A very dense episode, with a lot of character stuff going on. Nice to see that Big Pussy’s death still looms over Tony and his world. The use of the Big Mouth Billy Bass (definitely a touchstone for the era the show was filmed in)—and Tony’s violent reaction to it—is a nice touch.

Of course, Tony continues to grapple with his guilt over Pussy’s death, Angie makes things worse by causing Carmella to start asking questions. The scene where Tony intimidates Angie into only mentioning her financial problems to him manages to be both funny and disturbing. He’s willing to continue to guilt-pay her, but he doesn’t want to have to think about why he’s paying her.

Meanwhile, we also another funny intimidation scene, as Tony and Furio press down on Dr. Kennedy to answer Uncle Junior’s calls. It’s very in-character to have the paranoid Junior suggest that Tony might be trying to steer him toward inferior cancer care just so he can take full control of the family. The irony, of course, is that Tony is going out of his way to flex his muscles at Kennedy just for the sake of Junior’s peace of mind.

The plot line with Chris enduring his probationary period under Paulie’s thumb continues to be amusing. Tony Sirico is always a joy to watch, man. And the shadow of Big Pussy’s death certainly extends to Chris’ humiliating strip-search for a wire.

Edie Falco really shines in this episode, and, subsequent to my viewing, I read that her performance in this episode led to her winning the Emmy for Best Lead Actress. She knocks this one out of the parks, since she veers effortlessly from concerned mother to vulnerable therapy patient to emotionally-drained wife (who calmly asks her mobster husband for one small allowance of $50,000 as payment for years of infidelity and lying). 

Yeah, he feels like Angie is unnecessarily hitting him up for extra cash, but also he takes a (relatively) softer touch with her than he normally might when he confronts her. There’s a sense of conflict in Gandolfini’s performance. It’s not purely anger and frustration over her encounter with Carmella. It almost reads to me like he’s more mad at her for making him think about Pussy and his death than it is about her and her behavior.

A very entertaining episode focused primarily on the tension between Tony and Ralphie. Joey Pants is always fun to watch, and he gets some good moments in this one, particularly when he awkwardly supplicates to Tony. Very amusing to see Johnny Sack trying to play Mafia matchmaker between Tony and Ralphie, too. And it’s perhaps a convenient plot contrivance to have Gigi die on the toilet, thus forcing Tony to bump Richie up to capo, but it works well in context, I think.

Meanwhile, the relationship between Meadow and Jackie Jr. is proceeding. No good can come of it, I’m sure. As is par for the course, Tony’s personal and professional lives are constantly being intermingled, often due to the actions of the people around him, rather than his own.

And, speaking of intermingled relationships, it’s interesting to see Dr. Melfi still grappling with her rape-trauma and her mixed feelings about Tony. She’s gone from considering using him to punish/murder her rapist to actually desiring comfort from him. The fascinating thing about their relationship is that so much of it is subtextual. It’s even gotten to a point where’s he’s all but openly talking about the nasty life he leads, but avoids hitting the nail on the head via the use of white lies and phrases like “put him out to pasture”.

The vocal cameo by Joe “Fat Tony” Mantegna was a nice touch, too. 

Another Michael Imperioli script, and it’s quite good. Lots of plot juggling in this episode, particularly centered around Jackie Jr., who is getting himself into all sorts of trouble. This is a kid who wants it all, and is willing to put his finger into any number of dangerous pies to make himself look good.

Lots of laughs in this one, too, such as Tony signaling Janice to wipe the excess cocaine from her nose, the hysterical meeting between the Sopranos and AJ’s principal, and Jackie using his “A” grade on his literature paper grade (a paper actually written by Meadow) as justification for his continuing to date Meadow. The funniest scene has to be the DRAGNET-style interrogation at the pizza parlor. Great stuff, man.

