Category Archives: The Complete Series

The World at War: The Complete Series

"Down this road on a summer day in 1944, the soldiers came. Nobody lives here now. They stayed only a few hours. When they had gone, the community, which had lived for a thousand years, was dead. This is Oradour-sur-Glane, in France. The day the soldiers came, the people were gathered together. The men were taken to garages and barns, the women and children were led down this road, and they were driven into this church. Here, they heard the firing as their men were shot. Then they were killed too. A few weeks later, many of those who had done the killing were themselves dead, in battle. They never rebuilt Oradour. Its ruins are a memorial. Its martyrdom stands for thousands upon thousands of other martyrdoms in Poland, in Russia, in Burma, China, in a world at war."

– Sir Laurence Olivier reading the opening lines to "The World at War," 1973

World War II officially ended on September 2, 1945, almost 72 years ago.  Anyone officially old enough to fight in that year would be ninety years old now.  In context, when I was a child in the 1980's, there were still thousands of World War I veterans still alive, but they were in their 90's.  Now, the experience of fighting in that First World War has passed from living memory.   The 1980's don't seem that long ago.

Fortunately, there are many excellent chronicles of the time in the last century when we faced, and overcame, the greatest threat to human civilization since the Black Plague.  Standing tall among the many excellent documentaries on the subject is the epic "The World at War," which first aired on ITV in the United Kingdom in 1973 and 1974, and eventually syndicated on PBS during the 1980's.

The World at War is special for a number of reasons, and not just because it is one of the most acclaimed series in television history.  It is narrated by the great Sir Laurence Olivier, commonly regarded as the finest actor of his generation.  It was made at a time when many persons with important first-hand knowledge of the War were still alive, such as Winston Churchill's personal secretary.

Most importantly, the documentary never loses sight of the human toll of the War. It successfully avoids the shallow, rah-rah heroism so often seen in films about the War, especially in the 50's and 60's. The War was a fight against evil, there's no denying that, but it's nothing to be celebrated.

The World at War is rightfully acclaimed, but it has its ups and downs too. The Burma episode feels like it goes on forever and the series itself focuses more heavily on the European War than the Pacific. Even so, the highlights greatly outnumber the missteps. The episode about The Battle of Britain is simply titled, and described, as "Alone." The episode about Stalingrad contains no battle footage, but it doesn't need any. The episode on the Holocaust is one of the most awarded episodes of television ever broadcast. The final episode ties everything up masterfully, with Olivier's voiceover hauntingly asking us to remember.

The twenty-six episode series is available from a couple of different sources, and well worth your time. Evil, after all, never really goes away, and destroying it is a ghastly affair. By remembering the War, it underlines the importance of stopping evil before it gains power. Learning this lesson is the best way to honor those who were lost.

(C) 2017 D.G. McCabe


Downton Abbey – The Complete Series

Let’s do something a little different.  Downton Abbey is a series about history, unlikely drama but history nonetheless.  With that, I imagine a foreword to a fictional book about our characters, written by one of their children.  For your reading pleasure, here is the foreword to the 1959 book “Downton Abbey: A Portrait of My Mother’s Youth” by Marigold Crawley, written by her good friend and fellow popular writer, Ellen Worthington.

Foreword: Downton Abbey, a View From the Gallery

When Marigold told me she was writing a book about the events that took place at Downton Abbey between the summer of 1912 and date of her mother’s wedding in December of 1925, I thought she was mad.  While her last book “Children of the Our Age” dealt with her family’s experience during the Second World War, she was at a distinct advantage there.  First and foremost, she personally lived through those years.

How much could possibly have happened at a sleepy country estate during that time period to warrant such a history?  Improbably, Marigold then told me the volume would even largely gloss over the years of the Great War and focus heavily on the 1920’s.

I was at the point of advising her to pursue another topic.  Then I saw her mountain of research, including interviews with most of the major players (even one with her great-grandmother that she had done as a child).  I was so impressed that I insisted that I must write the foreword, so here we are.

