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And the show moves on. Meadow and her friend try to get speed through Chris to study all night for their SATs. Tony is dealing with a Jewish son in law. And Junior is not happy with Chris and Brendan being unpunished and scares Chris into believing that he is being executed while really executing Brendan.

Sad to see Brendan go. Anthony DeSando was doing the character very well and I was hoping to see more of him. But the execution was a great scene just like the one of setting fear into Chris. Only I don't understand why did they use the Russians for that. Not that it really matters. Doesn't take away from the greatness of the scene.

I guess this will bring more to come. Tony dealing with Junior and Chris worrying about having sold speed.

One other scene I liked was the one at the psychiatrist office where Tony starts complaining being tricked by the picture outside. And also was great to see Charmaine tell Carmela that she slept with Tony. I don't hate Carmela but I felt she really deserved it in this episode.

This is the episode where 'The Sopranos' became complex and the characters' true colours were made apparent: Livia's black poison cloud has obviously infected her son's morbid mindset as Melfi discovers; Carmela uses not just Tony but other people like Charmagne; Junior is an easily-influenced power-hungry bastard; Meadow and her friend Hunter want to score some speed; Chris, on the other hand, seems to have a caring side when he gets them some in fear of Meadow being 'raped, robbed and left in the street by some Jefferson Avenue moulinyans' (you'll eat those words one day, Chrissy).

Battles-within-the-sexes seem to be one flavour in this particular slice of North Jersey mob-life, with oestrogen representatives Carmela and her posh ladyfriends v Charmagne; and in the testosterone-fuelled ring Tony, Paulie and Sil v the Hasidic Jews. This is as much a cultural war as anything, with recently-turned upper working-class Charmagne at first being seduced by 'the life' Carmela lives when given the grand tour of her abode in preparation for catering the silent auction night. A possible friendship between them is made impossible when Carmela summons waitress Charmagne with the same gesture she uses for her Polish housemaid. Meanwhile at Satriales, our Roman Catholic males are trying to pry a consentful divorce out of the Hassidic Jewish Shlomo, an unwanted son-in-law to Hittel Teittleman, a friend of Silvio's. Their cultural differences are explicitly referred to when Ariel muses of the Masada, of how the few hundred Jews fended off a legion of Roman soldiers. "And the Romans, where are they now?" he asks. "You're looking at 'em asshole," is Tony's blunt reply.

Whereas Charmagne uses the bitching tactics of telling Carmela of the affair she and Tony once had to get what she wants (an equally-hurt Carmela), Tony and the boys eventually opt to threaten Shlomo with castration to get what they want (a divorce which will net them a share of Teittleman's hotel profits). This male/female contrast of power-plays will be consistent throughout the series in Carmela's lady's luncheons and Tony's sit-downs.

Of course, an overlying subject matter of the episode is the familiar psychological concept (and the episodes title): the three stages of denial, anger, and acceptance. This paradigm encapsulates Tony's plot strand, as he at first denies that his Cancer-stricken friend Jackie will die as he will "scare the Cancer away"; becomes frustrated when Melfi implies that it seems unlikely; finally he accepts that Jackie will be gone soon and tries to enjoy a moment of solace with his wife and daughter, failing in the typically cynical way of the show. It also compares how Tony and Carmela use people as Tony is first accused of being a Frankenstein (or 'golem' by Teittleman), which two people refer to him as in the episode. They wouldn't be the last.

This is the first episode where I think that 'The Sopranos' really starts to come into its own as something that is not just a good television show, but a great one. Death and decay are omnipresent throughout this episode, as Tony moves through the stages of grief as mentioned in the episode's title (mostly anger) as he comes to terms with the partially catalysed demise of his dear friend, Jackie Aprile. We also see direct parallels between the likes of Tony and the likes of Christopher, who desperately pleads for his life a few scenes after Tony tells Dr. Melfi that he does not fear death after appearing to come to terms with Jackie's situation. Of course, the episode then ends with the iconic scene of the Brendan being shot, a scene which deliberately does not linger for too long as the audience can gauge the fragility of order and command in the mafia.

