll now warn you that if you read any farther, you will encounter SPOILERS. (That may have been my lamest spoiler warning yet.) Anyway, I feel my excitement was warranted. And, of course, it was met with what I'm usually met with when the show's credits roll -- ambiguity.
Not that the show wasn't successful. Seriously, I don't think it could have ended any other way. The aggravation that's permeated the past few seasons may remain for some people. But if it is, I think that means you never really got the show. If you expected a big payoff, you REALLY never got the show.
In fact, the show closed on what may have been the most suspenseful moment in its history -- Tony, seated with his family for dinner, watching his back. Just like he always has. Fans are left with the same uncertain future as Tony is. Will he go to jail? Is New York still coming for him? Who knows. But he's as content as he ever could be. He's comfortable with his family's current place: Meadow's choices. AJ again saved from himself. And Carmella still... there.
We finally see his closeness to Janice. And, more importantly, he's done all he could at this late hour to make peace with Junior. And all this from a guy who's lost another best friend to this thing. But what's a thug to do when his life and his work are indistinguishable.
Yeah, the family's stories all folded up nice and tight -- though AJ's may take a bit more to swallow after all that buildup. Paulie, too, makes a sort of peace with the boss in another entertaining appearance, and he gets the respect he was begging for just a few years ago without even trying this time.
As for what I'd like to have seen, it's not important. Plus, I went in with fairly few expectations. But if you're reading, that's what I'd like to see comments on. I'm interested to know what disappointed anyone and what readers may have thought just HAD to happen. (OK, one of mine would have been to see Patsy get it after bailing on Sil like he did.)
The finale can certainly be remembered for some classic Sopranos scenes, too. Tony and Junior, specifically, if only that the great exchanges between the two get one more airing, even if it's a tragic one. Another AJ bashing scene (with a little yelling at Meadow for good measure). An extremely sad moment as Tony visits his comatose cosigliere/childhood friend.
Maybe the funniest moment in Sopranos history pops up as well: "We might actually win this thing!" coming out of the mouth of Agent Harris. And, of course, what will be the most memorable whacking of however many seasons there've been. (Fare ye well Philly... you annoyed the heck outta me.)
It was a fitting, entertaining finale to a show that may have gone on just a few episodes too long. That's OK, though, it'll still be remembered fondly by all it's fans -- most of us in New Jersey (seriously, what other show allows you to watch and at some point exclaim "Hey, I bought my car around there" or "I know that Quick Chek").
And there's good reason for that fondness: It was probably the most captivating show of its time. And who knows what happens at HBO now. You thought losing Six Feet Under and Deadwood was bad...
Showing posts with label sopranos. Show all posts
Showing posts with label sopranos. Show all posts
Monday, June 11, 2007
Monday, June 4, 2007
Endgame
LET THIS BE A WARNING. IF YOU LOOK BELOW THIS LINE I'LL HAVE RUINED THIS WEEK'S SOPRANOS FOR YOU. PLEASE DON'T MAKE ME THE TiVO POOPER.
So after years and months and weeks (in whichever order of those you choose) it's here.
Something is HAPPENING on the Sopranos. And, so far anyway, it looks like the big action packed ending that fans are likely waiting for. After a slow plod through the last three seasons the Soprano family is at war with New York. We lose two characters that I don't believe anyone could have seen losing.
But, oh, wait, we have to deal with Dr. Melfi first. Tell me if I'm wrong, but does she bring the show down or what?! Not only is she my least favorite character (and actor) on the show, but her stories are always so boring and useless.
But she's got guilt and that's our problem, apparently. It's caught up with her after seven years. Finally. She abandons Tony after finding out she may just be enabling him and not helping. I mean, he fits everything in her medical journal to a T. Sure took her a while to notice didn't it? Anything he may do in next week's finale will still be on her head.
Of course, losing his 2nd Carmella (as he pointed out she really was) set him off more than anything else. Speaking of Carmella, she's been pretty annoying, too. Both of them have succeeded in enabling Tony more than enough throughout the years.