I have known the Crawley family for many years, ever since the first time I made the trek to Downton Abbey with Marigold when we were children in the early 1930’s.  When I went through her notes, I was surprised and a little shocked to learn about everything that transpired there during the fourteen years depicted within this volume.

Some of the events herein are hard to believe.  Matthew Crawley, for instance, was a dull solicitor.  Then, struck by good fortune, found himself heir to a wealthy estate.  Struck by bad fortune, he was thought paralyzed from a wound during the Great War.  Then, good fortune again, he fully recovered and married.  Then he died in a car accident.

There’s a relative who “returned from the dead” during the War.  There’s the scandalous incident with a Turkish diplomat, which has long been an open secret in certain circles.  There’s a romance between a valet and a lady’s maid that would be fit for a Thomas Hardy novel.  It’s frankly hard to believe that so many things could happen to one family and their staff during a scant fourteen years.

What struck me most about the story, however, is the development of the characters.   Marigold has described her mother’s character arc in her previous writings (most notably a thorough history of The Sketch Magazine), but it’s no less jarring here that the strong, brilliant woman I’ve known all my life was once nearly consumed by jealously and depression.  Thomas Barrow, the Crawley family butler, who I have only known as patient and kind, was apparently a conniving sneak at one point.  Even Tom Branson, one of the pioneers of the automotive industry in Great Britain, was for a time banned from his native Ireland for being a socialist revolutionary.

My favorite character stays consistent throughout the story, and that’s Marigold’s great-grandmother, the Dowager Countess of Grantham (Marigold insists the woman will haunt my dreams with biting words if I were to refer to her by her birth name).  She was at the same time the voice of upper class aristocratic angst and the voice of reason and kindness.  I wish I had known her in life, but she is so well depicted herein that we have the next best thing (although Marigold’s mother and her aunt Mary have certainly inherited a solid amount of the Dowager Countess’ wit).

That one family had given Marigold three voluminous histories is scarcely believable, but when you meet the people described herein, you will see why these stories continue to be so popular.   I hope you enjoy them as much as I do.

Ellen Worthington, London, 1958


(c) 2016 D.G. McCabe

The West Wing – The Complete Series

“We shouldn’t elect a president.  We should elect a magician.”

Will Rogers

This month marks the ten year anniversary of the start of the final season of The West Wing.  The West Wing is my favorite network drama, and I would go so far as to call it the best network drama.  I’ve thought about writing this post for a long time, and I’ve come to the conclusion that the best way to discuss a series with the scope of The West Wing is season by season.

Season One

Key Episodes: The West Wing (Pilot), The Crackpots and These Women, In Excelsis Deo

The West Wing premiered the same year as The Sopranos.  Which show you prefer really comes down to what theme you find more interesting – the corrosive nature of evil or the frustrating nature of good.  Audiences, critics, and television writers have clearly sided with the former.  For every popular show about fundamentally good protagonists (Parks and Recreation), there are three about morally ambiguous ones (The Wire, Game of Thrones, Mad Men), and five about fundamentally evil ones (The Sopranos, Breaking Bad, Boardwalk Empire, House of Cards, Hannibal).

The West Wing is an aberration in the so-called “Golden Age” of television.  It is was a highly rated political drama with strong writing, strong acting, and innovative television production techniques.  While being fundamentally positive, it wasn’t cheesy – it had a real sense of gravitas.  Jed Bartlet (Martin Sheen) was potentially a once in a lifetime president trying to do his best in the face of a cynical political system.

The first season of the West Wing sets the stage for its two best seasons, but in many ways it is also a showcase of some of the criticisms of the Aaron Sorkin seasons of the show (1-4).  The Bartlet Administration’s political opponents often come off as one dimensional, no one is a fan of Mandy Hampton (Moira Kelly), and there are times that the show feels a bit like a civics lesson, albeit an entertaining one.  Fortunately the show gradually adds depth to the Republicans characters, writes Mandy out of the show, and adds in exposition more seamlessly as it goes on.

