HBO’s The Sopranos recently marked its 25th anniversary, prompting renewed appreciation for the groundbreaking series that aired from 1999 to 2007. The show experienced a resurgence during the pandemic era, captivating both new viewers and longtime fans eager for another hit of gabagool. After numerous rewatches of The Sopranos, a compelling perspective emerges: Dr. Melfi, portrayed by Lorraine Bracco, functions as an avatar for the audience within the narrative.
It’s become a somewhat common sentiment among some Sopranos viewers to admit skipping Dr. Melfi’s therapy sessions. However, dismissing these scenes is a critical misjudgment. This is reminiscent of The Wire enthusiasts who bypass Season 2, deeming the docks storyline uninteresting, despite its introduction of pivotal characters like Frank Sobotka and The Greek. Similarly, some Breaking Bad fans infamously express more animosity towards Skyler White than towards a Nazi character responsible for heinous acts. The therapy sessions in The Sopranos are indispensable, a view echoed by key figures associated with the show.
“I think those scenes made the show,” stated the late James Gandolfini, in a 2004 interview, when discussing the scenes with Dr. Melfi. “They were kind of like the ancient Greek chorus, which allowed the audience to experience what the character was experiencing. I think these scenes let you into Tony’s head, bringing him a little closer to the audience.”
This observation suggests a deeper reason for some viewers’ lukewarm reception to Dr. Melfi: she embodies the audience, and the audience embodies her. Her relationship with Tony Soprano mirrors the audience’s own engagement with him. Dr. Melfi’s initial encounter with Tony in the series’ opening scene is also the audience’s introduction to him. She discerns his dishonesty when he claims, “[We had coffee],” recognizing him as a mobster, mirroring the audience’s pre-existing understanding of the show’s premise. As Season 1 culminates in Tony’s escalating conflict with Uncle Junior, Dr. Melfi is compelled to go into hiding. Concurrently, her therapy sessions with Tony are suspended, mirroring the audience’s separation from Tony during the show’s hiatus.
As the seasons unfold, the therapy sessions become the primary vehicle for understanding Tony’s inner world. As Tony wryly remarks about psychiatry, “Apparently what you’re feelin’ is not what you’re feelin’, and what you’re not feelin’ is your real agenda.” It’s plausible that creator David Chase’s underlying intention with these therapy scenes, drawing from his personal experiences with therapy related to his mother, is to channel commentary on the show’s relationship with its viewership. Dr. Melfi, a successful professional, represents the demographic likely to subscribe to HBO in the early 2000s.
In a moment of self-awareness, Tony points out Dr. Melfi’s fascination with him, noting that most professionals would avoid someone like him, unlike Melfi. Similar to her, the audience is drawn to the voyeuristic glimpse into Tony’s life. During a session with her own therapist and colleague, Dr. Elliot Kupferberg, Dr. Melfi openly admits to being both captivated and repulsed by what she learns from Tony. Again, she articulates the audience’s dual reaction. The Sopranos is undeniably captivating, yet it presents disturbing scenes, such as the brutal murder of a stripper or the tragic fate of beloved characters. While Kupferberg, often seen with his oversized water bottle, isn’t a fan favorite, his initial skepticism and subsequent curiosity about Tony parallel the reaction of viewers’ acquaintances who were aware of the show’s cultural impact without actually watching it.
Dr. Melfi’s familial relationships further enrich the show’s meta-commentary. Her former husband, Richard, voices criticisms about the Italian-American stereotypes perpetuated by figures like Tony Soprano. Richard’s perspective mirrors the real-world backlash from some Italian-American groups in the early 2000s who felt misrepresented by the show’s portrayal. Conversely, Dr. Melfi’s son, Jason—with his Meadow-esque sarcasm—embodies the show’s defenders, representing a younger generation more accepting of the show’s content.
In another scene featuring Jason, Dr. Melfi displays an outburst at a restaurant due to a smoker, mirroring Tony’s aggressive confrontations with restaurant patrons. James Gandolfini’s compelling portrayal of Tony has a pervasive influence on viewers. Fans of The Sopranos often find themselves echoing Tony’s mannerisms in everyday life, whether it’s craving cold cuts from the fridge, lounging in a bathrobe, or reacting strongly to minor inconveniences.
The most disturbing storyline involving Dr. Melfi unfolds in the Season 3 episode “Employee of the Month,” where she is violently raped. In subsequent sessions with Kupferberg, after her rapist evades legal consequences, Dr. Melfi contemplates seeking retribution through Tony. This is a pivotal moment for Dr. Melfi’s character: the audience is tempted to endorse her seeking extralegal justice. This reflects the audience’s own vicarious desire to have a “Tony” figure in their lives to resolve injustices.
While speaking from a personal viewpoint, the allure of having someone like Tony intervene on behalf of loved ones who have been wronged is undeniable, even if it’s a fleeting fantasy. However, the reality is that most viewers are more akin to Melfi’s cautious ex-husband, who lacks Tony’s capacity for violence and lives within societal norms. The show also doesn’t shy away from depicting Tony’s intimidating behavior towards Dr. Melfi, highlighting the genuine fear and danger inherent in associating with someone like him.
The interpretation of Dr. Melfi as the audience surrogate remains consistent through to the show’s conclusion. After facing criticism from her colleagues for continuing to treat a criminal sociopath, she abruptly terminates her therapy sessions with Tony in the penultimate episode. This abrupt ending mirrors the divisive and sudden conclusion of the series itself, which left many viewers questioning the lack of definitive closure.
In their final session, Dr. Melfi expresses impatience with Tony as he revisits familiar themes. Her weariness mirrors a hypothetical long-term viewer who has grown tired of the show’s cyclical patterns: recurring storylines involving mistresses, enemies, and family conflicts. The ending of therapy sessions coincides with the opportune moment to conclude the series, suggesting a parallel between Dr. Melfi’s professional fatigue and the narrative arc of The Sopranos.
While The Sopranos legacy endures, the era of complex, nuanced television narratives it helped usher in may be waning. As David Chase recently lamented, contemporary audiences have diminished attention spans, hindering the creation of intricate, thought-provoking content that demands focus. The contemporary audience avatar might no longer be an attentive therapist but rather someone passively consuming content while distracted by their phone.
Despite The Sopranos‘ widespread acclaim, the meta-commentary embedded within Dr. Melfi’s character may be lost on some viewers. Many are likely more captivated by the show’s overt drama and criminal elements. They might view the therapy scenes with the same ambivalence Tony expresses, comparing them to a mundane necessity. However, like Dr. Melfi, a more insightful perspective might view these sessions as essential and transformative, akin to a necessary, if sometimes challenging, process of creation or revelation.
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