On the fringes this week: The sage Agent Whatshisname was more entertaining than ever; Paulie being in charge of the hit is an obvious recipe for disaster, but there's never been such on odd place for comic relief on this show; Janice, while useful to the story for once in her life brought the buzz down yet again (though the Junior storyline is intriguing, though it won't ever really go anywhere... it'll be sad when he's in public housing, but his story closed up a few weeks ago); Meadow remained blissfully unused (besides fodder for the boorish Tony/Melfi story).
Anyway -- the real story. (Which, side note, seems to be really crammed into this episode. It's almost like it doesn't belong after all this time. Even the editing of the show suggests a cramming of content.)
Phil puts a hit on Tony, Bobby and Silvio. Tony puts a hit on Phil. Tony's crew fails miserably. Phil's goes two for two with another at-bat on its way, it seems. What looked like a good position for the Jersey boys turned out to be a big wash. It had me going, I'll admit. But with Tony holed up in a house somewhere, surrounded by what's left of his crew, the odds are pretty staggeringly grim.
As far as Bobby and Sil go -- I don't think they could have picked anyone else that would have made me sadder. They've consistently been strong characters for the show and, seriously, who doesn't love Bobby? Their deaths were both sadly ominous and messy. It's sad to see them both go out like punks -- no chance to defend themselves, Bobby innocently just buying a set of train cars like the big teddy bear he is -- but that's how things are in their world. I'm glad at least they let Bobby be himself and didn't try to bulk him up by inserting him into the battle that's coming. He really never was a thug. Neither was Silvio, to be honest. He was more of a smooth hit man type. He just wasn't prepared.
It's been a long time since the end of a Sopranos episode has had me on the edge waiting for next week. I suppose it's as good a time as any. At the beginning of the season I would have easily bet you there'd be no payoff next week. Now I'm not so sure. The show has painted a beautiful picture and it's ready to smash it over its viewers' heads like a coffee pot (season one or two, I think... great scene).
It seems everyone may have a part in this ending. (Side note 2: It's odd and somewhat fitting that the biggest headache as far as loyalty goes that Tony has had up until now -- Paulie -- is the only right hand he has left). Even AJ, whose lame story up until now this season may turn out to have a point after all.
As far as exactly what's to come, I don't think it'll matter. I think what will matter is that there'll be some finality to the show. And that may be the most surprising thing of all to some people.
So after years and months and weeks (in whichever order of those you choose) it's here.
Something is HAPPENING on the Sopranos. And, so far anyway, it looks like the big action packed ending that fans are likely waiting for. After a slow plod through the last three seasons the Soprano family is at war with New York. We lose two characters that I don't believe anyone could have seen losing.
But, oh, wait, we have to deal with Dr. Melfi first. Tell me if I'm wrong, but does she bring the show down or what?! Not only is she my least favorite character (and actor) on the show, but her stories are always so boring and useless.
But she's got guilt and that's our problem, apparently. It's caught up with her after seven years. Finally. She abandons Tony after finding out she may just be enabling him and not helping. I mean, he fits everything in her medical journal to a T. Sure took her a while to notice didn't it? Anything he may do in next week's finale will still be on her head.
Of course, losing his 2nd Carmella (as he pointed out she really was) set him off more than anything else. Speaking of Carmella, she's been pretty annoying, too. Both of them have succeeded in enabling Tony more than enough throughout the years.
On the fringes this week: The sage Agent Whatshisname was more entertaining than ever; Paulie being in charge of the hit is an obvious recipe for disaster, but there's never been such on odd place for comic relief on this show; Janice, while useful to the story for once in her life brought the buzz down yet again (though the Junior storyline is intriguing, though it won't ever really go anywhere... it'll be sad when he's in public housing, but his story closed up a few weeks ago); Meadow remained blissfully unused (besides fodder for the boorish Tony/Melfi story).
Anyway -- the real story. (Which, side note, seems to be really crammed into this episode. It's almost like it doesn't belong after all this time. Even the editing of the show suggests a cramming of content.)
Phil puts a hit on Tony, Bobby and Silvio. Tony puts a hit on Phil. Tony's crew fails miserably. Phil's goes two for two with another at-bat on its way, it seems. What looked like a good position for the Jersey boys turned out to be a big wash. It had me going, I'll admit. But with Tony holed up in a house somewhere, surrounded by what's left of his crew, the odds are pretty staggeringly grim.