Season Two

Key Episodes: In the Shadow of Two Gunmen; Shibboleth; Noel; Somebody’s Going to Emergency, Somebody’s Going to Jail; 18th and Potomac; Two Cathedrals

Seasons two and three of The West Wing are two of the best seasons of any show.  Season two especially ramps up the drama and characterizations.  It builds on the successes of the first season while repairing most of its flaws.

The season opens by providing much needed backstory for the characters.  After a shooting at the end of season one, a series of flashbacks tells the story about how the Bartlet team came together and won the Democratic Party’s nomination.  The story is framed by the aftermath of the shooting, especially Josh Lyman (Bradley Whitford) fighting for his life after being critically wounded.

The events of the first episode, combined with the backstory within, bring a real feeling of momentum to the second season that wasn’t always there in the first season.  The Bartlet presidency seems to be recovering from early missteps, that is until the end of the season.

Two Cathedrals might be the best episode of the entire series for a variety of reasons.  The ticking timebomb of the Bartlet Administration is Jed Bartlet’s failure to disclose a potentially debilitating illness (Multiple Sclerosis) while he was running for president.  Two Cathedrals centers on Bartlet struggling with the decision to weather the scandal and run for a second term or to accept defeat and announce that he will not run for reelection.  His decision to run again in the face of overwhelming odds is subtle, but it is there at the end of the episode in a beautifully shot moment.

Season Three

Key Episodes: Bartlet for America, The Two Bartlets, Night Five, Hartsfield’s Landing, Posse Comitatus

The first half of Season Three largely deals with Bartlet’s reponse to his revelation at the end of Season Two, but the show increasingly becomes about his reelection campaign.  Meanwhile, at the end of the season he has to make a difficult decision – whether to assassinate a foreign leader who moonlights as a terrorist.

That’s just the plot.  The best parts of season three involve deep-dives into the characters.  Every member of the team gets examined in this season, the highlights being Bartlet for America, where we learn a lot more about Leo McGarry (John Spencer), and a stretch of episodes in the second half of the season that once again masterfully get inside the head of Bartlet himself.

Fittingly, season three ends on a Shakespearean note with a fantastic final episode.  While the show would have its moments for the next four seasons, it would not again reach such heights.

Season Four

Key Episodes: 20 Hours in America, College Kids, Game On, Holy Night, Inauguration, Twenty Five

Season four starts off strongly with a series of great episodes leading up to Bartlet’s re-election.  I don’t even mind that his opponent is a bit of a lightweight – the show must go on after all and it’s clear the whole time that Bartlet is going to win.  It’s compelling television how he gets there.

Although the first half of the season is compelling, the second half meanders a bit.  After two and a half seasons dominated by the MS revelation and the re-election campaign, it loses focus.  There aren’t any outright bad episodes, but every time I re-watch the series this is about the point where I lose momentum and would rather start over at the pilot than watch the next episode.

Although plenty have disagreed with me, I’m not a fan of the last couple of episodes either.  I think this is where Sorkin started losing control of the narrative, and the whole “Zoey gets kidnapped” storyline feels like it would be better placed in an episode of Law and Order than The West Wing.

Season Five

Key Episodes: The Stormy Present, Slow News Day, The Supremes,  Access

Season five is by far the weakest season in the series.  The key problem is that one creative force (Sorkin) was replaced by a dozen writers weaned on “patient of the week/case of the week/criminal of the week” dramas. While they try their best to weave the threads together, the fifth season feels like “political issue of the week.” There are unrealistic episodes (Toby saves Social Security), rushed episodes (let’s appoint two Supreme Court justices in an hour), and gimmicks (fake documentary starring CJ).

There are two redeeming qualities in the fifth season.  The acting remains top notch.  Although poor writing makes the characters say things that just sound wrong, they are still compelling to the audience.  Episodes like “The Stormy Present” give interesting depth to the West Wing world by shedding light on the pre-Bartlet era.  There are a couple of other strong episodes too, and strong moments in weak episodes throughout, so it’s still worth watching for the most part.

