The problem with the Meadow story and its place in the ending is that we just haven't seen it.Tony and Carmela's disappointment would be a lot more powerful if we had actually seen the path Meadow was onto being a doctor and how that derailed. But the show wasn't interested enough in Meadow to tell the story and…

The problem with the Meadow story and its place in the ending is that we just haven't seen it.Tony and Carmela's disappointment would be a lot more powerful if we had actually seen the path Meadow was onto being a doctor and how that derailed. But the show wasn't interested enough in Meadow to tell the story and…

Chase's satire goes far deeper than Weiner's, which is why Mad Men is not in the same class at all for me. Weiner likes Don too much to subject him to the brutal examination Chase delivers of Tony.

Chase's satire goes far deeper than Weiner's, which is why Mad Men is not in the same class at all for me. Weiner likes Don too much to subject him to the brutal examination Chase delivers of Tony.

I do completely agree with you that these moral struggle arcs are really short. I also agree that Carmela's had the most potential and just kind of conks out so there is really no story for her at all in 6B. But this is where I think the mob setting really complicates what Chase is trying to say about corruption…

I do completely agree with you that these moral struggle arcs are really short. I also agree that Carmela's had the most potential and just kind of conks out so there is really no story for her at all in 6B. But this is where I think the mob setting really complicates what Chase is trying to say about corruption…

I think it's such a great scene because of what specifically it says about Tony. Tony is nostalgic about the past. He thinks he came after the good times were over and as America and New Jersey have become more hostile places both to the mob and to Tony's idea of what they should be like. But at the same time he…

I think it's such a great scene because of what specifically it says about Tony. Tony is nostalgic about the past. He thinks he came after the good times were over and as America and New Jersey have become more hostile places both to the mob and to Tony's idea of what they should be like. But at the same time he…

I also think that there is something that qualifies the greatness of the Sopranos but I am not convinced that the problem comes from the absence of drama generated by moral conflict. There are several great arcs of moral conflict. There's Melfi's moral struggle after the rape. There's Carmela' s until the point she…

I also think that there is something that qualifies the greatness of the Sopranos but I am not convinced that the problem comes from the absence of drama generated by moral conflict. There are several great arcs of moral conflict. There's Melfi's moral struggle after the rape. There's Carmela' s until the point she…

I entirely take your point medrawt. Extreme situations produce stark choices and dramatic tension. But, as wallflower says somewhere else on here, there also aren't a lot choices that get made in the Sopranos especially by Tony. We get the violence when it comes but not that much dramatic story-telling around that…

I entirely take your point medrawt. Extreme situations produce stark choices and dramatic tension. But, as wallflower says somewhere else on here, there also aren't a lot choices that get made in the Sopranos especially by Tony. We get the violence when it comes but not that much dramatic story-telling around that…

I am not saying the show is about Tony and morality. I am saying that it dramatically can't be about Tony's inability to change in response to Todd's argument.

I am not saying the show is about Tony and morality. I am saying that it dramatically can't be about Tony's inability to change in response to Todd's argument.

It's not only dickish from Eliot but kind of from the show too. Melfi's final realisation about Tony is driven by one dickish guy telling her the same thing as another dickish guy - her ex husband -told her right at the beginning. So much for the character's supposed intelligence.

It's not only dickish from Eliot but kind of from the show too. Melfi's final realisation about Tony is driven by one dickish guy telling her the same thing as another dickish guy - her ex husband -told her right at the beginning. So much for the character's supposed intelligence.

I entirely agree Eponymous. She is capable of emotion about something beyond herself even when she is angry -Tony can only until he feels put upon - and she does have more sense than Tony that the way she behaves is problematic and tries to take some responsibility for it. Janice a lot of the time sees herself as the…

I entirely agree Eponymous. She is capable of emotion about something beyond herself even when she is angry -Tony can only until he feels put upon - and she does have more sense than Tony that the way she behaves is problematic and tries to take some responsibility for it. Janice a lot of the time sees herself as the…

'Melfi is shutting Tony out of her world, a world of healing and culture and moving forward. Tony could have been a part of that world. Hell, maybe there’s a chance he still could be. But she won’t be his fellow passenger.'

'Melfi is shutting Tony out of her world, a world of healing and culture and moving forward. Tony could have been a part of that world. Hell, maybe there’s a chance he still could be. But she won’t be his fellow passenger.'