As far as Bobby and Sil go -- I don't think they could have picked anyone else that would have made me sadder. They've consistently been strong characters for the show and, seriously, who doesn't love Bobby? Their deaths were both sadly ominous and messy. It's sad to see them both go out like punks -- no chance to defend themselves, Bobby innocently just buying a set of train cars like the big teddy bear he is -- but that's how things are in their world. I'm glad at least they let Bobby be himself and didn't try to bulk him up by inserting him into the battle that's coming. He really never was a thug. Neither was Silvio, to be honest. He was more of a smooth hit man type. He just wasn't prepared.
It's been a long time since the end of a Sopranos episode has had me on the edge waiting for next week. I suppose it's as good a time as any. At the beginning of the season I would have easily bet you there'd be no payoff next week. Now I'm not so sure. The show has painted a beautiful picture and it's ready to smash it over its viewers' heads like a coffee pot (season one or two, I think... great scene).
It seems everyone may have a part in this ending. (Side note 2: It's odd and somewhat fitting that the biggest headache as far as loyalty goes that Tony has had up until now -- Paulie -- is the only right hand he has left). Even AJ, whose lame story up until now this season may turn out to have a point after all.
As far as exactly what's to come, I don't think it'll matter. I think what will matter is that there'll be some finality to the show. And that may be the most surprising thing of all to some people.
Monday, May 14, 2007
Whack-a-jinx
SOPRANOS SPOILERS BELOW. PLEASE STOP READING NOW IF YOU HAVEN'T WATCHED IT SO I DON'T GET BLAMED FOR RUINING ANYTHING.
Tony's got this thing where he needs to be right all the time, and he's good at finding a reason to believe that he is, even when he isn't. He's a bad guy, and he needs to be able to prove to himself somehow that he isn't.
And Sunday night's decision will probably be the hardest he'll have to live with over the span of the show, and still he's found a way to justify the murder of his surrogate son, his protege. Oh, I tried so hard, he sobs... I did everything I could, he mumbles... he was a @%$^ druggie, he insists... the car seat was destroyed, he declares angrily. Tony was never sad, not even for a second. He was angry and then relieved that his "biggest failure," is gone. Determining that Chris was a jinx is just another way to justify the killing to himself.
The rest of us, I think were shocked. Previous high-profile-character whackings were all reasonably telegraphed (Big Pussy, Tony B., Ralphie), but this one came from almost nowhere and the only reasoning we're given is Tony's psychotic babbling.
As far as AJ goes, I thought he'd become a respectable dirtbag last week... not to be. He goes from budding mobster to sniveling wuss in a span of one day. Not that I condone the budding mobster bit, but the sniveling wuss may actually be worse. He's very much like his dad.
And, seriously, poor Paulie. His small storyline is the most telling of the episode. His mom dies, a good person, and everyone else is at the scuzzy, druggie, criminal's wake. He knows that deep down, and as bad as he feels for never backing up Chris and never being his friend.
Tony's got this thing where he needs to be right all the time, and he's good at finding a reason to believe that he is, even when he isn't. He's a bad guy, and he needs to be able to prove to himself somehow that he isn't.
And Sunday night's decision will probably be the hardest he'll have to live with over the span of the show, and still he's found a way to justify the murder of his surrogate son, his protege. Oh, I tried so hard, he sobs... I did everything I could, he mumbles... he was a @%$^ druggie, he insists... the car seat was destroyed, he declares angrily. Tony was never sad, not even for a second. He was angry and then relieved that his "biggest failure," is gone. Determining that Chris was a jinx is just another way to justify the killing to himself.
The rest of us, I think were shocked. Previous high-profile-character whackings were all reasonably telegraphed (Big Pussy, Tony B., Ralphie), but this one came from almost nowhere and the only reasoning we're given is Tony's psychotic babbling.
As far as AJ goes, I thought he'd become a respectable dirtbag last week... not to be. He goes from budding mobster to sniveling wuss in a span of one day. Not that I condone the budding mobster bit, but the sniveling wuss may actually be worse. He's very much like his dad.
And, seriously, poor Paulie. His small storyline is the most telling of the episode. His mom dies, a good person, and everyone else is at the scuzzy, druggie, criminal's wake. He knows that deep down, and as bad as he feels for never backing up Chris and never being his friend.