Season Six

Key Episodes: King Corn, Freedonia, Things Fall Apart, 2162 Votes

The sixth season is better than the fifth season, but it doesn’t start out that way.  The scenes inside the White House are starting to feel repetitive at this point, and the writers are still in “issue of the week” mode by and large.

The West Wing’s creative team did do something brilliant to turn the series around during the sixth season.  It removed a year from the Bartlet Presidency (which I would argue fits between “Access” and “Talking Points” in season five), and brought us into the campaign for his successor.  The narrative center of the show shifts from Jed Bartlet to Josh Lyman as Josh guides a long-shot presidential candidate, Matt Santos (Jimmy Smits) through the Democratic nomination process.

The campaign storyline injects new life and purpose into the West Wing, and the campaign episodes in season six are its best.  Unlike the Bartlet reelection campaign, Santos has a worthy opponent in Republican nominee Arnold Vinick (Alan Alda).  For the first time since those re-election episodes, the show is filled with new life and purpose.

Season Seven

Key Episodes: The Debate, Duck and Cover, Welcome to Where Ever You Are, Election Day, Tomorrow

Season seven is the equal to seasons four and one, although it doesn’t quite reach the heights of seasons two and three.  Bartlet’s last days in office are punctuated by a nuclear meltdown, an international crisis, and the anxious wait for his successor.  Smartly, the last season is condensed into about four months rather than matching up with the calendar like previous seasons.  It’s mostly all election, all the time, pushed forward by strong performances by Smits, Alda, and Whitford.

One improvement from season six that I’d like to point out is in the characterization of Matt Santos.  In the sixth season, his candidacy seems too unrealistic and out-there – he’s introduced to us as a three term congressman after all.  His resume is fleshed out a bit in season seven with two terms as mayor of Houston, TX, a distinguished career as a Marine fighter pilot, a degree from the U.S. Naval Academy, and the ability to win the State of Texas for the Democratic Party (granted that’s trumped by Vinnick’s equally superhuman ability to win the State of California for the GOP).

The rare mis-step is the live debate episode.  It’s in season five gimmick territory and I would rather have had a behind the scenes episode like season four’s excellent “Game On.” It’s interesting, but it can be easily skipped too.

Tragically, John Spencer passed away in the middle of production, so the writers had a difficult decision to make regarding the fate of his character.  Fortunately it their solution was well handled and dramatically compelling.  The last episodes in general can be described as such, and the last few scenes of “Tomorrow” are especially bittersweet.


Sometimes it seems like the American people want someone with magical powers in the White House.  As a fictional creation, Jed Bartlet comes awfully close at times – but is human enough to keep us all interested.  His America is a better place for having him lead it.

Will we ever have the opportunity to visit the West Wing universe again?  I highly doubt it.  It was likely a hard enough concept to sell the first time around and a sequel series would be met with unattainable expectations.  Still, I wonder how Matt Santos did.  If he got re-elected, his term would have ended in 2014 after all.

Ultimately we view our president through the clouded lens of our own hopes, fears, and political preferences.  The man or woman who dares seek that job inevitably acquires a maddening combination of expectations they can never meet and blame for events they had no control over.  The West Wing is essentially about a group of good people trying to do a good job in the face of both.

(c) 2015 D.G. McCabe

Mad Men – The Complete Series

Nature’s first green is gold,
Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.

– Robert Frost, “Nothing Gold Can Stay,” 1923

Most of the notable television dramas that have aired since 1999 (called by some the Golden Age of Television Dramas) have used the language of cinema to examine certain issues.  The Sopranos uses that language to deconstruct an American myth, the Wire to examine the troubles of urban America, and Breaking Bad to document one man’s descent into evil.