We also have an exploration of Tony’s full-blown affair with Gloria, which is clearly beyond anything he’s ever done before. Casually banging hookers and mistresses is one thing, but this is a legitimate affair, with dates, dancing, and gifts. Of course, Gloria is revealed to have attempted suicide after her last relationship failed, which does not bode well. Meanwhile, Dr. Melfi has clearly figured out what’s going on, and her reaction is an interesting mix of professional frustration...and perhaps jealousy.

A very enjoyable Christmas episode. Well, at least as enjoyable as a holiday can be for Tony and his crew. The Ghost of Christmas Past—Big Pussy—looms large over this episode. This season has already hinted that Tony is still grappling with his guilt and mixed feelings over Pussy’s death, and now we see that the rest of the core crew are also still dealing with it (Paulie, in particular). Of course, the punchline to this episode is Meadow’s Big Mouth Billy Bass, which is a fine symbol of the fact that Tony Soprano can’t escape his sins.

Speaking of which, the biggest laugh in the episode—and there are many—has to be when Tony and Furio (wearing Santa hats and about to bestow the oh-so-thoughtful gift of a Christmas beating)—having finally tracked down Janice’s Russian attacker, go for a ride in his limo. The mob-Santa scene, with the shy Bacala getting cursed-out by a kid, is also a hoot.

There’s also the irony of Tony’s racism costing Meadow her relationship with Noah (a decent kid who was actually going somewhere), which was traded for her relationship with Jackie, Jr., who does nothing but lie and scheme. It’s one of Tony’s more subtle-yet-interesting character flaws that he is too often prone to blindly trusting people within his various families, be it his literal blood, his mob crew, or Italian-Americans in general. His particular code of ethics, his casual racism, and his expectation that his blood family will obey him has caused more than a few problems, after all.

Even before I’d started watching the show, this was the one episode I’d always heard about, and which seems to be generally regarded as the series’ best.

It’s masterful piece of black comedy, that’s for sure. A perfect summation of what makes the show great: that deft blend of mob horror with absurdist humor. And it all boils down to Paulie’s arrogance and stupidity. Paulie is always a joy to watch. Paulie interacting with Christopher is that much better. Paulie and Chris getting lost in the woods and making complete fools of themselves? Pure gold.

SO many darkly hilarious moments in this episode, from Paulie executing his improvised carpet-shoe to Paulie and Chris devouring ketchup packets in the abandoned truck. The escalating ridiculousness of their predicament makes the episode fly by, that’s for sure.

And, of course, there’s the big loose end regarding the Russian’s whereabouts. My research indicates some pushback over the ambiguity, but I’m not bothered by it. That one bird’s eye POV shot and Paulie’s missing car are enough to indicate that he survived...for awhile, at least. I’ve read that this thread was never followed up on, and so it doesn’t really matter. It’s just a well-told and highly-amusing one-off, and it works well in that context. 

The Pine Barrens does have one
major lasting consequence, but
it would be a spoiler to
reveal it.
(Though the Russian thread is
never again touched on)

A great episode to set up the season finale. Lots of plot movement, here. 

For starters, we get more of Carmella’s quiet desperation as she rethinking her life, ranging from fears of cancer to possibly seeking to be more than just a homemaker (as evidenced by the real estate book). I find it fascinating that she confesses at the churchthat her livelihood comes from crime and blood money, and yet she still describes Tony as “a good man”.

Meanwhile, Tony and Gloria’s relationship has, unsurprisingly, gone into meltdown mode. The season has been building up to this, of course, but I didn’t expect that moment where Tony has the epiphany about Gloria being yet another reflection of his mother. I also half-expected her to commit suicide by season’s end, so I was surprised when it looked like Tony might actually murder her, and amused when Patsy got the job of warning her off. 

Of course, the standout part of this episode is Jackie Jr.’s idiotic plan (accidentally inspired by Ralphie and his backstory) to rob the card game. It’s neat to see Jackie and Chris bounce off of each other, since they’re not dissimilar in terms of their ambition and temperament. Except that Jackie is less smart than he thinks he is, whereas Chris can be smart when his emotions don’t run away with him.The shootout is really tense and exciting, and tough-guy Furio’s reaction to being shot is darkly humorous.