Tuesday, May 8, 2007
Two transformations
I've mentioned before what a complete waste of a character I think AJ is. Throughout The Sopranos he's been around to whine and complain and never really adds anything more than a few great Tony blowups.
Sunday's episode brought his storyline to a close quite nicely I think (even if they go farther, this is his character's swan song). He hits bottom, having a teeny-bopper-movie breakdown and becoming more whiny, annoying and useless than ever before. And of course it's daddy's well-phrased advice (following his own whiny breakdown at Melfi's office) that brings the kid around.
AJ becomes a grownup in the span of 20 minutes, finally giving in to his station as "Tony Soprano Jr." as was well put by his goofy bookie friends. It's the only place he really could have ended up if you really look at his story -- the only place that would have been viable as an ending. Make him interesting. He finds his happy place as driver/thug.
Chris, though ... he passed his happy place 10 exits ago. And now he'll never get it back. Looking for compassion to help him in his quest for sobriety isn't really advisable among a bunch of testoterone junkies it seems, and his transformation is the mirror image of AJ's and puts him on track to become a pretty good Tony if we had two more seasons to come (if you're scoring at home, AJ->Chris->Tony seems the obvious parallel Mr. Chase is trying to draw here). Here he was doing fine with the family and the recovery, and in comes another (ANOTHER!) stupid conflict with Paulie (who simply hates that the young'un is in the same class as he).
Side note 1: Annoying as he is when he's got his own storylines, Paulie is the MAN when it comes to providing some comic relief.
Side note 2: Did you notice the seemingly immediate degeneration of the characters' language in this episode? They've always tried to show off the lack of traditional education in these guys but this week was like none of them took vocabulary in 4th grade either. Maybe it was part of the growth pattern Chase was trying to show, but it seemed like an awful lot more than normal.
Sunday's episode brought his storyline to a close quite nicely I think (even if they go farther, this is his character's swan song). He hits bottom, having a teeny-bopper-movie breakdown and becoming more whiny, annoying and useless than ever before. And of course it's daddy's well-phrased advice (following his own whiny breakdown at Melfi's office) that brings the kid around.
AJ becomes a grownup in the span of 20 minutes, finally giving in to his station as "Tony Soprano Jr." as was well put by his goofy bookie friends. It's the only place he really could have ended up if you really look at his story -- the only place that would have been viable as an ending. Make him interesting. He finds his happy place as driver/thug.
Chris, though ... he passed his happy place 10 exits ago. And now he'll never get it back. Looking for compassion to help him in his quest for sobriety isn't really advisable among a bunch of testoterone junkies it seems, and his transformation is the mirror image of AJ's and puts him on track to become a pretty good Tony if we had two more seasons to come (if you're scoring at home, AJ->Chris->Tony seems the obvious parallel Mr. Chase is trying to draw here). Here he was doing fine with the family and the recovery, and in comes another (ANOTHER!) stupid conflict with Paulie (who simply hates that the young'un is in the same class as he).
Side note 1: Annoying as he is when he's got his own storylines, Paulie is the MAN when it comes to providing some comic relief.
Side note 2: Did you notice the seemingly immediate degeneration of the characters' language in this episode? They've always tried to show off the lack of traditional education in these guys but this week was like none of them took vocabulary in 4th grade either. Maybe it was part of the growth pattern Chase was trying to show, but it seemed like an awful lot more than normal.
Thursday, May 3, 2007
Several points...
The Sopranos: So Tony has a gambling problem and his Jewish friend doesn't like holding a debt over the boss's head. And meanwhile AJ loses his woman and Carmella whines about her newly-sold house. Seems like a waste of an episode to me... at least a final-season episode. Let's take all the storylines no one cares about and only kinda wrap them up. And no, I'm not only whining because there was no blood. My real issue is that David Chase was giving people their due in the preceding episodes. Here, the only one who gets his is AJ, and that's only for being a doofus, it has nothing to do with his greater moral fiber. I'll rescind if this episode turns out to be just an interlude.
24: I'm a little disappointed at the complete turn the season took two weeks ago, switching storylines completely. Not that it's not staying interesting and energetic, it just seems to me there could have been much more done with a bunch of nukes flying around the country. Anyone else noticed that Doyle changes sides every three minutes. Stupid Nurse Flowers (that's a Scrubs reference, by the way).
