The Sopranos (TV Series) College (1999) User Reviews

"One thing about us wiseguys, the hustle never ends."

[MaxBorg89 · 10/10 · 24 February 2008]

College is arguably the best episode of The Sopranos' first season, and certainly among the ten best of the entire series. Marking a departure from the show's traditional story structure, it ends up being more fundamental in defining Tony's personality than a lifetime of therapy sessions with Dr. Melfi.

Why is this episode a departure? Simply because only a small part of it takes place in New Jersey - most of the show sees Tony travel to Maine with Meadow so that she can check out colleges. On the way, she openly confronts him about his activities, an event that upsets the depressed gangster considerably. It doesn't take long before he gets his energy back, though: while his daughter visits a school, he sees a man he believes to be Fabian "Febby" Petrulio, a former mafioso who entered the Witness Protection Program after becoming an informant. Since this guy put several valuable men in prison, Tony decides to seek long awaited revenge. His wife Carmela, on the other hand, sets out to find (spiritual) comfort in the arms of Father Phil (Paul Schulze) after discovering Dr. Melfi is a woman.

College is a great piece of television because it sets the tone for things to come: the seeds of the crisis between Tony and Carmela, a fundamental part of the show's later seasons, are planted here (and Edie Falco uses her limited amount of scenes admirably), and the fat mobster's relationship with his kids, already in a rough spot after the events of the previous episode, gets to new, unsettling levels. But it's the protagonist's visceral, brutal attitude with "rats" that truly initiates one of the serial's most shocking trends: they might even be his best friends, it doesn't matter - Tony Soprano never forgives snitches.

Ironically, HBO bosses initially objected to the idea of Tony murdering people in cold blood, claiming it would make him unlikable to audiences. David Chase argued that these characters have their own code of ethics, which requires extreme methods at times. His point is evident in James Gandolfini's expression when the payoff arrives: there's no pleasure in his eyes, just the family's honor being vindicated in a brief, violent scene that reminds of Scorsese in his prime. Maybe that's why one of Empire magazine's splendid definitions of the show was "the finest gangster epic never to star Robert de Niro". Then again, why bother? Gandolfini is just as mesmerizing.

The Sopranos rewatch - "College"

[jdjc001 · 10/10 · 14 March 2021]

There's not much I can say about this episode that hasn't already been said better by someone else. Every aspect of the episode - acting, writing, camerawork, scenery - come together in a perfect concoction. If "Denial, Anger, Acceptance" ascended the show into greatness territory, then "College" ascends the show into masterpiece territory. Even if this had been the one amazing episode that they had ever made for the show, it still would go down in television history. In fact, this episode COULD potentially stand alone as an excellent short film noir-as-character study. The impact of this episode has been somewhat diminished over time as we are spoiled by villainous antiheroes on television nowadays, but one must realise that back in 1999, to make your protagonist kill a man in cold blood was a tremendous leap of faith within the rather conservative television standards of the time.

If you're not hooked on The Sopranos after watching this episode, then this show is probably just not for you.

"It takes two to Tango"

[edantheman · 10/10 · 11 September 2010]

Being the most critically-acclaimed of the show's run, I approach my review with caution but realise it is an episode of firsts. This is the first episode in which the Scorsesian theme of Roman Catholic redemption was tapped upon, the first time we witnessed Tony's pure and unhinged hatred of snitches but also the first time we saw how much his daughter mattered to him. The episode also presents an oddity in terms of 'The Sopranos' format, as it's order in the season is essentially irrelevant: it contains no allusions to key events in the story arcs of the first season, before it's presentation.

The A story follows Tony and his daughter's tour of New England's historic colleges in search of a suitable one for Meadow, while Tony finds a 'rat' who now busies himself making cheese (Chaaase!) and volunteering as a fireman in some rural Maine town. Meanwhile, the B story concerns a flu-ridden Carmela's search for spiritual cleansing when Father Phil the 'schmora' pays a visit on a stormy night. Up to this point we know they share a friendship from the Pilot episode, but not much more.

Both Carmela and Melfi seem to be down with the flu in this episode. However, Carmela seems to overcome the virus after truly confessing her sins for the first time in twenty years. "I have forsaken what is right... for what is easy", she tells Father Phil Intintola, before taking a supposedly challenging wafer and wine (Chase's cynicism towards religion apparent as ever). "Allowing evil into my home {because, for my children} I wanted a better life, better schools, this house, money in my hand..." she says as guilt creeps into Father Phil's eyes, knowing that he too has enjoyed the Ziti, the DVD players and the posh Chianti Tony's blood money pays for. By the end of the episode, all the adult characters have came down with some sort of sickness due to Tony's toxicity -be it Melfi with her unintentional complicity, Carmela usurping Tony's wealth for her extravagant lifestyle, or Father Intintola with his penchant for Emma Thompson on DVD.

