Timothy Noah chatted with readers about The Sopranos on June 7. Read the transcript here.
Dear Dispassionate One,
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StumbleUponI would love to see Tony Soprano in a newsroom. James Gandolfini as Sam Zell! Tony Sirico as Howell Raines!
Come to think of it, I have seen Tony Soprano in a newsroom. I once worked for a guy at a major metropolitan daily who had the same explosive temper, and the same uncontainable resentment issues, as Tony, though he didn't have the same easy access to firearms. But he once threw a bottle of ketchup at me, and not the plastic squeeze bottle kind—the real thing, glass. OK, it was one of those tiny room-service-size ketchups, but it still could have made a real mess.
You raise an interesting point: It is true that David Chase seems averse to tidy endings, in which the bad guy gets justice in the form of a prison sentence or a bullet. The problem is, for Tony to escape justice as this point would seem deeply unrealistic. I'm not suggesting that Meadow Soprano must be gunned down (in the style of Sofia Coppola in The Godfather: Part III, not that anyone found Sofia Coppola's demise anything but a relief) in order to illustrate the tragic consequences of Tony's choices, but all signs—on the show, and in actual life—suggest that no mob boss survives unscathed. There are too many looming confrontations to count: Christopher and Tony (Tony did, after all, make half a move on Adriana, then have her killed—granted, with Christopher's approval, but one must assume some ambivalence in Christopher's assent); Johnny Sack's Brooklyn family—in particular Phil Leotardo—and Tony; Paulie Walnuts and Tony; the federal government and Tony; and, of course, my hoped-for ending, Furio and Tony. Yes, Furio. Where is Furio? The Russian in the woods I don't care about, but Furio is a favorite of mine, in part because of that accent, and in part because he opened up a window onto a thriving Mobworld of which we know not much. Also, anyone who gives Carmela a little happiness deserves resurrection in the series. (As you know, I have a soft spot for Carmela. She is an immoral, money-grubbing harridan, but she's my sort of immoral, money-grubbing harridan).
So, there you have it: As much as it makes sense for Tony to become captive forever to the federal government, I'd rather see Furio take Tony out and sweep Carmela off to Naples, where at least she wouldn't have to put up with the execrable A.J. anymore, the least sympathetic character in the whole miserable bunch. Next week, let's talk about fathers and sons in the mob—it's really the most interesting aspect of this life, and it's also where The Sopranos may be heading.
Yours,
Jeff
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Remarks from the Fray Editor:
As a basic cable slum-dweller, the Fray Editor has been following the discussion of The Sopranos with admiration and envy. The passion, erudition, and insight of the show's fans—Slate's commentators and Fraysters alike—proves the case that this series is not to be missed. Below, Fray poster lucabrasi considers how the 6.5 season story arc has led the show inevitably to the present moment.
May this weekend's finale exceed your wildest expectations. My prediction? Paulie Walnuts in the Bing with a shoe buffer.—G.A.
Remarks from the Fray:
I must salute the excellent close of the mob wars arc that started way back in Season One.
Looking back from today, with Tony's Jersey crime family indeed looking like a "glorified crew" in the eyes of New York, one can see it, almost clearly:
Season One: Tony's issues were of ascension in that smallish Jersey family. Jackie Sr. was dying; Uncle Junior was the designated "front don," and yet bitter enough about Tony's power to use Livia's ambiguous directives to hit Tony. Didn't work. Junior was exiled and took on Federal heat; Tony had the others killed.
Season Two: Richie Aprile gets out of prison. A theme begins: guys out of prison resent Tony, who never served. But Richie, too, is "local Jersey trouble." His escalating conflict with Tony is going to be dealt with rather easily -- Tony wants Richie hit, but Janice delivers a dose of even MORE "local" justice.
Meanwhile, I think NYC underboss Johnny Sack turns up living in Jersey, but promising Tony "I don't want to wet my beak."
The main NYC Don is Carmine Sr, an old school guy. Tony can deal with Carmine Sr, but Sack starts getting that lean and hungry look...
Seasons Three and Four: Other issues are on the table (Jackie Jr., Tony and Carm's marriage), but Tony's adversaries are manageable: made guy Ralphie and the ever-more-ambitious and angry Sack. Ralphie is eliminated, quietly (if NYC ever finds out...). Sack wants Tony to hit Old Man Carmine; Tony pulls out at the last moment. Sack looks to be vengeful.
Season Five: The big trouble all starts here, with the release of the "Class of '84". It's like four Richie Apriles. Tony has a lotta plates to spin: an old-timer named Feech who wants it all, locally, Tony's cousin Tony B, the "Rockford Guy" (Joe Santos) who Tony B idolizes as a father, and a real hothead named Phil Leotardo.
Carmine Sr. croaks. Phil joins with Sack against Little Carmine, Tony B joins with the Rockford Guy and Rusty in backing Little Carmine's play. Tony elects to back off and see how Jersey can benefit from the ensuing bloodshed, of which there is a lot.
During all this, two little matters occur: Seeking owed cash, Tony subjects Phil Leotardo to a body-breaking car crash and beats up Phil at the accident site as a "throw-in." Tony B kills Phil's brother Billy Leotardo.
In retrospect, these last two actions were perhaps...unfortunate.
Sack and Phil kill more guys than Little Carmine's team. Little caves ("It's a stagmire.") Sack ascends to Donhood. Tony can deal with Sack (having killed Tony B as a burnt offering), and Sack will stave off the still vengeful Phil Leotardo.
But right at the end of Season Five, the Feds nab Sack. Go directly to jail.
Season 6A: Sack's in prison, but the putative boss, with Phil fronting him on the outside. Tony's shot for a few episodes. The "gay Vito issue" gives Phil new reason for putting the pressure on Tony's Jersey boys. With Sack losing power by the day, Phil contemplates his rages against Tony: getting beaten up by Tony, paying money to Tony, brother killed by the cousin of Tony, gay Vito protected by Tony. Phil has a heart attack to match Tony's gutshot. Things seem peaceful between these two wounded warriors. But this guy Butch turns up, taunting Tony.
Season 6B. Tony's luck with New York runs out, via a series of crap outs: Sack dies of cancer; Doc kills Gerry; Phil kills Doc.. Phil is "the big boss man," finally, and the worst possible New York Don Tony Soprano could face. Filled with jailhouse vengeance and itching to consolidate power, Phil pushes Tony too far (with the sexual insult of Coco towards Meadow, ultimately). Tony retaliates (curbing); Phil says "there's nothing left to talk about," and here we are.
Now, I' m not sure how much of that was plotted early on by Chase and Company, but looking back on it, you see how this final, fatal gang war was literally years in the making. Tony Soprano fended off Jersey threats (Junior, Richie), kept the peace with Carmine Sr, dangerously dueled with Sack (the longest of Tony's strategic encounters), sat out the gang war to replace Carmine Sr...and ended up on the wrong end of Phil's bloody ascension to the throne of the New York Family.
Where things are now is where they HAVE to be. Inevitability.
--lucabrasi
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