‘Sopranos’ heads for exit with quiet power

“Sopranos” creator David Chase has consistently layered meaning and metaphor about family, masculinity, loyalty, and other themes on top of an engaging story about the mob. While most appreciate the combination of the two — that’s what leads critics and others to declare this the best television drama ever produced — some just want more violence, more sex, and more of what viewers would get if this show was on network TV.

While networks have followed HBO’s lead and developed quality dramas that have taken network television to new levels, few have succeeded in creating a drama that has reached the level of “The Sopranos.” Ironically, before HBO bought it, the show was initially rejected by the networks, where it would have ended up a very different series, if only because of the FCC’s content restrictions.

Network dramas tend to combine artful cinematography with stories that suggest depth but are usually rather hollow. As a result, they’re far more accessible, although the entertainment they offer doesn’t burrow deep within as “The Sopranos” tends to do, lingering long after an episode concludes.

Without being beholden to ratings, HBO can avoid pandering to the lowest common denominator while trying to craft televised art. “The Sopranos” uses its story to wrestle with big ideas, it doesn’t just insert ideas into a story.

As “The Sopranos” winds down and adopts a more leisurely pace, the tension has, in fact, been ratcheting upwards. Tony and Carmela’s always-precarious relationship has visible cracks. Phil Leotardo, the newly appointed New York boss, is desperate to prove himself, probably by challenging Tony. A.J. Soprano is moving slowly down the path his father once took. Tony is still not thrilled that Christopher used him as an unflattering model in his slasher film. Uncle Junior is still losing his mind, but is desperate to regain his former stature. And Dr. Melfi is finally challenging Tony to leave therapy unless he’s going to truly engage in self-improvement.

These loose ends may wrap up in the remaining five episodes. But like the forgotten Russian who escaped Paulie Walnuts and Christopher in the frequently cited “Pine Barrens” episode from season three, most probably will not.

That’s the way it should be, because anything less — or more, actually — would be a betrayal of what “The Sopranos” has established so far. And as the show has demonstrated over the past 81 episodes, betrayal is not something that leads to a happy ending.

Andy Dehnart is a writer and teacher who publishes reality blurred, a daily summary of reality TV news.

MORE FROM SOPRANOS

‘Sopranos’ star: ‘No idea’ what ending signified

‘Sopranos’ star: ‘No idea’ what ending signified Tony Soprano is dead theory gains credence Test Pattern: ‘Sopranos’ questions ‘Sopranos’ ratings beat most network shows ‘Sopranos’ creator says finale isn’t movie setup It's fitting that ‘Sopranos’ won't give up answers ‘Sopranos’ portrait done with love, not blood Debate rages over ’Sopranos’ existential ending Viewers still arguing over ‘Sopranos’ ending Journey members thrilled with ‘Sopranos’   Add Sopranos headlines to your news reader: