This is a show that lives up to the acclaim that's been heaped on it over the years - it's profoundly novelistic and amazingly cinematic, even in its second episode. It's also deeply, deeply funny, with a refreshingly mature sense of humor that moves effortlessly from dark satire to overt jokes about the perceived appropriation of Italian culture and cuisine.
There's a classic A, B, C plot structure in episode 1x2, straight out of screenwriting school: In the A plot, Tony is dealing with his brash nephew Chris's raids on trucking shipments that are supposed to be protected by Tony's rival in the DiMeo family, Uncle Junior; in the B plot, Tony's mother Livia is struggling to live at home by herself, though she refuses to move to a retirement community; and in the C plot, DiMeo mobsters Big Pussy and Paulie Walnuts track down the stolen car of Tony's son A.J.'s science teacher.
All the plots are interesting, and the casting is perfect, right down to the ancillary characters. The A and B plots involve Tony directly, and ultimately this is his story, despite it being an ensemble show. Coursing through Tony's narrative, even in this early episode, is a sense of middle-aged ennui, along with a deep-rooted fear of being unable to protect and secure what's his. Tony is a perpetually stressed, emotionally fragile guy - and for me, that's really what the show is all about, more so than the brief flashes of brutal violence (of which there are several in this episode).
The writing, performances, editing and even the choice of music used here is so darn good; this is a rich show, as juicy and as ripe for analysis as any great American novel. It's such a refreshing show to watch in 2018, in an era of unoriginal reboots and self-important "prestige" shows on premium and streaming channels.
Watch "46 Long," and you can really see why this show would later cement itself as one of the greats.
There's a classic A, B, C plot structure in episode 1x2, straight out of screenwriting school: In the A plot, Tony is dealing with his brash nephew Chris's raids on trucking shipments that are supposed to be protected by Tony's rival in the DiMeo family, Uncle Junior; in the B plot, Tony's mother Livia is struggling to live at home by herself, though she refuses to move to a retirement community; and in the C plot, DiMeo mobsters Big Pussy and Paulie Walnuts track down the stolen car of Tony's son A.J.'s science teacher.
All the plots are interesting, and the casting is perfect, right down to the ancillary characters. The A and B plots involve Tony directly, and ultimately this is his story, despite it being an ensemble show. Coursing through Tony's narrative, even in this early episode, is a sense of middle-aged ennui, along with a deep-rooted fear of being unable to protect and secure what's his. Tony is a perpetually stressed, emotionally fragile guy - and for me, that's really what the show is all about, more so than the brief flashes of brutal violence (of which there are several in this episode).
The writing, performances, editing and even the choice of music used here is so darn good; this is a rich show, as juicy and as ripe for analysis as any great American novel. It's such a refreshing show to watch in 2018, in an era of unoriginal reboots and self-important "prestige" shows on premium and streaming channels.
Watch "46 Long," and you can really see why this show would later cement itself as one of the greats.