Jericho: So, I've mentioned it two weeks in a row in my Wednesday suggestions. I don't know if anyone actually listens to me, but if you did, you probably were pleasantly surprised the last two weeks. It's probably climbed to the heights with the strongest serials going in that time (Lost and Heroes). Since its beginnings of "How will we survive without a government or infrastructure?!"this show has completely taken off and now the citizens of this podunk Kansas town are going to war. WAR! I'm not even kidding. Jake and Hawkins pass out weapons while Stanley leads a scout team to the New Bern army's camp in badass closing scene this week. The town goes from caring about running out of fuel to marching against the next town over (led by Major Dad, of course).
House: Does Omar Epps leave a top 10 show in its third season? I don't even want to research it and ruin the answer for myself, but the smart money would be on "no." I'd see him getting his own department at Princeton-Plansboro first... and clashing with House on a different level. Don't be too surprised if he does bow out, though. Or something else equally shocking on an all new House.
Veronica Mars: I haven't even watched it the deserialized new episode yet, but open letter to CW: Don't take my Veronica away. I'm begging. I'll watch the 7th Heaven finale and blog about it if you want.
24: I'm a little disappointed at the complete turn the season took two weeks ago, switching storylines completely. Not that it's not staying interesting and energetic, it just seems to me there could have been much more done with a bunch of nukes flying around the country. Anyone else noticed that Doyle changes sides every three minutes. Stupid Nurse Flowers (that's a Scrubs reference, by the way).
Jericho: So, I've mentioned it two weeks in a row in my Wednesday suggestions. I don't know if anyone actually listens to me, but if you did, you probably were pleasantly surprised the last two weeks. It's probably climbed to the heights with the strongest serials going in that time (Lost and Heroes). Since its beginnings of "How will we survive without a government or infrastructure?!"this show has completely taken off and now the citizens of this podunk Kansas town are going to war. WAR! I'm not even kidding. Jake and Hawkins pass out weapons while Stanley leads a scout team to the New Bern army's camp in badass closing scene this week. The town goes from caring about running out of fuel to marching against the next town over (led by Major Dad, of course).
House: Does Omar Epps leave a top 10 show in its third season? I don't even want to research it and ruin the answer for myself, but the smart money would be on "no." I'd see him getting his own department at Princeton-Plansboro first... and clashing with House on a different level. Don't be too surprised if he does bow out, though. Or something else equally shocking on an all new House.
Veronica Mars: I haven't even watched it the deserialized new episode yet, but open letter to CW: Don't take my Veronica away. I'm begging. I'll watch the 7th Heaven finale and blog about it if you want.
Wednesday, April 25, 2007
Busy Matt wrap
So I'm a little behind on my work here -- it's been a busy few weeks. Here're a few notes on shows that need to be noted...
Drive: The show is already getting better and I promise you you'll like it if you're into mindless action flicks or shows. But, sheesh, the over the top writing stinks, doesn't it? Incidentally, it would make a great video game (preferably developed on the same engine as Grand Theft Auto).
Entourage: Without Ari, this show would be useless. Don't take that criticism the wrong way, I'm a big fan of the show. But it needs that punch to it that Drama and Turtle's goofiness and Eric and Vince's annoying indecisiveness don't provide. Much more actual plot and character development would be necessary if Ari hadn't gone bonkers and chased his shrink onto a golf course this week.
Sopranos: As Entertainment Weekly pointed out a few weeks ago, David Chase doesn't consider his creation a morality tale, and he's not concerned with what fans say about the show or about wrapping things up cleanly. Well, he certainly stepped up the violence in the first three episodes (something fans have been screaming about); he's given more characters some closure this week with Junior finally giving in to his failing health and Paulie earning a pass for his indiscretions thanks to a sentimental and arguably weak Tony. Unlike the first two episodes though, the bad guys didn't "get what they deserved." It's becoming more and more foggy as to what may or may not happen at the end of this whole thing.
30 Rock: Alec Baldwin is funny. Okay, scratch that... Alec Baldwin is EXTREMELY funny. Who cares if he yelled at his brat daughter? (More seriously, it's sad that this show doesn't get viewers... and that it's done for the season this Thursday.)