Some standout stuff with Joey Pants in this one, too, from the aforementioned backstory for Ralphie (and how the clap forever ruined his chances of promotion), to his sit-down with Tony in the aftermath of the botched heist, to his trying to console Rosalie over his lie about Jackie, Jr. going on the run because of a drug problem.

I also see that Gandolfini won another Emmy for this episode, and, yeah, it’s well-earned. He runs the gamut of emotions, here. 

A great episode, and a great season finale. On a lesser show, the finale would focus on the search for the fugitive Jackie, Jr. and the depiction of his final fate. Here, his casual murder at Ralphie’s order in Act One serves as the inciting incident for a moody and tightly-scripted exploration of the characters and their relationships, rather than a plot-driven mob chase/revenge story.

Tony, in particular, is especially grim and moody—to the point of actually hitting AJ (whose prominence is a nice change of pace, since he’s usually more of a background character, at this point). That being said, this episode does have some precision-strikes of humor. Most notably, the ever-opportunistic Janice trying to promote her music at Jackie’s viewing, and Uncle Junior running for his life at the funeral after he sees Silvio and Chris being arrested by the Feds. The scenes at AJ’s high school and at the military school are also priceless, as is Paulie’s mother’s joyous reaction (the complete opposite of Livia Soprano’s) to being taken to the retirement community. 

Speaking of the Feds, I was pleasantly surprised to see Lola Glaudini (who I know best from the early seasons of CRIMINAL MINDS) as “Danielle”. Although, in researching trivia for this episode, I see that the character’s scenes were refilmed with Glaudini after the episode originally aired, due to the role being recast.

It’s also quite interesting to see Carmella still basically living in a state of denial about Tony’s mob life, and that it was the direct cause of Jackie’s death. See even twists Meadow (who has the situation correctly pegged) into a similar state of denial.

The episode is particularly strong, with a real sense of foreboding to it. A really solid capper to another excellent season.

Ah, the magic of editing.

The fourth season brings the show into the post-9/11 world, which is something I was anticipating. I figured the shot of the twin towers would be removed from the opening titles, and the overall tone of the episode reflects the mood of the country during that period.

A clear plot point which is developing is the division between Tony and his crew. Lack of trust and fear of betrayal is an undercurrent with many members of the crew. Tony’s feelings of family loyalty are clearly diminished, and his sad hope that the ducks will return is a nice bit of symbolism. As is his hiding away cash in the bags of duck feed.

Meanwhile, Christopher is becoming more and more unhinged. Aside from using heroin and cocaine, the clearest sign of his lack of caring is that he doesn’t care whether or not Lt. Haydu actually killed his father. And it’s left ambiguous as to whether or not Tony has lied to him about this in order to exert more control over Chris so as to use him as a safety buffer to avoid incrimination. 

I find an interesting contrast with BREAKING BAD, since Carmella actively implores Tony to prepare for his family’s financial future, but he already has it taken care of. And he’s keeping Carmella out of the loop so as to not incriminate her. 

Ralph and Janice are a match made in...somewhere. Oy.

A really solid episode, with a lot of great little moments. I find myself kinda wondering what a miniseries about Paulie’s time in jail would be like. And the relationship between Ralphie and Janice is several flavors of unholy. 

Lots of interesting developments in this one, from Silvio testing the waters regarding Tony’s reaction to his deliberate disobeying of orders to Christopher getting a swelled head over his taking over as acting capo of Paulie’s crew.

More importantly, we see the personal ramifications of Tony’s handling of the Nsckie, Jr. situation on Meadow, to the point where he actually seems to be considering letting her run to Europe so he doesn’t have to be faced with his guilt over the misery he’s indirectly caused her. 

Two great scenes near the end of this one, too—Meadow dispensing with pretense by calling Tony out as a mob boss, and Adriana being picked up and sweated by the FBI, complete with her projectile vomiting. 