Demise and decay do not just come in the literal form; after being continually patronised by Carmela throughout the episode, Charmaine Bucco deals the first visible blow to Tony and Carmela's marriage, which has seemed somewhat stable up to this point (apart from the heated conversation outside of the MRI machine, of course).

Another thing that was great about this episode was the scene where Junior asks Livia for advice on the situation with Christopher and Brendan. It is the only scene to feature Livia in the episode, yet her presence is felt tremendously during the final scenes with Christopher and Brendan as the audience begins to realise just how much of an influence this supposedly frail and passive woman has on mafia surroundings. Her alliance with Junior shown here is, of course, just the beginning of a tumultuous relationship that will lead to this season's ultimate climax.

Overall, 'Denial, Anger, Acceptance' was a real step forward for its nuanced character writing, and despite the gratuitous and darkly comic violence that prevails at this point in the time, this episode definitely signifies that The Sopranos has a hell of a lot more to offer than standard mob scenarios with a little bit of psychological drama on the side.

One thing I forgot to point out while writing earlier: that sequence of Christopher's mock execution intertwined with Meadow's tweaked-out singing is perfectly poignant.

Denial,anger, acceptance are actually three parts of the five stages of grief with the other two being bargaining and depression. Denial,anger, acceptance are actually three parts of the five stages of grief with the other two being bargaining and depression. Why is the title just 3 out of the 5 traditional stages of grief? Tony can't bargain or feel depressed? Or he can't outwardly show the omitted 2 for fear of weakness and judgment? Or does he lack the capacity for them? It would've saved Tony a hell of a lot of hassle and not to mention the guilt, had his mother told Junior to kill Christopher as well. To be fair, he was as dumb as Filone. But unlike Filone, he had the family connections to make him think he was worth more than he ever was. Interesting how Jackie is holding his watch, like he's reflecting on the fact that his time is up.

Tony must deal with an increasingly ill Jackie. Christopher and his buddy Brendan finally face the wrath of Uncle Junior. And Tony and the boys learn a hard lesson when they are asked to help with a situation involving some Hassids. On top of all this, Carmela discovers Tony has slept with Charmaine, Artie Bucco's not-unattractive wife. This leads to a rather delicate moment when Tony joins Carmela to watch Meadow sing with her choir. A really terrific moment: Artie and Charmaine are catering a party at Tony's home. Carmela decides she needs something and calls out loudly to Charmaine, who is across the room socializing with the guests. When Carmela finally gets Charmaine's attention. she beckons to her with an imperious "come here" wave of the hand, and not once but several times. You can see in Carmela's stern expression that she is summoning the help, not an equal. It is a moment to be savored and an early indication of just how truly evil Carmela is.

Primary Story: So Chris and Brendan return the hijacked truck but Junior still isn't happy as he hasn't punished anyone yet. Mikey keeps encouraging him to take action and Junior ends up agreeing with him. But man, "Take it easy! We're not making a Western here!" was a great comeback.

Additionally, Meadow and Hunter ask Chris and Brendan for speed just so they can stay awake and study for the SAT exams. Brendan has a nice remark here, "Kids, ya think ya can protect 'em, well you can't!" This holds a strong moral complexity as it's a reference to how kids will always find a way to get what they want. Though hesitant at first, Chris is convinced by Adriana to give them some as it's preferable to acquire the drugs from them as opposed to street dealers from Jefferson Ave, who as Chris puts it, would have "robbed them, raped them, and left them on the side of the road." ends up giving them a little but wants to avoid getting in trouble with Tony for doing this. And after Eventually, at the end of the episode, after Livia ends up giving her piece of advice to Junior, the old yet deadly puppet-master ends up agreeing with her mentality; so he decides to dish out the punishment; a mock execution for Chris laid down by Russian gangsters and a real one for Brendan via Mikey Palmice's swift and extremely climactic punishment.

