The Sopranos: Week 7, Season 3
Psychotherapy Just Can't Help These Folks
Posted Wednesday, April 11, 2001, at 11:10 AM ETDear Joel, Glen, and Phil,
Joel, I agree with you that the last episode forces us to face the inexorable nature and psychic impact of Tony's and Carmela's life circumstances, some of which were foisted upon them and some of which they themselves constructed. What indeed can psychoanalytic therapy offer two individuals in such an entrenched and entrapping social context? Precious little. Any effort they might make to rectify their neurotic and/or anti-social personality structures will get overwhelming push-back from the Family--not to mention from other parts of their own psyches. However, some of our sense that "psychotherapy can't help these folks" is due to the writers having written characters that are an unusual blend of intense sociopathy (in a nutshell, lacking a conscience) and neurotic-range guilts, anxieties, and conflicts. (In my experience, individuals that are sociopathic more often don't want or seek psychotherapy, and people with that range of anxieties and concerns are not sociopathic!) So Tony and Carmela's seeming inability to gain anything from treatment is as much a byproduct of how they were imagined by their creators as it is a true reflection of the limits of psychoanalysis per se. (Though psychoanalysis definitely has its limits--you have to want to be changed and have to agree enough with the reigning culture that you want to become what society deems to be more constructive, loving, etc.!)
Psychotherapy Just Can't Help These Folks
Posted Wednesday, April 11, 2001, at 11:10 AM ETReader Comments From The Fray:
The real patient here, of course, is us. Or, more properly, the show's audience.
The writers of the show had to reach, and reach far, to insert a character like Dr. Krakauer into the storyline for The Sopranos. It's a long enough stretch to put Carmela in therapy at all; but to have her come across the prophet Jeremiah in the guise of a New York therapist who won't take her money (a miracle sufficient to prove his divinity, if there be any doubters among you) is simply bizarre. So why did the writers do it? Simple: because it wasn't Carmela they were trying to shock to her senses, but us. Tony is a genuinely bad person, he tells her, and there's really no objective way to deny it. He's a criminal, and he kills people. And he beats up on a lot more people than he kills. He is genuinely evil, and only a culture awash in moral relativism would try to explain or justify his actions.
So why does Carmela stay with him?
So why do we?
We watch the show, and we're as guilty of making excuses for Tony as Carmela is. But we enjoy the lifestyle, the sense of adventure, the vicarious adrenaline rush a little bit too much to not make apologies for him...
What are we supposed to do? Turn off HBO like a bunch of self-righteous dingbats and never watch the show again? Nobody, least of all the writers, expects us to do that. Explicitly turn our backs on morality and say that we like Tony, murders and all, because he's somehow, in some way that transcends his conduct, a "good person"? Who knows? The lesson so eloquently taught here is that it's tantalizingly easy to make excuses for horrible acts if you like the person who's committing them. You can make those excuses or not; I certainly will. But you can't say that you weren't told.
--Thrasymachus
(To reply, or to read this post in full, click here.)
I would like to see Dr Gabbard et al take up the question, since they are dissecting Dr Melfi's treatment of Tony Soprano, of what the goal of such a therapy could be? Tony's wife broaches this at one point and it is clear that an outcome that would involve Tony renouncing his mobster life would exact a price too high for either of them. Short of that, there is no way I see to heal the splits in his psyche--and except in a 'managed care' scenario which this is clearly not, I can't see Dr Melfi aiming to 'restore him to his previous level of functioning'. A killer who doesn't experience panic? As his viewers we experience the panic and turmoil as absolutely the best part of him. Will David Chase write Tony out of the mob via his therapy? Will it be suicide by gangland war? His venture into her office challenges the most basic premises of his existence; the mere fact that he's doing it causes mother and uncle to want him dead, even before it's accomplished much of anything. He is dealing with truly nuclear forces. If they understand therapy as well as it looks like they do, these writers should give us a fascinating denouement
--Jean Milofsky MD
(To reply, click here.)
(4/9)
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