In fact, the only adult who seems healthy and isn't Tony throughout, is the Rat who left the crew to live an honest life. "One thing about us wiseguys, the hustle never ends", Tony whispers into his ear as he garrotes him with the most intense hatred we've seen of him (unless you watched them back-to-front) so far. And because of this constant hustle, the ducks (his family) will only grow more and more distant as Tony sees. At Bowdoin College, Tony reads a Nathaniel Hawthorne quote while waiting for Meadow: "No man... can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true." An interesting lesson in the 'college of life'.

The most important episode in television history.

[lukeavery-09340 · 10/10 · 12 June 2022]

This episode created the television anti-hero. Without this episode, Walter White probably wouldn't exist. If you can only watch 1 Sopranos episode, I would recommend this one.

One Of The Very Best

[SupermanDude90 · 9/10 · 17 June 2007]

College is without a doubt one of the best sopranos episodes in it's 6 series run.

It's always great to see characters out of there comfort zone, and here we see tony roaming the country with Meadow checking out college's, while Carmela is at home having a sleep over with Father Phil Intintola, which results in some hilarious scenes of sexual desperation from Carmela and Father Phil.

*Spoiler* The end of this episode has by far one of the great Tony moments, and it shows just how heartless he can be. While at a bar with meadow,Tony spots a snitch who betrayed the The DiMeo family years back. Tony hunts him down and shows no mercy by strangling him to death with a wire, a very gripping scene.

9/10

Murder Inc.

[ctomvelu-1 · 8/10 · 12 July 2008]

While Tony is driving Meadow to college interviews, he spots an old snitch who has been in hiding under a new name. Meadow is waking up to what her father does for a living, and Tony has to work around her suspicions as he hunts down the rat, with a little help from Christopher. Back on the home front, Carmela sort of seduces her priest, who ends up spending the night at her house. She also takes a call from Dr. Melfi. Dr. Jennifer Melfi. As in, a woman shrink. Something Tony has carefully avoided telling Carm. The final scene between Tony and Carmela is priceless. A brilliant episode. We go from Tony-as-doting-father waiting patiently while Meadow is being interviewed to Tony-the-murderous maniac choking the life out of an adversary.

Goodmorning, Rat!

[and_mikkelsen · 10/10 · 2 February 2024]

This was the best episode up till this point! So many memorable scenes, great dialogue and an underlying sense of tension through most of the episode!

This episode sees Tony and Meadow spend a lot of time together, which gives us more insight to Tony's character and the relationship between the two! Some great subbtle characterdevelopment as Meadow has a good idea what Tony is doing for a living, but Tony wont admit.. and how does she use that information!

Tony looking for The Rat was very intense as we knew something was gonna happen but not when, how or where!

Overall we starts too see how Tony's work starts to effect his family life as well!

An amazing episode!

"What you guys do for twelve hours? Play 'Name That Pope'?"

[Hey_Sweden · 9/10 · 21 February 2021]

Tony and Meadow go on a college-scouting trip in New England during which she decides to ask him point blank if he is a part of the Mafia. He goes so far as to admit that some of his money is obtained illegally, and as they converse Meadow hopes that they will be more honest with each other. She even admits that she'd recently taken speed. Also during this trip, Tony spots a guy who may very well be a notorious rat, and spends every moment he can trying to verify the guys' identity so he can take him out. Meanwhile, back at home, Carmela receives a visit from nice-guy priest Father Phil (Paul Schulze), and she confesses to him that she's been expressing some deep regret about what her husband may be doing and the life she's chosen to lead.

A true standout episode among the first five, 'College' doesn't feature much in the way of violence. There is one showcase killing, but it's done with a garrotte, so not much blood is involved. No, 'College', written by James Manos Jr. & series creator David Chase, is about honesty in relationships, and the script is simply superb. All of the acting is excellent, especially from Mr. Gandolfini, Ms. Falco, Mr. Schulze, Ms. Sigler, and the effectively antsy Tony Ray Rossi as the snitch "Fred Peters", who is quick to notice interest in him and rightfully begins to fear for his life. Director Allen Coulter ("Hollywoodland") handles it all in style, and delivers a great suspense sequence late in the episode. The fact that no music score is used for this sequence makes it all the more effective. (This shows just how stealthy Tony can be, and it marked the first onscreen killing by this character during the series' run.)

Father Phil is notably portrayed in a realistic way. He clearly is attracted to Carmela, but in the end his faith and discipline prevent him from making a mistake.

In a memorable turn of events, Dr. Melfi becomes sick with the flu and calls the Soprano home to reschedule the next session. Well, Carmela, who takes the call, knew that Tony was seeing a therapist, but not that the doctor was female. This leads to more tension at the end of the episode.

Nine out of 10.

Am I in the what?

