TV Writers on Sopranos Finale

The New York Times has this interesting article in which TV writers sound off on David Chase and the last episode of The Sopranos ever. As always, David Milch, creator of Deadwood and the thus far impenetrable John From Cincinatti, offers a particularly insightful interpretation:

“It was a question of loyalty to viewer expectations, as against loyalty to the internal coherence of the materials. Mr. Chase’s position was loyalty to the internal dynamics of the materials and the characters."

Tim Kring, Heroes showrunner, said he found “the storytelling in the finale a bit disjointed, so that you lost the cause and effect of some scenes.”

I'm not surprised that the creator of a show featuring some of the most wooden characters and unnatural dialog I've witnessed doesn't understand how David Chase structures his show. I've noticed that often in the The Sopranos, the consequences of a scene do not surface immediately; characters are not always aware of their own reactions to events, which may manifest in unexpected times and places. They're psychologically complex, sometimes as mysterious to us as they are to themselves. In this way, The Sopranos is like real life.

And the ending was like real life, too, in that it doesn't stop with a shattering climax; it simply... goes on.

TV Gets Gypped, WWHBOD?

Howdy howdy howdy! It's been a while, as I've been wandering the countryside much in the style of a Gypsy. Which is such a coincidence, because the first half of my post today is about Gypsies, or rather, the recent spike in Gypsy representation on television.

Full disclosure: I have some Gypsy in me. My great-great grandmother was all about Bohemia back when it was an actual place rather than something from a Rent song.

OK, OK, time to make a disclaimer before the Gypsy population of West Bushwick or wherever decides to flood this blog with complaints. (Edited to add disclaimer: Nothing in this blog is serious, except for the fact that shows about Gypsies exist. Oh, also the paragraph about mythologizing.) It's just weird because I've noticed a lot more Gypsies on TV than there used to be. Oh, and they prefer to be called Roma (because they roam-a around a lot! hahahaha!)

First was on House, in which a young Gypsy boy falls mysteriously, yet predictably ill, and his relatives stupidly, yet predictably fight House on his treatment. The boy's family are funkily dressed, vaguely ethnic weirdos who seem to have missed the boat on modern medicine despite living in suburban New Jersey. The father chews on toothpicks like a shady used car salesman and they all hate the boy's honky girlfriend. In fact, they refer to all honkies by a word I forgot - let's say it's Groosalug - that probably means "The Less Swarthy Ones Who Shall Not Be Named."

Now, on FX's new series The Riches, Eddie Izzard plays the patriarch of a Gypsy family that moves into some dead people's mansion and pretends its theirs. First of all, who knew there were so many Gypsies in the United States? I thought they were all flirting with Juliette Binoche in quaint French towns. Second, wouldn't a sweet manse like that go on the market right away, outting the squatters before they could say "American Dream"? Third, are Gypsies the new Little People? That is, a widely mythologized and misunderstood group of people for us normals to become fascinated with? If so, feel free to feature me in your new series, "Gypsies, Tramps, and Thieves," FOX Reality!




Another question on my mind lately is WWHBOD, that is, What Will HBO Do? In just a few months everyone's favorite curse-words-and-graphic-sex channel will be out of decent programs. They've axed Deadwood, Rome will end once Octavian becomes Emperor in two weeks, and The Sopranos - which has nose dived in quality anyway - will air its final nine episodes in May. After that, HBO doesn't have a leg to stand on, unless you consider Entourage a leg. (Which I don't. It's a trifle.) Deadwood's David Milch is currently developing a series called John from Cincinatti, which he describes as a "surf noir," and I describe as a "How? What? How?" I don't know, guys. Will the ol' Home Box Office get overpowered by Showtime or HBO Lite, as I like to call FX?