Plot spoilers follow, in case you're one of the 0.0005% of HBO viewers who
didn't see the last episode of The Sopranos.
If you don't
follow the show, only half of this may converge to make sense. Even if
you are a Sopranos fan, prepare to wade through a morass of heavy
symbolism and interpretation.
Am I the only person who thought the Sopranos finale was a great
piece of work? Everyone, it seems, or at least the agitated mob at
the Newark Star-Ledger's Sopranos' central
felt cheated, whacked, insulted and let down by the criminal non-ending of the
long-running serial criminal elements. But there is a reason the show is
called The Sopranos and not Tony Soprano.
I don't buy Mike Greenberg's comments
this morning on ESPN Radio about the ending being a NJ-infused
version of The Lady and the Tiger, with the ending left
as an exercise for the viewer. Our nearly decade-long
love affair with Tony's family doesn't end in speculation
on what single event transpired next; the point is that something
happens, and in that something there is continuity to the Soprano
family. That's what a family drama brings us, each and
every week. It's a set of line segments
clipped from family trees, turned into storylines and then mentally set back onto
the wall to connect the pictures. Maybe that's what the cat was looking for.
The ending, if you were looking for one, happened when Phil Leotardo
got what he prescribed for Tony: a blunt decapitation. Tony is, was,
and will be the boss. The path to Philly took a turn through the private
life of Agent Harris, who showed himself not too much different from Tony,
stripped of their badges of courage.
The rest of the episode - before and after Phil's whacking - tied together
themes and threads the way the epilogue of a spy thriller would,
piecing together the small insights that led the characters to the
logical conclusions, one chapter earlier. Start with Tony quoting
Dr. Melfi to AJ's shrink, providing an unprompted summary of the
analysis started in the first episode: his mother poisoned their
relationship. Tony paints Janice as Livia incarnate, clipping
that branch from the family tree. Balance against Livia's
indirect presence in the finale the
re-appearance of Hunter, referred to by Carmela (in the first
season), with as much derision as possible, as "Cacciatore."
But the six-year older Hunter has found direction, a law
degree, and perspective. She can probably even parallel
park in fewer than four passes.
Hunter leached the toxicity out of Meadow and Carmela's
relationship without a single dollar in therapy.
Then there's AJ - ready to join the army as a soldier - the
same vernacular used for first-level Family recruits as well.
Tony blocks his entry to both worlds, giving AJ what he
gave to Christopher, a contorted patron of the arts to
his own son and not just the nephew he had previously
wished into (and out of) his immediate family. Tony's
attempts to make Christopher into his own likeness
failed miserably for all involved but his efforts to turn
AJ away from his predisposition - depression,
crime, bad maternal relationships - succeeds, marked
by Tony's ordering what AJ is going to want - onion
rings - before his namesake arrives for the last
supper.
I've read every possible explanation for the
onion rings in the final scene, from an incomplete
eucharist to the circle of life. They are onion
rings. They're bad for you. They're food,
the comfort for so many of Tony's
moods. Tony orders
them "for the table" -- for his family, who arrive
at that table by separate paths, in their own
sequence, much the way the Simpsons
find the couch in every opening of America's
other favorite family whack job serial.
Everyone who wanted to see Tony meet his demise, whether
from the FBI, the New York crew, Artie Bucco, the missing
Russians, or anyone up to but probably not including
Elliot (Dr. Melfi's shrink), sees Tony as a bad guy. He
is a bad guy: murderer, thief, gambler,
liar, adulterer, drug user and less than ideal brother.
But The Sopranos is a family drama, interpreted
through a non-Cosby definition of family. The "made"
in Made in America reflects on the "made men"
who didn't survive Tony's family dynamics as much
as Tony and Carmela making their children into
something that their made-in-Italy family history might
otherwise proscribe. Isn't it acceptable for them to
eat onion rings?
They're finally the ducks in the pool that Tony didn't
see earlier in the episode.