Pax Soprana (S01E06)
Airdate: February 14th 1999
Written by: Frank Renzulli
Directed by: Alan Taylor
Running Time: 50 minutes
Whenever a television series produces a high-quality episode like College, subsequent episodes inevitably face the challenge of comparison. This phenomenon is particularly evident in Pax Soprana, which, while being a competent episode of The Sopranos in its own right, suffers from the weight of its predecessor's excellence. Pax Soprana returns to the established formula of exploring Tony Soprano's dual struggles with personal and professional issues, yet it lacks the innovative spark that made College so memorable.
A significant personal issue for Tony in this episode is his apparent impotence, which becomes a focal point during his encounter with Oksana, poisoning their relationship. As Tony grapples with this vulnerability, he finds himself experiencing erotic dreams about Dr. Melfi, leading him to believe he is genuinely in love with her. During a therapy session, he confesses these feelings, prompting Dr. Melfi to respond with professionalism. She explains that his fantasies signify progress in his therapeutic journey but also chastises him for stealing her car for repairs. Despite this boundary violation, she continues to provide him with therapy.
Simultaneously, Tony's marriage faces turbulence as Carmela feels neglected during their anniversary outing in New York City. Her resentment towards Tony's apparent indifference is palpable, and she confides in Father Phil about her fears regarding Dr. Melfi potentially being the object of Tony's genuine affection. This revelation leads Carmela to contemplate divorce, reflecting her deep-seated insecurities about their relationship. However, Father Phil advises her against such drastic measures, aligning his counsel with Catholic teachings on marriage and forgiveness. Ultimately, Carmela reconciles her feelings towards both Tony and his therapy sessions.
On the professional front, Tony confronts challenges stemming from the new regime under Junior Soprano, who is still learning the ropes of being the boss. Junior's inexperience leads to significant blunders, such as ordering the execution of drug dealer Rusty Irish (played by Christopher Quinn) for selling a lethal designer drug to a 14-year old grandson of his favourite tailor Mr. Kapri (played by Salem Ludwig). Junior made this decision apparently unaware that Rusty was “top earner” for Larry “Boy” Barese (played by Tony Darrow), one of his own capos. Tony's old associate, Hesh Radkin, is taxed by the new regime. Tony seeks guidance from Johnny Sack (played by Vince Curatola), the underboss of the Lupertazzi crime family from New York City, and arranges a meeting where Junior agrees to scale back the tax. Tony then advises Junior to share some of the tax with his capos to win their support and maintain harmony within the family.
The episode concludes with Junior celebrating his ascension to boss at a banquet, blissfully unaware that an FBI undercover agent is present among the staff, equipped with a hidden camera poised to document the event. This moment foreshadows future conflicts as law enforcement begins to encroach upon the activities of the Di Meo family.
While Pax Soprana is well-acted and competently written, it ultimately lacks the focus that characterises the series' standout episodes. Certain scenes, particularly those depicting Tony's fantasies about Dr. Melfi, feel predictable and repetitive rather than innovative or engaging. In contrast, one of the most striking moments—the darkly humorous public execution of Rusty Irish—stands out for its unexpected blend of violence and comedy.
Notably, the episode builds on Tony's fascination with Roman history and his attempts to apply its lessons to his criminal organization. Additionally, Pax Soprana introduces the forces stronger than the Di Meo family – their sponsors and superiors from the Five Families of New York, represented by Johnny Sack, and the FBI, whose actions will play a significant role in future episodes of the show.
While Pax Soprana may not reach the heights of best episodes, it still offers valuable insights into Tony Soprano’s multifaceted character and the intricate web of relationships surrounding him. The episode explores themes of impotence—both literal and metaphorical—within personal and professional spheres while laying groundwork for future narrative developments involving external pressures from law enforcement and rival factions within organised crime.
RATING: 6/10 (++)
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