I'm still catching up on some other shows so I'll probably drop another wrap on you this evening (read: 3 a.m. tomorrow).
Drive: The show is already getting better and I promise you you'll like it if you're into mindless action flicks or shows. But, sheesh, the over the top writing stinks, doesn't it? Incidentally, it would make a great video game (preferably developed on the same engine as Grand Theft Auto).
Entourage: Without Ari, this show would be useless. Don't take that criticism the wrong way, I'm a big fan of the show. But it needs that punch to it that Drama and Turtle's goofiness and Eric and Vince's annoying indecisiveness don't provide. Much more actual plot and character development would be necessary if Ari hadn't gone bonkers and chased his shrink onto a golf course this week.
Sopranos: As Entertainment Weekly pointed out a few weeks ago, David Chase doesn't consider his creation a morality tale, and he's not concerned with what fans say about the show or about wrapping things up cleanly. Well, he certainly stepped up the violence in the first three episodes (something fans have been screaming about); he's given more characters some closure this week with Junior finally giving in to his failing health and Paulie earning a pass for his indiscretions thanks to a sentimental and arguably weak Tony. Unlike the first two episodes though, the bad guys didn't "get what they deserved." It's becoming more and more foggy as to what may or may not happen at the end of this whole thing.
30 Rock: Alec Baldwin is funny. Okay, scratch that... Alec Baldwin is EXTREMELY funny. Who cares if he yelled at his brat daughter? (More seriously, it's sad that this show doesn't get viewers... and that it's done for the season this Thursday.)
I'm still catching up on some other shows so I'll probably drop another wrap on you this evening (read: 3 a.m. tomorrow).
Monday, April 16, 2007
Luck always runs out
SOPRANOS SPOILERS BELOW, presumably.
The first episode of the new season brought tragedy to a member of the Soprano family. Poor Bobby, as punishment for his beating the pulp out of Tony, was sent on a hit. Seems like everyone's in for some tragedy (and they're obviously not all going to be as simple as death) as the series winds down. Not that it isn't well deserved. It's been warned of since the beginning, in fact.
Johnny Sack became this week's tragic figure, though he did suffer a bit differently than Bobby. He certainly wasn't as "lucky" as Tony proclaimed himself and Phil to be. Johnny's sad fate came in waves and was probably at its most painful when his brother-in-law answered the question: "How will I be remembered?"
For the second of the eight final episodes, HBO tonight dropped what in earlier seasons would have been an eventful, long-overdue bit of action. But from how things progressed, it doesn't look like fans will be going very long before another beating or shooting or cleaving as it were.
For the naysayers... always saying nay... you got your brilliantly shot, brutal murder and a nice beating for good measure. But the most important thing I noticed this week I almost don't care anymore (certainly not about AJ, Meadow and Carmella -- and please remove that always-angry-looking Dr. Melfi from my TV set).
Time was when I and everyone else would hang on the events of a new Sopranos and I'd be in three or four different conversations about the new edition within 24 hours of watching it. Now? Well, there's still reason to watch -- Phil's starting a war, presumably -- but I'm not bouncing off the walls waiting for next week's episode. I'm not like Sil just nodding at everything put in front of me.
Tired as I was when I got home tonight, though, I still made time to watch. Even before Drive, which I'm dying to see.
(Oh, incidentally, am I the only one who thought disgraced doc turned orderly Sydney Pollack was a fed? Probably. I know no one else missed the goof factor of the child-filled Leotardo family gathering that played out quite a bit like any Soprano family business dinner.)
The first episode of the new season brought tragedy to a member of the Soprano family. Poor Bobby, as punishment for his beating the pulp out of Tony, was sent on a hit. Seems like everyone's in for some tragedy (and they're obviously not all going to be as simple as death) as the series winds down. Not that it isn't well deserved. It's been warned of since the beginning, in fact.
Johnny Sack became this week's tragic figure, though he did suffer a bit differently than Bobby. He certainly wasn't as "lucky" as Tony proclaimed himself and Phil to be. Johnny's sad fate came in waves and was probably at its most painful when his brother-in-law answered the question: "How will I be remembered?"