Mad Men’s storytelling has  much more in common with the Modern American Theater of Tennessee Williams or Eugene O’Neil than these other great dramas.  It doesn’t examine myths or cities or evil.  At its core Mad Men is about something much more intimate – the unrelenting arrow of time.

Don Draper has often been described in the same breath as the criminals and monsters of some of these other series – but what has he done?  Don doesn’t kill anyone, and the one crime he does commit haunts every aspect of his life.  That doesn’t make him a good person – far from it – but just because he’s not a hero doesn’t make him an anti-hero.  In the end he’s just a man with problems and flaws that, the desertion and identity theft part aside, aren’t that different from the problems and flaws of regular people.

While Don is the central pivot of the show, it really is an ensemble.  The core six characters (Don, Peggy, Pete, Roger, Joan, and Betty) each has their own unique hopes and dreams, struggles and flaws.  The only character that gets a definitive end is Betty, the rest just keep moving along.

One of the key frustrations of watching Mad Men is that its characters never seem to change.  I would argue that if you watch all eight (sorry AMC, seven) seasons in a row you would see the characters change a lot, but not drastically and not quickly.  There are no epiphanies, just six main characters doing their best to adapt to changing circumstances.

The slow and erratic progression of the characters makes the last few episodes all the more satisfying when the core characters finally appear to start learning from their mistakes.  Each of their endings, in a vacuum, would feel a little too tidy if it weren’t for the fact that these endings are the result of a decade of trial and error.

And what of the final scene?  There are two interpretations that come to mind, and both fit the central theme of the show.  Either 1) Don has found some semblance of self-forgiveness and moved on, while the advertising world moves on his absence or 2) Don has come up with another brilliant idea and, setting his baggage aside, returns to a job that he’s very, very good at.

Matthew Weiner couldn’t have Don explicitly create the famous Coca-Cola ad.  After all, real people came up with that real ad and should be given their due credit.  Whether Don contributed to that ad campaign or not, it doesn’t matter.  The world keeps moving along, and our characters will need to adapt to survive. And even if they seem content today, nothing gold can stay.

(c) 2015 D.G. McCabe

Boardwalk Empire – The Complete Series

And on the pedestal these words appear:
‘My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!’
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.

– Percy Bysshe Shelley

Was there ever a moment in Boardwalk Empire when Nucky was as successful or powerful as he was in the pilot?  At that time he had wealth, political power, respect, admirers, and an entire city under his command.  At his convenience he could summon leaders both legitimate and criminal, and he lived a life of luxury.

Boardwalk Empire is a story about decay – moral, physical, and economic.  In the end, the only characters who are in a better position than they were in the pilot episode are Margaret and Luciano.

Margaret only prospers after she breaks away from Nucky.  This is why his attempts at reconciliation during the final season rang hollow.  What, after all, did she need him for?  She made out well in the Mayflower deal, and gained the trust of the powerful, and more importantly legitimate, businessman Joseph Kennedy all on her own.  The fact that Nucky probably left her the lion’s share of his fortune upon his death is just gravy – here is a character who has broken free of her dependance on anyone.

Luciano is a different animal.  From their very first meeting in the pilot episode, Luciano despised Nucky.  We never really got to know Charlie as intimately as we got to know some of his historical counterparts, Al Capone in particular. We did, however, learn that his defining characteristics were patience and a hatred of the old authorities.  He was always one step ahead of his enemies, chose his friends wisely, and in the end became the force that undid everything those old authorities built.  His empire won’t last forever, but we won’t get to see his later imprisonment, deportation, and death.

Nucky mostly stopped caring long before Luciano made his final move, and cares about nothing afterwards.  His brother tried to kill him two or three times, but he goes to see him.  Gillian is in a mental hospital, and has always been dangerous and unpredictable, but he goes to see her.  He even needlessly gathers his effects from Atlantic City – how could he trust Luciano not to finish him off?  He has his Mayflower money – but it might as well be worthless newspaper.  It feels like a relief when Tommy takes care of him.

