[Pretty much all interesting discussion of good TV or movies is going to include spoilers.]
- The last episode was excellent. It was very well -structured, the typical day-in-the-life rhythm of the show with some subtle Last Episode events (I liked Hunter coming back as a med student.) It was good to see Harris’ entanglement with Tony pay off so strikingly, providing a resolution without false hope. The concluding sequence was brilliant, and I’m baffled by people who would prefer a neat, tidy, Friends-like ending. One can read the ending as assuming that the guy won’t come out of the bathroom with just his dick in his hand, with the fade to black reflecting the recalled warning that you don’t see it coming. Or the bell ringing that concluded the show could suggest that the killer (or the FBi) just walked in. Or to represent the fact that Tony, despite Philly’s killing, will be looking up at every bell for the rest of his life. Would just choosing one of these endings be more satisfying? Of course not. The ambiguity is more appropriate. I don’t want The Sopranos to be a typical middlebrow broadcast drama–to repudiate what made it great–and am glad it didn’t go out that way.
- The final season was very, very strong. Admittedly, I’ve always opposed the lazy narrative that held that it declined steadily after the first and second seasons; several of the best episodes were in the fifth, the final episodes of season 3 all spectacular, and there was no real decline in quality until the 6A, which (especially in the first half) was genuinely subpar. It very much recovered in season 6B, however. After the terrific opener a couple of the episodes were clearly transitional, setting up the final plotlines, but none were weak and they kept getting better. The need to use Melfi had been a drag on the show for a while, but the conclusion in the penultimate episode was perfect.
- The one episode I need to watch again is “Kennedy and Heidi.” I was very much torn between thinking that Christopher’s death wasn’t given enough dramatic weight, and thinking that its sudden, opportunistic nature was just right. The more I think about it, the more I lean toward the second option.
- Like Rob, I was baffled by Matt’s point here. Tony’s gambling was hardly a new “character trait,” but a dramatically interesting manifestation of the impulsiveness and desire for immediate gratification that has consistently caused problems for his business and his marriage (as well as a means of addressing the economic insecurity that he’s worried about since literally the first episode.) It’s precisely the same aspect of his character that, later in the season, caused him to kick out the teeth of the guy who mildly insulted his daughter when rational long-term planning would dictate laying low.
- I felt confident that Chase would not end things with a shootout. I was worried about a dream sequence, but thankfully he seemed to get it out of his system. (I should note that while the second half of 6A improves on a second viewing, the lengthy dream sequence gets even worse–knowing how trite the payoff will be makes the vacuous pretension even worse, a bizarre lapse in quality for such a remarkable achievement.)
- I don’t want to say much more until I’ve had a chance to watch them twice, but certainly this was a much more satisfying conclusion than I expected.
UPDATE: Matt is, of course, correct that there’s nothing necessarily “middlebrow” about a neat conclusion and to call out my implication otherwise, but I do think there is something middlebrow about requiring a neat conclusion (although not everybody dissatisfied with this particular ending necessarily falls into this category, so in that sense the charge was unfair.) In terms of the “Stockholm Syndrome” charge, I think it’s pretty effectively rebutted by the dream sequence link above, as well as what I’ve said about the atypical Sorkinesque position-paper-reading in “Christopher.” Chase is definitely capable of shooting bricks (one of which nearly wrecked a season); I just don’t happen to think that the final episode was one of them, and in general have also never heard a good argument about how the show got aesthetically worse in seasons 1-5. (And not because I think the first season was perfect; the dream sequences/visions in the penultimate episode were pretty annoying, actually.)