Letters to the Editor
P@rick
Published Letters: 5
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Sociopaths
[Read the article: "Sopranos" wrap-up: "Is this all there is?"]
[Read more letters about this article: Here]While I agree with Ms. Havrilesky's observation that Tony and Christopher (and many other characters on "The Sopranos") are ruthless killers who represent "everything ugly about the ugly American," I still feel more pity than anger toward them. These characters, who have just as many personal and existential issues as people in less despicable professions, are stuck in an environment that values balls over emotions. Sunday night's episode in particular seemed focused on this problem. I believe Christopher shot J.T. after realizing he is, as J.T. shouted moments before his death, "in the Mafia" -- a world that will ultimately provide him with little support, and no sympathy.
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The Narrative Power of Mind-Altering Substances
[Read the article: "Sopranos" wrap-up: Uncomfortably numb]
[Read more letters about this article: Here]Tony's "consciousness expanding" peyote trip reminded me of those periodic episodes of "Six Feet Under" where Nate or Ruth Fisher would accidentally swallow ecstasy and subsequently embark on a vision quest. While I would never promote the use of drugs, their presence in these shows allows deeper insight into Nate's or Tony's minds than their sober selves would never expose.
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Lost
[Read the article: I Like to Watch]
[Read more letters about this article: Here]Excluding for a moment that "Lost," after "The Sopranos" ends, will be the most original, engrossing, and well-written drama on television, the idea that -- whether you like it or not -- it's even in the same universe of banality as "24," "CSI," and the half-dozen other network crime shows that have all the intellectual depth of one of those "choose your own adventure" books is insane.
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The tackiness of "The Sopranos"
[Read the article: I Like to Watch]
[Read more letters about this article: Here]Dr. Kupferberg's water-bottle sash seemed like another example of "The Sopranos"'s continuing fascination with tackiness. Remember that classy oil painting of Tony, dressed like an 18th-century general, on a horse? Or how about Christopher's elegantly framed poster of his direct-to-DVD slasher film, "Cleaver?" Or that odd mural of musical-notes that hung in Carmela's living room for so long? And how could we forget -- no matter how hard we try -- the image of Janice's cringe-worthy Rolling Stones' tongue and lip tattoo just above her left breast? These coarse items represent the crassness of Tony's family and colleagues, whose ill-gotten wealth is surpassed only by their shallowness. And Dr. Kupferberg, while not a criminal (or married to one), is clearly meant to represent a similar lack of intelligence or sympathy.
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What if?
[Read the article: I Like to Watch]
[Read more letters about this article: Here]Heather,
It breaks my heart that your thoughts regarding the "Lost" finale are so contrary to mine. That's how good a critic you are.
I think the flash-forward opened far more doors than it closed. Are Jack and Kate the only two who made it off the island? If the boat wasn't Penny's and Ben was right, than who is on that aircraft carrier? Most importantly, though, is the flash-forward an unavoidable destiny for Jack? One of "Lost"s strongest themes has always been fate. Is Jack's fate as set-in-stone as Charlie's, or will he have the chance to make that flash-forward just a "what if?"