The saddest part about Nucky’s life is that one decision could have changed everything.  What if had quit the Commodore forever, and he and Mabel had taken Gillian in?  They might have left Atlantic City and found a peaceful, happy existence somewhere.

This other option, so clear to the audience, was shrouded to Nucky.  He was forever reacting to moves made by more skillful players, and never really in control.  He was incapable of taking, or even seeing, a different path.

At the end, Nucky Thompson was a soulless chimera.  He began to die the moment he gave Gillian to the Commodore, and no amount of wealth or power could stop the inner decay.

This fate wasn’t unique to Nucky.  Jimmy, Chalky, Capone, Gyp Rossetti, Rothstein, and Narcisse built  empires themselves, which are ground into dust by end of the series.  As powerful as Luciano’s empire seemed in 1931, it was ultimately doomed as well.  Even Richard Harrow – who lost everything trying to save Tommy, ultimately failed in the end.

So what does one make of Boardwalk Empire?  It was an uneven series at times.  At its best, it played like high tragedy, at its worst, it played like a dull historical reenactment.  But perhaps no show on television has so viscerally dealt with the consequences of empires built by crime, violence, and moral decay.

(c) 2014 D.G. McCabe

Breaking Bad – The Complete Series

Per usual, this “complete series” post is for people who have watched the entire series described herein.  If Breaking Bad is still sitting on your Netflix queue – stop reading now and watch an episode or two.  You’ll thank me afterwards.

For mine own good, all causes give way. I am in blood stepped in so far that, should I wade no more, returning would be as tedious as go o’er. Strange things I have in head, that will to hand, which must be acted ere there may be scann’d.

Macbeth, Act III, Scene IV.

Macbeth is one of Shakespeare’s greatest creations.  Centuries after his conception, he is still the archetypal anti-hero of the English-language theater.  To television viewers in the last ten years, Walter White is often the first character thought of when asked to name an anti-hero.  He is more human and thus more relatable than Tony Soprano, and far more evil that Don Draper (whom I would argue is not really an anti-hero at all).

Like Macbeth, Walter doesn’t start out as an evil man, and the transition is so seamless that by the end of the series much of the audience is still rooting for him.  He’s introduced to us as a family man, a teacher, and a cancer patient.  He’s desperate and angry, and he turns to making meth to pay for his treatment and support his family.

How is this like Macbeth then?  Macbeth is envious of Duncan and ambitious from the beginning, but it is the prophecy of the weird sisters that compels him to act.  Walter’s envy and ambition may be more repressed than Macbeth’s at the beginning, but his illness acts as a catalyst for him to desperately right the perceived wrongs in his life (not, as we’re led to believe, to help his family).  The main wrong – him not being on top.

Another similarity is that each man is essentially a wounded animal from the moment that they are compelled to action.  Both take increasingly brutal and amoral actions throughout their stories.  What sets Walter apart is that he is a far more dangerous animal than his Shakespearean counterpart due to his improbable luck.

Vince Gilligan takes careful steps to demonstrate the absurd improbability of Walter’s life.  At the end of the second season, for example, we are shown a series of events that leads to an air disaster.  Walter is somehow in the middle of this. He lets Jane die.  He meets her father, who will be grief stricken and make a mistake.  He personally sees the plane crash that results from that mistake.

The ending of the series has been criticized in some circles as too neat, too tidy, and too much a series of unlikely events.  Walter is destroyed in “Ozymandias,” and dealing with the consequences of that destruction in “Granite State.”  Were it any other story, even Macbeth, he would have died a broken man in “Felina.”

I would argue that a traditional, “ruined villain gets what’s due to him” ending wouldn’t have fit Gilligan’s story.  Walter has been in the center of far too many bizarre events to have simple justice done to him.  To me, it fits perfectly that he is able to undertake one last unlikely action to right at least some of his wrongs.

