Army of One

Another year, another finale, and just like its predecessors, Season 3's epilogue shows no signs of pandering to expectations: it's an adult, tragic tale of retribution, lost hope and much more.

First things first: the fate of Jackie Jr. With his safety completely linked to Ralphie's decision, the poor kid's hours are numbered, and ten minutes into the episode Vito Spatafore (Joseph R. Gannascoli) sticks a bullet in his brains. The murder causes great sorrow, especially when it comes to Meadow, who starts drinking and being rude to everyone. As if that weren't enough, Tony also has to deal with his other heir: A.J. has been expelled from school for stealing a test, and is punished by being sent to a military academy.

Whereas the previous series ended with a major death (Pussy), Army of One gets that detail out of the way immediately, so that it can focus on the effect Jackie's premature demise has on those surrounding him: the funniest scene is arguably the one where Jackie's sister proves a lot smarter than the grown-ups by not believing the drug deal story and insisting her brother was clipped by "some fat f*ck in see-through socks" (pretty much Vito's profile). There is also (unintentional) humor in Anthony's face-to-face with Major Zwingli (Tobin "Jigsaw" Bell), head of the military academy, although the laughs actually make the scene more tense.

The show's biggest victory, however, lies in the perfectly structured final scene: for once (barring the series finale) it looks like one of the seasons ends on a cheerier note than usual (without giving away anything: Dominic Chianese's singing voice is beautiful), while in reality the almost lyrical atmosphere conceals a heap of silent despair. Bravo.

Jackie Jr hides out in the housing projects whilst Tony and Carmela clash over AJ.

This is a powerful and reflective episode with some exceptionally good performances.

It cleverly focuses on the situation involving Jackie and how it impacts Tony's attitude towards his own son. The varying outlooks on how AJ should be brought up are contrasted and portrayed in a number of emotive clashes involving Tony, Carmela, and AJ. These are intelligently written and wonderfully performed.

There is plenty of dark humour and irony. The scenes at Hudson, particularly those with Tobin Bell, are superb. Little touches such as when he talks about discipline, substance abuse and simultaneously lights up a cigarette are excellent.

Another well presented theme is the duality and hypocrisy of people who present a loving, communal face within society but in reality are cold and self serving. This is evident in one great scene involving Meadow that is incredibly well made and superbly acted by Jamie-Lynn Sigler.

Some of the issues are laid on quite thick, but it doesn't take you out of the narrative.

Season 3 is a bleak and compelling experience to put it mildly. We have seen a brutal rape, cold blooded murders, continual lies, parents pushing their children away, scenes of great ambiguity and bland "regularness". In the midst of it have been little rays of hope from characters who see the world for what it is make sound observations and strong ethical decisions. This episode just caps off a fairly cynical take on life by the writers.

For me it's a 9.5/10 but I round upwards.

"Army of One," the thirteenth episode and season finale of The Sopranos Season 3, directed by John Patterson and written by David Chase and Lawrence Konner, serves as a powerful culmination of season-long themes, blending profound psychological insight, narrative intensity, and cultural reflection. The episode navigates the turbulent aftermath of Jackie Aprile Jr.'s violent demise while exploring the complex emotional landscapes of power, family obligation, and personal identity amidst the mafia's harsh realities.

The episode focuses heavily on the reverberations of Jackie Jr.'s death, examining the impact on his family, Tony Soprano, and the wider crew. Tony's cold pragmatism contrasts with Meadow's emotional outburst, as family members confront the brutal consequences of their lifestyles. AJ's sudden panic attack during the funeral signals the inherited pressures and psychological fallout within the Soprano family, prompting Tony to assert a tough-love approach to parenting. Parallel to these family dynamics is the FBI's increased pressure on the crew, highlighted by a raid during the Super Bowl weekend that results in various arrests, including Christopher and Silvio, while Paulie narrowly escapes. The episode's closing features a highly symbolic and experimental sequence that juxtaposes Uncle Junior's singing with the voices of foreign singers, underscoring themes of cultural insularity and existential contemplation.

John Patterson's direction maintains a commanding balance between intimate family moments and the tense realities of criminal life. His visual storytelling leverages stark lighting contrasts and careful framing to capture the shifting moods, from somber funerals and domestic vulnerability to sudden bursts of violence and chaos. Patterson's pacing is deliberate, enhancing the episode's emotional rhythms and amplifying suspense without sacrificing thematic depth. The symbolic final scene exemplifies the episode's artistic ambition, blending diegetic and non-diegetic sound in a moment of cultural and existential uncertainty.

Cinematographically, the episode employs a muted and somber color palette consistent with the episode's mood, utilizing shadow and darkness to emphasize the themes of loss and moral ambiguity. The editing skillfully weaves between multiple narrative threads, sustaining clarity and emotional engagement. Sound design is integral to the episode's atmosphere, with the contrasting sounds of mourning, celebration, and the uncanny final musical sequence highlighting the complex emotional and cultural tapestry.

The performances are exemplary, with James Gandolfini reprising his role as Tony with a potent mix of authority, grief, and paternal concern. Jamie-Lynn Sigler's Meadow provides a powerful counterpoint through her raw emotional response, while Robert Iler's portrayal of AJ's vulnerability adds depth to the familial narrative. The supporting cast enhances the layered storytelling through nuanced portrayals of sorrow, frustration, and conflicted loyalties.

Thematically, "Army of One" interrogates cycles of violence and the burdens of legacy within the Soprano family and mafia culture. It addresses the paradoxes of power and vulnerability, illustrating how personal loss intertwines with social obligation and survival. The episode also explores issues of cultural identity and existential introspection, particularly through its ambiguous, multi-layered ending that invites various interpretations about fate, community, and the erosion of traditional boundaries.

The episode reflects on Italian-American heritage and the insular codes of organized crime, juxtaposed against the broader societal forces embodied by the diverse voices in the closing sequence. This contrast serves as a critique of isolated subcultures and a meditation on the challenges of change and adaptation in an evolving social landscape.

While the episode's symbolic complexity and emotionally intense focus might challenge viewers seeking straightforward resolution, these elements elevate its status as a sophisticated and memorable televisual work. "Army of One" exemplifies The Sopranos' commitment to blending genre storytelling with rich thematic and cultural inquiry.

The last 3 episodes of Sopranos S3 are the peak of TV

I'm not sure if the death between seasons 2 and 3 of actress Marchand caused a drastic rewrite of season 3 but, if it did then it doesn't show as season 3 delivers another splendid thirteen hours of television that is as consistently riveting as the two seasons that have gone before. We open with an episode mostly focusing on the FBI putting a bug into Tony's house in an attempt to bring down the family in a thread that remains in the background while we return to the normal day-to-day pressure of the business family and the family family.

Yet again this makes each episode to be engaging and satisfying. There are overblown moments, funny moments, dramatic moments, revealing moments and reflective moments but the key to the success of the show is that they all flow together into one overall narrative – season 3 did not have scenes or moments that made me consider fast-forwarding them, just the opposite. During the season I didn't think it would totally be that way. Ralphie being dropped in out of nowhere and positioned the way he was with the character he had put me in mind too easily of Richie from the previous season. Likewise Gloria being introduced into the story seemed to be too obvious as to where it was going – giving Tony more drama from a part of his life that had been done before. To a lesser extent Jackie Jr also seemed to be a thread that had been covered in season 2 with a young man trying to break his way into the organisation by attacking it and getting a name; this was not helped either by how the young man in this season also relates to the "disruptive Capo" character in this season. These seemed like problems at the time but, as these characters and threads settled in, while they may have had a familiar feel, they were all made as engaging and intelligent as I would have expected and they were certainly not just mirror images of what had gone before.

I focus on these things because of them sticking in my mind but the season has a lot going on and in particular makes good use of the wide array of characters that it now has. Tony is still the focal point of course but more and more his family and associates are as well developed and rounded as he is as a character. Meadow and AJ are fuller characters than before while Paulie, Silivio, Christopher and Bobby are all reliable for solid turns whenever they are on the screen. Carmela and Dr Melfi both have improving characters and the threads led by them are as engaging as they main thrust. The show uses all these characters well and delivers many revealing moments without making a big show of them – even though we have plenty of violent, bloody moments which makes for easy hooks the best scenes are often the more subtle and subdued.

The cast continue to benefit from the strong material. Gandolfini is tremendously at the mercy of his own character, his delivery is spot on and he is a great central presence. Falco plays her more tragic figure equally well. At times her material lacks the variety given to her on screen husband but she is still very good. Imperioli adds to the Greek tragedy feel to the show but in this season his character is a bit too simple and he is not given as much to do. I'm not a massive fan of Turturro although it is mostly because I don't like Janice that much – her turn is good though. Chianese's Junior is reliable and does well with each moment he is given. Schirripa's Bobby steps up to join Sirico and Zandt as great characters. Iler and Sigler both do better than previous seasons although Iler doesn't seem totally up to at some points. Cerbone, Sciorra and Pantoliano all do well by joining the cast for this season.

Season 3 gave me a few niggling problems in regards some of the threads echoing earlier threads but these turned out not to be a problem. This left season 3 to be yet another strong, engaging and satisfying season in this amazingly consistent series. The hype around it may put some people off but pure and simple this is just a well-written and engaging show with lots of characters and threads that all work equally well to make a great whole.