For the second of the eight final episodes, HBO tonight dropped what in earlier seasons would have been an eventful, long-overdue bit of action. But from how things progressed, it doesn't look like fans will be going very long before another beating or shooting or cleaving as it were.
For the naysayers... always saying nay... you got your brilliantly shot, brutal murder and a nice beating for good measure. But the most important thing I noticed this week I almost don't care anymore (certainly not about AJ, Meadow and Carmella -- and please remove that always-angry-looking Dr. Melfi from my TV set).
Time was when I and everyone else would hang on the events of a new Sopranos and I'd be in three or four different conversations about the new edition within 24 hours of watching it. Now? Well, there's still reason to watch -- Phil's starting a war, presumably -- but I'm not bouncing off the walls waiting for next week's episode. I'm not like Sil just nodding at everything put in front of me.
Tired as I was when I got home tonight, though, I still made time to watch. Even before Drive, which I'm dying to see.
(Oh, incidentally, am I the only one who thought disgraced doc turned orderly Sydney Pollack was a fed? Probably. I know no one else missed the goof factor of the child-filled Leotardo family gathering that played out quite a bit like any Soprano family business dinner.)
Monday, April 9, 2007
Beginning of the end
SPOILERS BELOW (probably).
I can hear the whining now. "Oh, there's too much talking." "Where were Paulie and Syl?" "It was so boring." "That sucked." "Waah, I'm a big baby and I don't understand the show without a lot of mob stuff and senseless violence."
Stop it. I'm done with this crap. Sunday brought a strong comeback for David Chase's masterpiece, no matter what anyone tells you. You got to see someone get whacked. The feds showed up (so did Essex County's finest). A.J. was endlessly annoying. Someone took a beating. Tony had an ample amount of brooding (and some of the best anti-Janice smack talk yet).
That boring stuff you're talking about? That's a bunch of genius, for your information. The Office has some of TV's most awkward moments, but it doesn't have the realism that Chase can crank in to his Tony-Carmela or Tony-Janice arguments, relationships and social goofs. But most important bit of genius in the writing is small talk. The show's most useless pieces of dialogue (to the lowest common denominator of viewers) are the its best-written. That's why CBS writers are stuck in the proverbial paper bag -- small talk is treated with the same over-the-top drama that you get in a chase sequence or a big twisty reveal, it's not treated like awkward, off-the-cuff small talk. In fact, forget just CBS; small talk is the greatest failure in screenwriting today. Chase nails it.
But the episode's greatest point is the boss's great revenge. A beating at the hands of an underling, however well deserved, can't go unpunished. And as the fade kicks in we're left with a sad picture of the soldier everyone has a soft spot for -- a guy who just a day before had the shot at being the next boss -- dealing with what could be the worst feeling a human can feel and likely the anger and shame of having lost that one big chance..
Don't forget, there's only eight episodes and the wrap-up is beginning. This was all set up, most importantly Tony's relationship with Chris and Bobby and the rest of his "family" and the appearance of more and more consequences for his life and his business. You'll get your closure, don't worry. You may not find out where the Russian guy went, but wasn't that episode all about Paulie and Chris anyway? Stop whining and take it in. It'll be gone before you realize. And then you'll be sorry.
(Entourage was awesome, too. I'll deal with that tomorrow. I'm sleepy.)
I can hear the whining now. "Oh, there's too much talking." "Where were Paulie and Syl?" "It was so boring." "That sucked." "Waah, I'm a big baby and I don't understand the show without a lot of mob stuff and senseless violence."
Stop it. I'm done with this crap. Sunday brought a strong comeback for David Chase's masterpiece, no matter what anyone tells you. You got to see someone get whacked. The feds showed up (so did Essex County's finest). A.J. was endlessly annoying. Someone took a beating. Tony had an ample amount of brooding (and some of the best anti-Janice smack talk yet).
That boring stuff you're talking about? That's a bunch of genius, for your information. The Office has some of TV's most awkward moments, but it doesn't have the realism that Chase can crank in to his Tony-Carmela or Tony-Janice arguments, relationships and social goofs. But most important bit of genius in the writing is small talk. The show's most useless pieces of dialogue (to the lowest common denominator of viewers) are the its best-written. That's why CBS writers are stuck in the proverbial paper bag -- small talk is treated with the same over-the-top drama that you get in a chase sequence or a big twisty reveal, it's not treated like awkward, off-the-cuff small talk. In fact, forget just CBS; small talk is the greatest failure in screenwriting today. Chase nails it.