Secondary Story: A Hasidic Jewish fellow approaches Tony for a quick job; pretty much beating up on his son-in-law Ariel until he agrees to a divorce. The interrogation doesn't go too well as he's a hard one to crack and he references Masada, the site of a long siege between a small number of Jews and the legions of Roman soldiers which eventually ended in the mass suicide of these same Jews who chose death over enslavement, and then Ariel goes on to say, "Where are the Romans now..." and Tony's comeback is one of the best... "You're lookin' at 'em a$$hole..." That was some beautiful writing there.

Tertiary Story: Jackie Aprile, Sr. is in the hospital and his condition worsens as Tony discusses the cancer diagnosis with his psychiatrist, Jennifer Melfi. He also deliberates whether or not he's seen as a "Frankenstein" figure... someone who lacks emotions and feelings.

Music: Best music in the end of the episode. "All Through the Night" intercut with vicious brutality and scenes whilst depicting the gentle nature of Meadow's choir performance makes this the most memorable scene in the series.

Characters: Brendan Filone is and always will be my #1 most favorite character in The Sopranos due to the method in which he is executed. Brendan was Christopher Moltisanti's friend and partner in crime as we witnessed in the previous episode entitled "46 Long." Due to his addiction to drugs and his overall unplanned hijacking gone awry, he is silenced for his actions, sending a message to the rest of Tony Soprano's crew.

This scene is perfectly depicted in "Denial, Anger, Acceptance" and is the most important climax in the entire first season. Brendan was shot to death in his bathtub, clean through the eye, by Junior's trigger man, Mikey Palmice. The method of execution is known as the "Moe Greene Special", a specific form of Mafia killing based on Moe Greene, who also happens to be my favorite character from The Godfather trilogy.

The scene is also my most favorite in the history of The Sopranos, since Brendan's method of demise is unparalleled throughout the series. The scene was so memorable in its Godfather-like ending that it shall always remain a part of me; always my favorite moment in television/film history.

The sheer brutality and ferocity is heightened in this instant, where a lullaby plays in the background as Brendan smokes his final cigarette. Mikey Palmice walks in, startles Brendan, and says "Hijack! Bye Jack!" before silencing him with a glock aimed at his eye; a message job. As the montage buildup of the musical choir "All Through the Night" sounds in the background, Filone looks up and fear strikes his face; his dreams shattered in that instant! He dies in that terrifying moment as the bullet pierces his eye, redefining a bloodbath! The blood fills the tub as Filone remains still, no longer quivering. However, through death, he is immortalized forevermore, a fragment of magnificent brilliance defined.

Brendan will always be my favorite character in the history of film and television, forevermore. I love Brendan Filone.

Overall: Hands down the best episode of the series as it incorporates my favorite character being killed in the most memorable fashion, a very brutal and swift punishment coated with tender lullaby accents and warrants the perfect ending and writing overall as a concept and genuinely brilliant reference to The Godfather.

I need to say that i really enjoyed the part where it get sexual with that lady from the club at the hospital and was very sensual and sexy .

We got also that part where the daughter of the Sopranos want some drugs and give trouble to the guys who working with Tony. I mean by that death .

We have still that discussion with the Shrink and how more intimate Tony feel mostly about his friend . We can really identify ourself with the Shrink and trough her we try to understand .

That Part with the Jews was funny and serious at the same time because it involved business and at the same time a private case about divorce . And was interesting . Business will always be business With the Sopranos !

Christopher and Brendan return the hijacked truck, but Uncle Junior remains unsatisfied, convinced that a clearer message needs to be sent. Tony goes to visit the ailing Jackie in the hospital, lifting his spirits and also "gifting" him with a buxom young woman. Meadow and her friend think that they will need speed to help them study for their exams, and a reluctant Christopher gives it to them, knowing that they will be promptly victimized if they go elsewhere. Tony, Silvio, and Paulie agree to help out a Hasidic motel owner with his troublesome son-in-law. And Charmaine has a revelation in store for Carmela regarding Tony.

