Two Tonys (S05E01)
Airdate: March 7th 2004
Written by: David Chase & Terrence Winter
Directed by: Tim Van Patten
Running Time: 54 minutes
In an era where audiences increasingly bemoan the protracted gaps between seasons of prestige television, HBO’s role as a pioneer in this practice remains noteworthy. Long before streaming platforms normalised extended hiatuses, the network’s flagship series, The Sopranos, exemplified this trend. Season 5, for instance, premiered over a year after the conclusion of Season 4 in 2002, testing fans’ patience but affording creators breathing room to refine the narrative. This strategic pacing, while contentious, allowed the show to evolve with deliberate craftsmanship—a hallmark evident in episodes such as Two Tonys, which deftly balances character development and thematic complexity despite occasional missteps.
The extended hiatus between Seasons 4 and 5 granted the writers rare creative latitude, enabling plotlines to unfold organically rather than under the duress of rushed deadlines. Two Tonys capitalises on this by subtly weaving in off-screen developments that reflect the passage of time. A prime example is Janice Soprano’s marriage to Bobby Baccalieri, a union that occurs during the hiatus but is presented without fanfare. This understated approach—eschewing exposition in favour of naturalistic integration—mirrors the series’ broader commitment to realism. The marriage is treated as an unremarkable fait accompli, underscoring the mundanity of domestic life even within the mob’s chaotic orbit.
Central to the episode is Tony Soprano’s fractured relationship with Carmela, now living separately but entangled in lingering financial and emotional tensions. Though Tony continues an affair with Valentina La Paz, his existential void drives him to pursue Dr. Melfi, his therapist, with misguided optimism. The dynamic between them epitomises Tony’s self-destructive tendencies: he conflates Melfi’s analytical empathy with romantic potential, misreading her professional detachment as a barrier to be dismantled. Lorraine Bracco’s portrayal of Melfi’s conflicted resolve—hinting at suppressed attraction beneath her clinical demeanour—adds layers to their fraught dynamic. Tony’s petulant reaction to her rejection, a blend of wounded pride and simmering aggression, further cements his inability to confront emotional vulnerability.
On the criminal front, the episode seeds impending turmoil through the release of several high-profile mobsters incarcerated since the 1980s RICO crackdowns. Dubbed the “Class of ’04”, figures like Feech La Manna (played by Robert Loggia) and Tony Blundetto (played by Steve Buscemi, whose looming presence is felt via a photograph) re-enter a landscape altered by time and shifting loyalties. Their return coincides ominously with Carmine Lupertazzi’s stroke—a narrative convenience that, while contrived, sets the stage for a destabilising power vacuum. The parallel timing of these events teases the chaos to come, as old-guard figures clash with newer hierarchies, though the episode’s heavy-handed synchronicity occasionally strains credulity.
A subplot involving Paulie and Christopher’s escalating rivalry provides darkly comic relief, albeit with familiar rhythms. Their feud, rooted in trivial disputes over meal expenses, escalates when a disgruntled Atlantic City waiter (played by by Omar Rodriguez) confronts them over a meagre tip—a clash that spirals into violence and murder. The resolution—a temporary truce forged through shared guilt and self-interest—echoes past narratives where bloodshed resets fractured alliances. While the sequence showcases the show’s trademark blend of humour and brutality, its cyclical nature risks predictability, underscoring a broader tendency to revisit thematic wells.
Two Tonys excels in its sharp dialogue and layered performances, particularly in introducing volatile new characters like Feech. Yet, not all narrative choices land effectively. The recurring motif of a bear invading the Soprano household, while symbolically rich (perhaps reflecting Tony’s primal anxieties), feels underdeveloped, dissipating without meaningful payoff. Similarly, the episode’s reliance on The Prince of Tides as a catalyst for Tony’s romantic aspirations—he projects the film’s therapist-patient romance onto Melfi—veers into overly literal pop-culture referencing, a crutch the series occasionally overuses.
Carmine’s stroke, though a necessary plot device, arrives with jarring convenience, its timing aligning too neatly with the “Class of ’04” releases to feel entirely organic. This narrative shortcut, while efficient, slightly undermines the show’s usual nuanced storytelling.
Nevertheless, Two Tonys remains a testament to The Sopranos’ enduring quality, blending incisive character study with taut, if occasionally formulaic, crime drama. While the extended wait for Season 5 may have irked fans, the episode’s narrative richness and psychological depth justified the delay. Flaws aside—repetitive conflicts, undercooked symbolism—the episode upholds the series’ reputation for sophistication, proving that even minor missteps in The Sopranos outclass much of television’s finest. For viewers willing to endure HBO’s deliberate pacing, the rewards, as ever, were profound.
RATING: 6/10 (++)
Blog in Croatian https://draxblog.com
Blog in English https://draxreview.wordpress.com/
InLeo blog https://inleo.io/@drax.leo
InLeo: https://inleo.io/signup?referral=drax.leo
Hiveonboard: https://hiveonboard.com?ref=drax
Rising Star game: https://www.risingstargame.com?referrer=drax
1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e
BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG
ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7
BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9