But the episode's greatest point is the boss's great revenge. A beating at the hands of an underling, however well deserved, can't go unpunished. And as the fade kicks in we're left with a sad picture of the soldier everyone has a soft spot for -- a guy who just a day before had the shot at being the next boss -- dealing with what could be the worst feeling a human can feel and likely the anger and shame of having lost that one big chance..
Don't forget, there's only eight episodes and the wrap-up is beginning. This was all set up, most importantly Tony's relationship with Chris and Bobby and the rest of his "family" and the appearance of more and more consequences for his life and his business. You'll get your closure, don't worry. You may not find out where the Russian guy went, but wasn't that episode all about Paulie and Chris anyway? Stop whining and take it in. It'll be gone before you realize. And then you'll be sorry.
(Entourage was awesome, too. I'll deal with that tomorrow. I'm sleepy.)
Sunday, April 8, 2007
Woke up this morning...
There's a lot of praise for FX on this blog -- simply because they're among the best in developing shows. But they're only among the best. The granddaddy, though, is HBO, and for as good as Rescue Me has been and remains, neither that nor any other drama on television lives up to the phenomenon status that has always been associated with The Sopranos.
It's extremely well-received among its peers, makes news for weeks before and after its seasons, is the subject of anger and debate and gossip and delight for many more Americans than most network shows, and, for some, is the only reason to watch television. It has driven protests about Hollywood violence and poor portrayals of Italian-Americans (something I beg you to not get me started on). To some it's all they'll ever know about New Jersey.
And now it's saying goodbye. Maybe it was past its prime -- but people have said that about the show after every episode since the second season kicked off. It's not leaving after two seasons of not being culturally viable like Friends did, it's going out like Seinfeld: with everyone watching. It's still probably the most loved drama on television, and it continues to be intriguing and widely discussed whether someone's been whacked in 3 weeks or not. Cries of "it's boring" and "they stopped too much of the violence" aren't only untrue, they're the sign of someone who doesn't really understand what the show's about.
It's not an easy task to put together a character that, despite being pure evil, is beloved. It's also not easy to disappear for two whole years and come back with a new season just as well received (in a global sense) as the last -- that's something they've done more than once. It's not easy at all to have such a large audience on a pay cable channel. And from a creative standpoint, it's not easy, nor has it really been done before, to make so many actors so recognizable to so many, and make that many characters relatable and interesting.
So, maybe as The Sopranos takes its leave, fans will stop criticizing everything David Chase does with his show and just enjoy what has been a wonderful show for the past eight years and six-point-five seasons.
It's extremely well-received among its peers, makes news for weeks before and after its seasons, is the subject of anger and debate and gossip and delight for many more Americans than most network shows, and, for some, is the only reason to watch television. It has driven protests about Hollywood violence and poor portrayals of Italian-Americans (something I beg you to not get me started on). To some it's all they'll ever know about New Jersey.
And now it's saying goodbye. Maybe it was past its prime -- but people have said that about the show after every episode since the second season kicked off. It's not leaving after two seasons of not being culturally viable like Friends did, it's going out like Seinfeld: with everyone watching. It's still probably the most loved drama on television, and it continues to be intriguing and widely discussed whether someone's been whacked in 3 weeks or not. Cries of "it's boring" and "they stopped too much of the violence" aren't only untrue, they're the sign of someone who doesn't really understand what the show's about.
It's not an easy task to put together a character that, despite being pure evil, is beloved. It's also not easy to disappear for two whole years and come back with a new season just as well received (in a global sense) as the last -- that's something they've done more than once. It's not easy at all to have such a large audience on a pay cable channel. And from a creative standpoint, it's not easy, nor has it really been done before, to make so many actors so recognizable to so many, and make that many characters relatable and interesting.
So, maybe as The Sopranos takes its leave, fans will stop criticizing everything David Chase does with his show and just enjoy what has been a wonderful show for the past eight years and six-point-five seasons.
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