You’d think that the title was referring to our Christopher, but, no, it turns out to be all about Christopher Columbus. Although Michael Imperioli did co-write this episode, so maybe it’s a bit of a sly joke.

The whole dynamic of the Native Americans protesting the Columbus Day parade, and the Italian Americans taking a stand against the protest is very interesting. This show has often delved into race and social issues with some good degree of insight (and humor), and this episode might be my favorite example. It may also be the most passionate and articulate we’re ever seen Silvio get on any issue, which speaks to his character, I suppose. 

Lots of good laughs in this one. Ralphie and Janice’s relationship continues to horrify me, but her therapy sessions (which play very much as a riff on the usual Tony/Melfi sessions) are quite funny. As is her finding the most ridiculous excuse to dump Ralphie (he didn’t take off his shoes when he came into her home), and then knocks him down the stairs.

Very fun to see Paulie gleefully stirring up trouble (throwing both Tony and Ralphie under the bus in regards to their dealing with Johnny Sack) from behind bars. Yep, I really would like to see a miniseries detailing Paulie’s days in jail. 

Tony’s insight into the Columbus Day controversy is quite interesting, too. Of course, Tony being Tony, Columbus is “an American hero” in his household, but he’s nowhere near as worked up as Silvio is over the protests, and his point about how people should have self-esteem based on personal accomplishments, and that people shouldn’t be looking to be grouped into victimized classes remains incredibly relevant.

--

I was getting so psyched when I first saw the beginning of that scene, because I thought it was going to show Meadow finally realizing that her father is a murderer that is directly responsible for the murder of her boyfriend. But no, they ended up backtracking on that as usual.

_____

My fantasy at the time was that Sirico would transfer over to the then-running OZ for a few episodes. But there was no way that would have happened back then. 

A fun episode which concerns the snowballing consequences of Paulie’s little nugget of info regarding Ralphie’s joke at the expense of Johnny Sack’s wife. Lots of fun moments, and the story manages to balance horror and humor quite deftly. Horror, in that Johnny nearly beats a member of Ralphie’s crew to death to defend his wife’s honor, and dark humor, because both Johnny and Ralphie are both nearly killed because of one stupid fat joke.

That whole sequence is quite good, too. Johnny avoids being killed because he forgot a sweater, and Ralphie comes literally within feet of his would-be-killer mere seconds after the hit is called off. The sequence where Junior arbitrates the dispute is a lot of fun, as is the meeting between Chris, Silvio, and the elderly hit crew.

Seeing the softer side of Furio was quite a surprise, as is his growing flirtation with Carmella, and Dr. Peter Bogdanovich’s unknowing run-in with Tony. Speaking of the latter, Dr. Melfi and the therapy sessions have been very much in the background for awhile, and so it’s nice to see more of her, lately. 

A fun episode which finally brings Adriana—and her growing paranoia over being pressed into service as an informant—to the foreground. It’s an interesting character beat in that her forced observation of Christopher and the others’ criminal activities is actually causing her to really see and think about who and what she’s involved with, perhaps for the first time. 

Seeing Tony become a Horse Whisperer is quite a fun little subplot, as is his stubborn desire to avoid signing off on Carmella’s proposed irrevocable trust. I find myself wondering how this will all play out, since the Sopranos’ marriage has been pretty darn unstable for quite some time, now.

Meanwhile, Janice—ever the professional parasite—continues to be my “love to hate” character on this show. She’s the worst, yet is somehow still very entertaining to watch. Unsurprisingly, she’s now sinking her hooks into the recently-widowed Bobby, which is low even for her.

The biggest laughs in this one all come from Uncle Junior. First, he does his Mr. Rogers impression. Then, he’s extremely unhappy with how his likeness has been depicted by the courtroom sketch on news. The best and biggest laugh, though is that slow zoom-in shot of Junior glaring at the artist in the courtroom the next day. The camera move and Junior’s expression give the moment as much weight as a majorly dramatic event on this show would normally be given, and it’s absolutely hilarious.