Timothy Noah chatted with readers about The Sopranos on June 7. Read the transcript here.
Dear all,
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StumbleUponI must disagree with the assertion that message-making isn't David Chase's style, and, you'll pardon me, Mr. Terry Winter, but I think I know a little bit more about The Sopranos than you do. Perhaps you haven't watched each episode of The Sopranos five times, sacrificing both work and valuable child-interaction time in the process, but I have, and I see messages everywhere. For instance: Adultery is overrated; so is horse ownership; don't date development girls; don't get on a boat with a mob chief if you are now, or have recently been, wearing a wire; don't put mayonnaise on a pastrami sandwich. Sorry, that's Annie Hall, not The Sopranos (I constantly confuse the two).
Terry's point is well-taken, although I would argue that The Sopranos has, on occasion, and in particular on the sensitive issue of Italian-American stereotyping, strayed into Message Land—you recall the episode several years back in which Silvio, Joe Colombo-style, led a protest against Columbus Day revisionism, an episode that felt like one big, predictable, self-defensive false move.
The genius of The Sopranos, of course, is that very little is pat or predictable, and that very few messages are actually sent—for example, the nuclear family isn't condemned or, in the manner of most network television shows, exalted. It just is.
In a roundabout way, this is why I think Tony survives next week; to kill him would be to send a message that crime doesn't pay, and my guess is that David Chase believes that, in this corrupt world, crime does, in fact, sometimes pay, and to telegraph otherwise would be dishonest. This is not to say that I think Tony will get off without consequence: His travails this season suggest that the series will end on some sort of ambivalent note, something that underscores the tension and the physical and emotional dangers in the life Tony has chosen for himself.
And Tim (and Brian, who actually worries about Meadow, which is really quite touching), I have never believed that Meadow would die, for the simple reason—and Terry's post buttresses this notion—that there's simply no way filmmakers of such enormous talent as David Chase and Terry Winter would steal a theme from Godfather III, which was one of the worst things to ever happen to the movies.
Tim, that was a great catch on Sitting Bull, and it allows me, in a self-serving but ultimately educational way, to bring up John J. Gotti's Indian obsession. I didn't have many conversations with Junior when I was writing about the Gambino family (although we did exchange letters, and he once sent me a photo of Chief Joseph of the Nez Perce, which I, of course, have framed), but once, while we were both trapped in an elevator at the federal courthouse in White Plains, he explained this to me: "If you look at the history of the Indians, you see that they were oppressed by the government. It's just the same with Italian-Americans. We're oppressed just like the Indians. It's history repeating itself."
The mob, of course, is disintegrating—this was an idea introduced in the very first episode of The Sopranos—and it's not just Junior Gotti who told me he feels this (inappropriate) kinship with the American Indian. Which brings me to a question of true importance—does the end of The Sopranos mean that the mob drama will go into permanent eclipse? While the collapse of the actual mob would be a cause for civic joy, the death of the mob drama would be a tragedy.
Terry, is Brooklyn Rules the salvation of the mob movie? Or is this the end of Rico?
Best,
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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(6/9)