Elaine Richardson

Judging a television program's season by its first few episodes is a lot like judging a book by its cover--frequently unrewarding. The earlier episodes, crafted outside the grind of the season's week-to-week production schedule, are always going to have a bit more juice. The question is more one of maintenance--can they keep it all together late into a season when the strain of putting out can completely kill creativity?

In the case of "The Sopranos" the proof is probably seven episodes away. The show enters season three dragging its Emmys, its status as a near-cultural icon and incredible cred as the show that really opened the floodgates of respect for cable-based series. But more than last season, where it was simply a matter of picking up and moving on, "The Sopranos" hits this season with a host of problems, not the least of which is the very sad death of actress Nancy Marchand, whose turn as Tony Soprano's (the ever excellent James Gandolfini) agonized--and agonizing--mother Livia helped to make this show's original run so remarkable. Without her, Tony's mother conflict is automatically relegated into flashback--no new fodder for Tony's shrink sessions.

If creator David Chase has been smart, he's planned past this. But at this point it's difficult to tell. They've always been strong starters, so there's excellence in the first three episodes (two of which open the new season). The thing to remember is the muddle that took over in the middle of last season. Sadly, many TV critics only get to check out the early, stronger episodes, and never get a chance to revisit the storyline mid-coitus, so to speak. Is it all it was cracked up to be?

If last season proved anything, it was the "Twin Peaks" rule--without a plan, you're lost. The end of season one, with its bravura ending (Tony figuring his mom nearly got him killed, Uncle Junior (Dominic Chianese) getting nabbed by the Feds and Tony taking over as the "boss") had momentum, style, flash--and it kept people talking for months. Season two was scatty at best, with tangents that made little impact. And with a long period where Tony didn't speak to his mother or his shrink (Lorraine Bracco), it seemed writers didn't know quite where they were going as their whole story was based around the intriguing idea of what happens when a mobster with mother issues and anxiety attacks gets his head shrunk.

The other sad baggage from last season has been in the development of the Tony Soprano character, who had always been the kind of guy you liked in spite of yourself. With his ascension to top dog status, however, Tony's been isolated--unable to do the fun things he, and we, liked to see him do. No more hanging fun with Paulie (Tony Sirico) and Silvio (Steven Van Zandt), he's the boss, which has pushed him into continued confrontational mode where belligerence is his main level of conversation. It's grim. And it brings into sharp relief all the things we don't like about him, a trend that seems likely to continue this season as his oft-hinted at racism comes to the forefront when Meadow (Jamie Lynn-Sigler) comes home from college "with a black."

Isolating Tony has only made him less likeable, and if we stop liking him, they're going to have huge trouble keeping us watching. At this point, we can only hope that they've got some plan about where they're going--that they're not just fiddling around, hoping everything will turn out all right. It won't. And if they drop the ball, it's not going to be pretty watching all the promise of these early episodes evaporate (see the current state of "The X-Files").

When we left things, Tony had sent his not-so-nice mama, Livia, off with some stolen plane tickets. Busted at the airport, step one in the G's construction of a RICO case, the question was whether she'd testify against her son. Didn't seem much doubt there--she'd already tried to have him whacked. Episode one, "Mr. Ruggiero's Neighborhood," tracks the G as they try to bug the Soprano house. Exceptionally well-crafted, it's a great opener because it takes us a step back from the closeness of the family and gives us the outside view--we get to see how the Feds, who refer to the Soprano house as "the sausage factory," view their prey. It should be fun to see how the new mic helps them build a case against the man who "talks less than Harpo Marx."

In "Proshai, Livushka," Tony's mom finally gets her wish (the lord takes her away), bringing, sadly, the return of Tony's obnoxious, New Ager sister, Janice (Aida Turturro). Janice's need to put on a show results in the funeral from hell, as the Sopranos put on a wake for a woman who wanted no kind of remembrance. What happens when you get a group of people in the room to share their great "memories" of Livia? Better crack open the booze. But wait, there's more. Janice, now engaged to some 19-year-old who can "go all night," but, apparently back to stay, immediately gets into it with Svetlana (Alla Kliouka), the cousin of Tony's Russian girlfriend who cared for Livia in her last days, swiping the other woman's artificial leg. The image of Svetlana hopping, one-legged, around the house is priceless--and sick.

And there's more fun to come--Christopher (Michael Imperioli), who seemed a cinch to end up sleeping with the fishes less than ten episodes ago, gets made. (So yes, we get to see the "made guy" ceremony.) Tony figures out why he passes out every time he sees meat (really nasty), Meadow gets laid at college and apparently Carmela (Edie Falco) starts accompanying Tony to therapy. The April 1 "University" episode offers an intriguing look at Tony's deteriorating relationship with Meadow (Am I the only one who thinks she's an irritating, spoiled brat?) but also one of these joint psychiatry sessions.

But the loose ends are still there. Keep a close eye on episode three, "Fortunate Son," you'll see Big Pussy, whose murder was the emotional highlight of last season (watching Richie Aprile get killed was just fun), reflected, just for an instant, in Tony's hall mirror. An omen of things to come? Let's just hope they can keep things up. And if they can't, well, season one is always available on DVD.

"The Sopranos" season premiere, "Mr. Ruggiero's Neighborhood" airs March 4, 8pm on HBO. "Proshai, Livushka" airs at 9pn. Check local cable listings for channels. (2001-03-01)

Also by Elaine Richardson

THE HORROR
"This is punishment for every sin I've ever committed in my life," yells a pained viewer. "It's just so awful." That's the point of B-Fest 2001, the twenty-four-hour B-movie festival and spectator sport (yelling is encouraged) put on yearly by the Northwestern University student group, A&O Films.
(2001-02-01)

WINTER WONDERS
Most of these things don't require you to stand outside -- but so what if they do? An occasional breath of fresh air might be nice. All you really have to do is run from one warm place to another, so suck it up, put on an extra scarf and take advantage of some great events.
(2001-02-01)

SPIKED
But hey, we've heard this one before; isn't this what you call wine cooler land? Yeah, back in 1985. But while our friends at Bartyles and James have faded off the radar, hard lemonades, ciders and even alcoholic water have appropriated a good chunk of their shelf.
(2001-01-11)

FLAKING OUT
We're Chicagoans, damn it -- a hardy, Midwestern people who frequently and valiantly brave snow and wind and cold. Besides, if we didn't, there'd be no holiday gifts and, well, we just can't have that.
(2000-12-28)

IRRESOLUTIONS
(2000-12-21)

VIDEO ZONE
(2000-12-21)

ON LINE
(2000-11-30)

EASY MONEY?
(2000-11-23)

DOLLAR SIGNS
(2000-11-23)

THE BIG 3-0
(2000-11-16)

DRINK AND BE MERRY
(2000-11-16)

RESTAURANT REVIEW
(2000-08-24)

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