There was a time when identified the Tom Petty ballad “American Girl� with that scene in “Silence of the Lambs� where Buffalo Bill kidnaps Catherine Martin.
But, from now on, I’ll associate it with the image of Edie Falco’s Carmela Soprano professing her weepy, tortured love for her husband as he lies in his hospital bed.
Those of you who saw the season opener of the mob drama “The Sopranos� this week know it ended with Tony Soprano getting shot by his Alzheimer-addled Uncle Junior.
I’ve seen the next three episodes and, though I won’t give away too much, suffice it to say that the shooting has serious repercussions for all the show’s characters.
No, Tony doesn’t die (that’s not exactly a spoiler – it is his show, after all), but he doesn’t exactly bounce right back.
The episodes following the premiere deal a lot with the topic of identity, a recurring theme throughout the show. Tony is, of course, firmly entrenched in middle age and, like most men at that time of life, he wonders where he’s going.
Surrounding him like bookends are his growing son, A.J., and the increasingly ill Junior. Tony knows he can’t go back, but he fears what the future will bring.
That’s why spirituality also pops up a lot in the early episodes. White lights, crucifixes, monks, evangelicals, proverbs – they all make appearances, particularly in yet another of the show’s jarring dream sequences.
Yes, once again we’re treated to several minutes of symbolism-laden dreams, meant to highlight Tony’s emotional confusion. Unlike last season’s bizarre extended dream sequences, there’s a logical explanation for the fantasies this time around.
But still, enough already. The show’s always better when it veers away from fantasy and focuses on the here and now of these fascinating characters. Witness Carmela’s Tom Petty-inspired breakdown, one of the series’ most devastating moments.
Tony’s not the only one struggling with identity. Nearly everyone faces confusion about who he or she is. That includes Silvio, thrust temporarily into a position of authority following Tony’s injury, and Paulie, who makes a shocking discovery about his own background.
In way, these characters are growing up: deciding what kind of people they want to be, and whether these goals are attainable.
Of course, the show’s nothing without its trademark wit, and this season has it in spades (witness Bobby’s hilarious attempt to help a rapper win street cred). So far, the sixth season is shaping up well.
I look forward to seeing where it’s all headed. And, even after six seasons, I look forward to discovering more about who these characters are.