There are some good laughs, and interesting touches in this typically strong episode, written by Mark Saraceni and directed by Nick Gomez ("New Jersey Drive", "Laws of Gravity"). The story with the son-in-law (guest star Ned Eisenberg, in a standout performance) is good because here we have a character who really is not afraid to die. So Tony, Silvio, and Paulie have to find a different way to get through to him; the answer, of course, makes perfect sense. Christopher has a very sobering scene where he begs for his life. Tony ponders the idea of mortality while stopping for some self-reflection in a session with Dr. Melfi. James Gandolfini, brilliant as always, has a great moment when Tony complains about being tricked by a painting. (The meaning in artwork is a minor but intriguing detail here.) There's a little light humour where Artie and Tony have an argument that results in a brief food fight. But the ending to the episode is indicative of some real brilliance: intercutting between the genuine execution of Brendan and a concert performance by Meadow and her fellow students. The song they are singing is an ideal counterpoint to what is a very efficient and artfully done killing.

Incidentally, what is fun to note is that the elderly Hasidic man is played by Chuck Low, who nine years previous had played Morris Kessler in "GoodFellas".

Eight out of 10.

Wow this episode was insane. The increasing tension between all of the characters, the haunting final scene, the brilliant acting performances, this episode really packs a punch.

In my last review, I mentioned that I didn't really know what this show was going to do with itself, but with this episode it is clear where they're going to go. Brendan's death is obviously going to set tension between all the characters and Christopher's mock execution at the end had me worried for a second.

This episode definitely marks the show finding it's groove, with no characters having plot armour and good mob drama.

Overall:8.8/10 MVP:James Gandolfini.

Gritty, violent and realistic. Denial, Anger, Acceptance creates details and real life to T V. The mother who hates her son and plots his downfall. Tragic but real life. Meadow's drug experimentation. Tony dealing with such horrid rejection of family dynamics. Christopher disrespects Junior, and pays the price. Tony's dealing with a hotel owners comments on violence and honor. The mannerisms, language, stereotypes, character flaws, character interactions, and brilliance creates for a deep and memorable show. Sopranos started the bigger movie budget episodes with movie quality actors. Being on cable, the show is able to get away with graphic realistic T V. Denial, Anger, Acceptance is so so memorable. The hi-jack by-jack scene is classic! The template for modern cable T V. Nine out of ten stars

"Denial, Anger, Acceptance" is one of the best episodes of the first season. This is an explanatory episode, through which we know much more about Junior, Tony's uncle. Chris and Brendan disrespect him at one point, and they get their just due, Chris getting beaten up and Brendan getting killed.

The plot with the Jews is also interesting. The episode shows us how attached they are to their religion, and that they would be able to lay down their lives for it. Something interesting to see a humble family devoted to their religion have business with a violent and bloody mafia.

The plot of Meadow and the speed also shows us the pressure of a teenager for school and also how easy it is for them to get that type of drugs.

In conclusion, this is a crucial episode in the development of the series that shows us in a very good way how dangerous it can be to deal with the mafia.

10/10.

