Also, most of which was anticipated, at least, by me: Tony Soprano moving back in with Carmela — meeting approval with Carmela and her asking price — and Little Carmine (“We’re in a fuckin’ stagmire!”) rolling over to Johnny Sack, and, Christofah back on the juice. Paulie Walnuts never looked so reliable, by comparison, as he did in last night’s Episode and Silvio never looked so bleak, or acted quite so badly, at least for all of us to see.
The high point last night was seeing Tony S. refuse to reject Sack’s ‘undignification.’ About that, Tony B. loitering carelessly on the farm in upstate New York, remains on the wire. Tony S. needs that stone mason to appear, now, more than ever.
One wild card (as if there aren’t others) is that Little Carmine caved to Johnny Sack inorder to eliminate Sack & Crew — let Tony S. and Co. handle Sack. In which case, Little Carmine is playing with more marbles than most are giving him credit for. Perhaps. Maybe.
As I’ve written before, here and elsewhere, the best of this Series are the Episodes directed by Tim Van Patten (as was this latest Episode 64) and written by either Terence Winter (as also was Episode 64), or, written by Robin Green and Mitchell Burgess.
But, to my view and read, Tim Van Patten and Terence Winter really do this Series astoundingly well. Last night’s chaotic and tough Episode 64, despite the inevitable and anticipated gloomy developments involved, was, again, among the best work I’ve ever seen on television, HBO or otherwise. I’ve exhausted my vocabulary of adjectives, superlatives and exploratory questions, and this Series is why.