Why Is Every Young Person in America Watching 'The Sopranos'? - The New York Times - 0 views
www.nytimes.com/...sopranos.html
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politics history Culture crisis US mafia allegory decline corruption alienation
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Biederman argued that the show is, at its heart, about the bathetic nature of decline. “Decline not as a romantic, singular, aesthetically breathtaking act of destruction,” he said, but as a humiliating, slow-motion slide down a hill into a puddle of filth. “You don’t flee a burning Rome with your beautiful beloved in your arms, barely escaping a murderous horde of barbarians; you sit down for 18 hours a day, enjoy fewer things than you used to, and take on the worst qualities of your parents while you watch your kids take on the worst qualities of you.”
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The show’s depiction of contemporary America as relentlessly banal and hollow is plainly at the core of the current interest in the show, which coincides with an era of crisis across just about every major institution in American life.
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“The Sopranos” has a persistent focus on the spiritual and moral vacuum at the center of this country, and is oddly prescient about its coming troubles: the opioid epidemic, the crisis of meritocracy, teenage depression and suicide, fights over the meaning of American history.
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“There was nothing but crap out there. Crap in every sense. I was beginning to feel that people’s predictions about the dumbing-down of society had happened and were happening, and I started to see everything getting tawdry and cheap.”
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Younger viewers do not have to fear Chase’s wrath, because they are not so obviously its object. They are also able to watch the show for hours on end, which makes the subtext and themes more apparent. Perhaps all of this has offered clarity that was not possible when the show aired. Perhaps it is easier now to see exactly who — or what — Chase was angry at.
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it is easily one of the most written-about TV shows in the medium’s short history. But more than the shows that have emerged in its wake, which are subjected to close readings and recaps in nearly every major publication, “The Sopranos” has a novelistic quality that actually withstands this level of scrutiny. It’s not uncommon to hear from people who have watched the series several times, or who do so on a routine basis — people who say it reveals new charms at different points in life
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Perhaps the greatest mystery of all, looking back on “The Sopranos” all these years later, is this: What was Chase seeing in the mid-’90s — a period when the United States’ chief geopolitical foe was Serbia, when the line-item veto and school uniforms were front-page news, when “Macarena” topped the charts — that compelled him to make a show that was so thoroughly pessimistic about this country?
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“I don’t think I felt like it was a good time,” he told me. He is 76 now, and speaks deliberately and thoughtfully. “I felt that things were going downhill.” He’d become convinced America was, as Neil Postman’s 1985 polemic put it, “Amusing Ourselves to Death,” not an easy thing for a journeyman TV writer to accept.
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that’s what I felt back in those days,” he said, “that everything was for sale — it was all about distraction, it didn’t seem serious. It all felt foolish and headed for a crash.”
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Expanded access to credit had cut into what mobsters call the shylock business; there’s no need to go to a loan shark when the payday lender will offer you similarly competitive rates. Gambling was legalized in many states and flourishes on many reservations; nearly every state in the Union has a lottery, which decimated the numbers racket. Italian American neighborhoods have emptied out — as Jacobs writes, “radically diminishing the pool of tough teenagers with Cosa Nostra potential”; this is dramatized brilliantly in the final episode of the series, when a mobster from a New York family hurries through Little Italy on an important phone call and, when the call ends, looks around to see he’s wandered into an encroaching and vibrant Chinatown. And, Jacobs notes, union membership has been decimated. “In the mid-1950s, about 35 percent of U.S. workers belonged to a union,” he writes. “In recent years, only 6.5 percent of private-sector workers have been union members.”
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I was about to change the subject when he hit on something. “Have you noticed — or maybe you haven’t noticed — how nobody does what they say they’re going to do?” he said, suddenly animated. “If your sink gets jammed up, and a guy says he’s going to be out there at 5:30 — no. Very few people do what they say they’re going to do. There is a decline in goods and services that is enormous.”
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Chase told me the real joke of the show was not “What if a mobster went to therapy?” The comedic engine, for him, was this: What if things had become so selfish and narcissistic in America that even the mob couldn’t take it? “That was the whole thing,” he said. “America was so off the rails that everything that the Mafia had done was nothing compared to what was going on around them.”
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In “The Mafia: A Cultural History,” Roberto M. Dainotto, a professor of literature at Duke, writes that one thing our cinematic Mafiosi have that we admire, against our better judgment, is access to structures of meaning outside of market forces: the church, family, honor. The Mafia movie often pits these traditional values against the corrosive and homogenizing effects of American life.
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What “The Sopranos” shows us, Dainotto argues, is what happens when all that ballast is gone, and the Mafia is revealed to be as ignoble as anything else. “Life is what it is,” he writes, “and repeats as such.”
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The show puts all this American social and cultural rot in front of characters wholly incapable of articulating it, if they even notice it.
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What is, for me, one of the show’s most memorable scenes has no dialogue at all. Tony and his crew have just returned from a business trip to Italy, during which they were delighted with the Old Country but also confronted with the degree of their alienation from their own heritage. They’re off the plane, and in a car traveling through Essex County. As the camera pans by the detritus of their disenchanted world — overpasses, warehouses — Tony, Paulie and Christopher are seeing their home with fresh eyes, and maybe wondering if their ancestors made a bad trade or if, somewhere along the line, something has gone horribly wrong. But we don’t know: For once, these arrogant, stupid and loquacious men are completely silent.
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Around the time “The Sopranos” premiered, the N.Y.U. Law professor James B. Jacobs wrote a paper, along with a student, arguing that the Mafia, though weakened by decades of prosecutions, could come roaring back. By 2019, though, he had published a new paper called “The Rise and Fall of Organized Crime in the United States,” declaring the Mafia all but finished. “The world in which the Cosa Nostra became powerful is largely gone,” he wrote. And he cites a litany of factors that aided its collapse, a mix of technological advances, deregulation and financialization — many of the same forces that have created the stratified economy of today.
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In his first therapy session with Dr. Melfi, Tony tries to explain why he thinks he has panic attacks, why he suffers from stress. “The morning of the day I got sick, I’d been thinking: It’s good to be in something from the ground floor,” he says. “I came too late for that, I know. But lately, I’m getting the feeling that I came in at the end. The best is over.” Melfi tells him that many Americans feel that way. Tony presses on: “I think about my father: He never reached the heights like me, but in a lot of ways he had it better. He had his people, they had their standards, they had their pride. Today, what do we got?”
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You can see this world — one in which no one can be squeezed because everyone is being squeezed — starting to take shape from the very beginning of the show. In the pilot, Tony is fending off competition from a new waste-hauling business undercutting his company’s extortionate fees, and trying to figure out how he can get a piece of the similarly extortionate costs his health insurer paid for his M.R.I. — a procedure he had because the stress in his life had given him a panic attack.
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The bien-pensant line on Tony remains that he’s a sociopath, and only used therapy to become a better criminal. This is an idea spoon-fed to the viewer in the final episodes by a contrite Dr. Melfi, in a show that spoon-feeds almost nothing to the viewer. Melfi herself might call this a coping mechanism to avoid the messier reality, which is that Tony lives in an immoral world nestled within another immoral world, both of which have only grown more chaotic because of forces outside his control.
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Because of this, you can see how he reasons himself into more and more heinous crimes, justifying each and every one of them to himself. Perhaps to you too — at least, up to a point. That sympathy for Tony led contemporaneous critics to ask if people were watching the show in the wrong way, or if our enjoyment pointed to a deficiency of the heart.
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t is this quality of Tony’s — this combination of privilege and self-loathing — that I suspect resonates with a younger generation, whether we want to admit it or not. He’s not so different from us, after all. He has an anxiety disorder. He goes to therapy and takes S.S.R.I.s, but never really improves — not for long, anyway. He has a mild case of impostor syndrome, having skipped some key steps to becoming boss, and he knows that people who hold it against him are sort of right. He’s still proud of his accomplishments in high school. He does psychedelics in the desert, and they change his perspective on things. He often repeats stuff he half-remembers someone smarter than him saying. He’s arguably in an open marriage with Carmela, if a rather lopsided one. He liked listening to “Don’t Stop Believin’” in 2007. He’s impulsive and selfish and does not go to church, though he does seem open to vaguer notions of spirituality. He wishes his career provided him with meaning, but once he had the career, he discovered that someone had pulled the rug out at some point, and an institution that had been a lodestar to him for his whole life was revealed to be a means of making money and nothing more. Does this sound at all familiar to you?
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Like many young people, Tony is a world-historically spoiled man who is nevertheless cursed, thanks to timing, to live out the end of an enterprise he knows on some level to be immoral.
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It gives him panic attacks, but he’s powerless to find a way out. Thus trapped — and depressed — it’s not so hard for him to allow himself a few passes, to refuse to become better because the world is so rotten anyway.
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Tony’s predicament was once his to suffer alone, but history has unfolded in such a way as to render his condition nearly universal.
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That the people in power truly had insulated themselves in a fantasy environment — not just in the realm of foreign policy, but also, more concretely, in the endless faux-bucolic subdivisions that would crater the economy. We were living in a sort of irreality, one whose totality would humiliate and delegitimize nearly every important institution in American life when it ended, leaving — of all people — the Meadows and A.J.s of the world to make sense of things.
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The notion that individual action might help us avoid any coming or ongoing crises is now seen as hopelessly naïve, the stuff of Obama-era liberalism.
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Whether that’s true or not, it offers us all permission to become little Tonys, lamenting the sad state of affairs while doing almost exactly nothing to improve ourselves, or anything at all.
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This tendency is perhaps most pronounced online, where we are all in therapy all day, and where you can find median generational opinions perfectly priced by the marketplace of ideas — where we bemoan the wrongs of the world and tell ourselves that we can continue being who we are, and enjoy the comforts we’ve grown accustomed to.
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In the show’s finale, as the extended Soprano family gathers to mourn the death of Bobby Baccalieri, we find Paulie Walnuts stuck at the kids’ table, where A.J., newly politically awakened, charges into a rant. You people are screwed, he says. “You’re living in a dream.” Bush let Al Qaeda escape, he tells them, and then made us invade some other country? Someone at the table tells him that if he really cares, he should join up. A.J. responds: “It’s more noble than watching these jackoff fantasies on TV of how we’re kicking their ass. It’s like: America.” Again, he’s interrupted: What in the world does he mean? He explains: “This is still where people come to make it. It’s a beautiful idea. And then what do they get? Bling? And come-ons for [expletive] they don’t need and can’t afford?”
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However inartfully, A.J. was gesturing at something that would have been hard for someone his age to see at the time, which is that the ’00s were a sort of fever dream, a tragic farce built on cheap money and propaganda.
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if people still see a monster in Tony, then the monster is themselves: a twisted reflection of a generation whose awakening to the structures that control them came in tandem with a growing aversion to personal accountability in the face of these systems.
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. The “leftist ‘Sopranos’ fan” is now such a well-known type that it is rounding the corner to being an object of scorn and mockery online.
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One oddity that can’t be ignored in this “Sopranos” resurgence is that, somewhat atypically for a TV fandom, there is an openly left-wing subcurrent within it