Things are starting to warm up in The Sopranos, as episode 3 continues to develop three subplots introduced in the previous show: Uncle Junior seeking revenge for being humiliated by Chris, the begrudged Livia, still angry at her son for placing her in a nursing home, and the cancer-suffering boss of Tony, Jackie Aprile. In addition to this a friend of Tony's Jewish associate Hesh Rabkin (that's Morrie from GoodFellas!) comes to Tony for help regarding a son-in-law, and Chris gets pressured into giving Meadow some speed so that she can 'prepare for her exams'. Denial, Anger, Acceptance continues the strong start the show has had, only this time the dialogue is, quite frankly, brilliant. You've got the usual wise-guy humour from the likes of Paulie and Salvatore (or is it Silvio? I keep getting mixed up between them two) as well as lines that you remember long after the show is finished. For instance, when Tony confronts the Jewish son-in-law and the latter mentions the battle of Masada, in which the Jews chose death over slavery. "Where are they?" he exclaims in reference to the powerful Romans of the time, to which a straight-faced Tony replies "Your looking at 'em." Italian pride, right there. There's a cultural war in this episode, as well as a battle-within-the-sexes. Staying with the Romans it's interesting to draw parallels between the Italian mafia and the Roman Empire. It's been done before in The Godfather Part II, and here we can see the Soprano family feel a closeness to the violence and awe of the once-mighty Rome. Livia, Tony's mother, is a fine example – it's hard not to think of the Livia who married the emperor Augustus and plotted to keep the imperial power on her side of the family. This episode showed us that Livia is not "bumbling" old woman as she makes out. She has in fact a very sharp mind, with an ability to subtly scheme. Her conversation with Uncle Junior is a perfect example of restrained viciousness, which leads to an explosive outcome. Meanwhile Jackie's condition is bad and worsening. He knows, Jackie does. He knows the time is coming. And it triggers another conversation with Tony and Dr. Melfi. The character study deepens as they discuss paintings, the ducks again and whether he is seen as a Frankenstein figure, lacking genuine emotion and feelings. Seeing him get teary- eyed during Meadow's school performance seems to put that one to bed though. Also the fact that he shows regret at burning Artie's restaurant up, for which the poor man is still grieving. This is the episode where characters become complex and as so did the editing, funnily enough – there were some quick cuts and close ups that at times were jarring, but necessary. Once such instant involved a close up of Carmela calling a maid with her hand which she does again to Charmaine, which must have really made some steam come out of the latter's ears (in attrition to constantly acting like Charmaine is in some kind of depraved state having to move lodgings) . So much so that she stirs things up a little by stating she slept with Tony many years ago, and could have been with him instead. And so she leaves, leaving Carmela to ponder that thought. So Chris and Brendan have returned the hijacked truck but Junior still isn't happy as no-one has been punished. So he turns to Livia who cleverly gives him a piece of advice. Following this the old puppet master sets up a mock execution for Chris and a real one for Brendan via a Moe Green special in the bathtub from Junior's Mickey Palmice. These climatic events were beautifully intercut with Meadow's school performance of "All through the night" reminiscent of The Godfather's climax. The gentle nature of Meadow's choir contrasted heavily with Chris' tense beating and Brendan's violent and memorable death. I'm really starting to not like Uncle Junior. It's got nothing to do with Brendan. Despite being Chris' partner in crime I never much liked him. His death due to drug addiction, awry hijacking, disrespecting Junior and simply being the more expendable of the two serves as message to Tony's crew that Junior is not to be messed with. I don't like the fact that he's always running to Tony's mother instead of talking with him face to face. In my eyes that would hurt his pride, and he can' take the fact that the new generation are taking over. Yet he keeps whispering into an elderly (although scheming) woman's ears instead of manning up and going face to face. Of course from his point of view it would seem low, that's understandable, so he has to make a point and show that any disrespect to him does not go unnoticed. Still…what a moron. The title of the episode can reference many things, none more so that Tony's denial in facing the fact that Jackie will die (He'll "scare the cancer away"). He then becomes frustrated when Dr. Melfi suggests that he might die. After which Tony accepts that he's going to lose a friend, and uses the opportunity to give Jackie some comfort in his end of days. Comfort in the form of boobies. Oh yes, didn't I mention that we got our first in-focus boob shot, not counting the club scenes from the previous episode. And what a pair too! My Rating: 7.5/10 (the episode, not the boobs)

Full Review: http://cineranter.wordpress.com/2014/09/08/the- sopranos-review-s1e3-denial-anger-acceptance/