Did he deserve to be in a position to do so? Absolutely not – he deserved to die alone in that cabin.  In this way, the ending isn’t earned – but I think that’s the point.  Walter White doesn’t stop rolling sevens from the moment he gets sick – sometimes being portrayed as being a force of nature unto himself.  When much of the audience turns against him by the end, when we recognize his evil and see his comeuppance, we want his luck to run out.   It remains frustratingly consistent that Walter is equally as fortunate when we’re on his side at the beginning and when we’re against him at the end.

Only a man “untimedly ripped from his mother’s womb” can destroy Macbeth, but it seems that the only thing that could destroy Walter White is Walter White.  It’s his own bullet, after all, that finishes him.  How I wish it were anyone else’s.

(c) 2014 D.G. McCabe

The Sopranos, the Complete Series (1999-2007)

The Sopranos

Primary Show Runner: David Chase; U.S. (HBO)

Premiered: January 10, 1999; Ended: June 10, 2007

(This article is designed for people who have watched the entire series of The Sopranos.  If you plan to watch the series in the future and want to avoid spoilers – you should stop reading now.  Don’t say I didn’t warn you.)

“I am the way into the city of woe.  I am the way to a forsaken people.  I am the way into eternal sorrow. Sacred justice moved my architect.  I was raised here by divine omnipotence, primordial love, and ultimate intellect.  Only those elements time cannot wear were made before me, and beyond time I stand.  Abandon all hope, ye who enter here.”

– Dante Alighieri, from “The Divine Comedy” c. 1315

The Sopranos begins as a rouse – a deceptive glamor.  We think we are being told a story about redemption.  After all, we open with a gangster, Tony Soprano (James Gandolfini) going to a psychologist, Dr. Melfi (Lorraine Bracco) for help.  This attempt towards self-improvement gives us hope that this fundamentally evil man can change.  This hope carries us through seven seasons – even as it becomes increasingly obvious that The Sopranos is about something else entirely.

It isn’t the first time we have been made to sympathize with the bad guys – the Godfather films being the first example that comes to mind. Vito Corleone, after all, didn’t turn to crime because he wanted to be a criminal or because he was necessarily a violent man. He turned to crime out of a desire to protect, and provide for, his family.  Michael Corleone never intended to join the family business, so his decent into becoming a violent criminal is a tragedy.

Neither Corleone ever really enjoyed being a mob boss, while Tony never wanted anything else.  He had a chance to go to college and leave North Jersey behind, but he dropped out in favor of pursuing “the Life.” Over seven seasons, we don’t watch him become a better man, just a more vicious criminal.

Throughout its run we were confronted with characters that were seduced by evil, and too in love with its spoils to turn themselves away from it.  Tony B. (Steve Bucsemi) and Vito (Joseph R. Gannascoli) try to leave “the Life” but are seduced back into it, resulting in their deaths.  For Carmella Soprano (Edie Falco), her rationalizations and denials increase throughout the series.  Sure Tony may have killed people, but he gets her all those fine necklaces.  Even the once street-wise Meadow Soprano (Jamie Lynn Sigler) is, by the end of the series, making the same rationalizations as her mother.

It should be obvious to the viewer that these people are only going to get worse as the series progresses.  Tony especially is nothing more than a ten year old bully in the body of an adult man.  He enjoys pushing people around, teasing people to their limits, hitting people in anger, and watching old movies with a bowl of ice cream and a smug look on his face.

But he provides.  For his family he provides wealth.  As long as they don’t question where that wealth comes from.  For his men he provides the thrill of the gangster life, as long as they don’t cross him.  For Dr. Melfi he provides a professional challenge.  For himself he provides whatever he wants however he wants to get it.

He provides for the audience too.  He provides the thrill of criminal violence and intrigue.  He provides girls, guns, and gold.  He provides just enough charm to like him and ignore what should be obvious to all of us.  We see him make jokes, cry for his children, pour his soul out to Dr. Melfi.  We think, maybe this time it will be different.

It’s never different, and that’s because The Sopranos is not a tale of redemption.  It is a decent into hell.  And Tony Soprano is the devil.

(c) 2014 D.G. McCabe