To my memory, I don’t think I’ve ever seen a series so character dilated, let alone a mafia one. Almost every episode in this show is made to deliberately show a character facing a contradiction they practice and then barely act upon it in such a humanly realistic and relatable way despite most of them being crime lords. Christopher getting “made” becomes defined by tearing himself from family, devising a one-man, self-serving loner’s business just like what Tony has, in a sense, done. Livia Soprano’s death plays so well into the dramatic game that Tony paves for himself and out of an awareness of succumbing to why exactly his mind is so lethal in the first place. AJ is becoming more like his father in the presence of, ironically, a father who resents such an idea but can’t see that it’s actually coming. Jennifer temps giving herself directly to the luxurious world of Mafia support after facing some life-changing tragedy of her own. Pine Barrens works in its own rights as an hour long Fargo-esc mini-movie masterpiece, degrading these psychotic mobster characters with nonstop comical absurdities; it’s kind of like Breaking Bad’s The Fly of The Sopranos to me as of now, exposing people’s true colors unlike ever before because of a simple yet physically weakening conundrum that’s also cynically side-splitting.
“The Sopranos” is now available to stream on HBO Max.