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Fourteen have been vanquished: The X-Files and Lost. Buffy the Vampire Slayer. Twin Peaks and Mad Men. Every ranked year-end list, every academic canon, every TomatoMeter aggregate and every bar-stool argument about the obvious superiority of This vs. That is likewise guilty. Followed to its logical or demented end, this line of thinking makes it almost impossible to compare anything with anything, except maybe identical consumer goods that all rolled off the same assembly line.
But, luckily, none of the shows highlighted in our Drama Derby fit that description. They all defy the musty stereotype of TV as a factory churning out barely distinguishable hunks of junk intended to keep viewers half-interested between ad breaks.
They are all, to varying degrees, the work of artists, or at least brilliant entertainers. They left footprints and fingerprints on the medium. If criticism is, as H. The Sopranos and The Wire have little in common besides frank language and violence; a fascination with crime; a consistently high level of acting, writing and filmmaking; and an HBO pedigree.
Forget apples and oranges: This is more like the Metropolitan Museum of Art vs. But what the hell. A great show, like a great book or movie or song, transforms its influences, or at least adds something distinctive. Both The Wire and The Sopranos exceeded this goal early in their runs.
It affects the characters within the context of the series. The influence of sixties and seventies American literary fiction was just as strong. In subsequent seasons, it added subplots about other city institutions.
News reports and recent history were equally big and intertwined influences. In addition to his core group of writers, Simon brought in some high-profile novelists from the world of crime fiction, including Dennis Lehane, George Pelecanos, and Richard Price.
Each of these shows transformed its inspirations to the point where they seemed new, unrecognizable, subsumed within the story, or reinvented. Philosophical sophistication Judged purely as evaluations of the human animal, neither The Sopranos nor The Wire is a heartening show.
Both depict America, indeed the industrialized West, as aging empires in a state of decline, perhaps slow suicide.
Tony tells his shrink Dr. The overall take is pretty despairing. Maverick reformers are met with as much resistance on The Wire as private rebels on The Sopranos: Both The Sopranos and The Wire end on purgatorial notes.
The former envisions Tony, his compulsively enabling wife Carmela, and their kids Meadow and A. Some get what they want through cleverness or ruthlessness, others through corruption or exhausted compromise.
It took him five seasons to get clean, but he finally did it. Society itself has a much harder time giving up the junk. Characterization If The Wire and The Sopranos had no other virtues but rich characterization, they still might have made it into this contest and endured for one or more rounds.List of Locations.
This page lists all Sopranos filing locations that are currently known. If you want to know more about a certain location, click the link to see the details of that location. The Bald Soprano, a play unlike anything that has been written before it.
Written by a man who lived during a time where theatre was a legitimate and sacred art form. However this trend of upstanding and dare I say, classy productions were making way for more avant-garde pieces.
Samuel Beckett's. Howards End. Roger Ebert on James Ivory's "Howards End". Ballad of Narayama "The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty.
Aug 31, · Tony's very last visit with the shrink. i do not own anything.
The Sopranos Creator David Chase analyzes the show's final scene in a shot-by-shot analysis that provides insight into the final moments. A new notion of literature unfolds by way of MADDness and psychoanalysis in the Sopranos.. “Down Neck” is one episode of a television series whose “novelistic” literary format that is “akin to Shakespeare” is often owed to the “ambiguous morality” of the main protagonist as well as the narrative more broadly.