Is it possible that The Sopranos judges itself as harshly as the harshest critics judge The Sopranos?
On the show, when a character compliments another character on bettering himself, or simply changing, it’s usually a sick joke.
David Chase knows that the sensuality of pop music and movies and the guilt of pretending to be a good Catholic boy are forever tangled up.
Fans of the show (and other fictional mob characters) often lack a true understanding of the mafia’s history.
It’s worth considering where The Sopranos fits in the pantheon of great mob stories that have been committed to film.
Much of “Christopher” seems more appropriate for an op-ed piece than as a crucial hour in a terrific episodic television program.
The series thrives on unpredictability, but Janice can always be counted on to do exactly what Janice would do.
Some may complain that his work is too esoteric, but it’s unsettling, because it it’s more familiar than we’d like to admit.
Despite his many years of service, Paulie has never gotten the bump he feels he deserves.
Studio 60 on the Sunset Strip veers from feeling like one of TV’s best shows to one of its most mediocre, often in the same scene.
There’s been a lot of complaining about the Emmys this year, and with good reason.
Deep down, you just knew that Whitney Ellsworth was too good to live.
The women of Deadwood are passionate, fully realized human beings.
In fighting off waves of melancholy over Deadwood’s premature demise, it’s helpful to reflect on the improbability of the show’s existence.
Not with a bang…not even a whimper…it was more like a wet fart.
The richness of Deadwood puts every other TV drama to shame.
Can’t you feel it all starting to crumble around them?
How many amazing James Gandolfini reaction shots can you squeeze into one hour?
The times, they are a changin’. And so is Tony Soprano.
Poor Artie got stuck with the lion’s (or mouse’s) share of clunkers.