[snoozejonc · 10/10 · 6 February 2022]

Tony and Meadow tour different colleges whilst Carmela has a visit from Father Phil.

This is a much lauded episode and I find it difficult to disagree with any of the critical acclaim or positive reviews.

It has two very strong stories that intersect each other with perfect timing. Tony and Meadow on the road trip is not just an excellent, suspenseful piece of visual storytelling, but contains some of the best character development and dialogue for both characters. How much he loves his family is portrayed by the occasional show of vulnerability, but we also see how committed he is to the violent, destructive world of the Mafia.

Some at HBO had reservations about Tony's actions in this episode for fear of the audience being turned off. However, it is testament to the cleverness of the writing and likability of James Gandolfini when playing a murderous crime boss. Jamie-Lynn Sigler holds the stage well with her screen father.

Mrs Soprano and Father Phil's stormy night in contains powerful character moments for the former, plus some interesting observations on the latter. The scenes feel both cosy and deeply uncomfortable at the same time, whilst exploring her beliefs and hypocrisy.

Edie Falco gives the most complete performance in the episode, going through a phenomenal range of emotions. You feel her sadness, anger, frustration and she even makes you laugh. Her final exchange with Gandolfini when they finally share the screen is a classic scene.

Visually it has strong cinematography with great symbolism and is brilliantly edited.

I must confess this is about my fifth watch of 'College' and it is just as good as when I first saw it in 1999. I consider it one of my favourite episodes of television.

Note to Tony and Carmela - Don't kid yourselves

[AlsExGal · 9/10 · 7 June 2022]

This is not the only time we realize these two are kidding themselves but it is probably the first.

Tony is motoring around New England taking Meadow to various colleges so she can tour them and talk to school officials so that she can decide where she wants to apply. Carmela is home recovering from the flu, when her priest comes by, seemingly always looking for good food and a good movie on laserdisc, the premiere video format of the time.

During this trip Tony sees someone he thinks is a "rat" - somebody in the mob who twelve years before turned state witness and sent a bunch of his crew to jail and then went into witness protection. Would Tony jeopardize not only a trip that is supposed to be about his daughter but perhaps his daughter's life to whack the rat? Of course he would! And there is no doubt that if Tony loves anybody, that he loves his daughter.

Carmela becomes all weepy with the priest, confessing that she knows living off of Tony's life of crime is wrong but that she is attracted to what is easy versus what is good. She gets in these confessional moods several times over the life of the series, especially when she is facing some kind of crisis, but nothing ever changes. Over the years she talks to at least one other priest and a therapist, but in the end she continues down the same path.

I feel that this episode is underrated as it may feel like filler, but it is in fact quite revealing. And it is probably the only time in which Ronald Reagan's lips have served as a plot device.

"Are You In The Mafia?"

[JosephPezzuto · 8/10 · 28 October 2014]

"College" is the fifth episode of the first season of the HBO television drama series 'The Sopranos', directed by Allen Coulter and written by James Manos, Jr. and David Chase, the show's creator. The title refers to the fact that the entire episode revolves around Tony taking Meadow on a tour of colleges in Maine, but all were filmed in New Jersey. The series centers around Tony Soprano (played in this episode by a thinner James Gandolfini), a New Jersey mob boss and father whose constant struggle to balance both worlds of life at home and his secret one with the mob is never an easy task. The episode does not fall into the same mob drama away from home with the organized crime life but more so between Tony and his college-bound daughter and also from his wife watching the house while they are away trying schools. The show is aware of where to focus/insert heavy on the violence and/or on the home drama, and "College" piles on the family tension and sentimentality the most here: Tony keeping his Mafia life a secret in front of his smart, highly-suspecting and no-nonsense daughter Meadow (Jamie-Lynn Sigler); Tony hunting the man who turned into an FBI informant and who was formerly a crime family member; his wife Carmela (Edie Falco) watching the home carrying not only the flu but inner regrets of the past that have haunted her for two decades and discovers from a phone call from her husband's psychiatrist Dr. Melfi,(a female) to reschedule an appointment, and fears her marriage is going south. All this culminates in an hour-long episode where sticking your neck out for your family, not the Family, matters the most.

Tony takes his daughter to Maine to try out three universities she is considering. The pair first visits Bates College, and Meadow makes a joke about the school's well-known sexual atmosphere. Upon the drive back, Tony is taken by surprise when Meadow, point-blank, asks him if he is "in the Mafia". Denying everything he can to get his prying daughter from breaking his balls, he gives in and admits to her that portions of his income are derived from illegal gambling and other activities. Meadow confesses to her father that she has taken speed to study for SATs, and though Tony reacts angrily, she will not state the source of the drugs. After this, both seemed relieved after this mutual honesty regarding difficult topics that have been thus kept from each other.

Back home in New Jersey, it is late and raining cats and dogs. Carmela is visited by Father Phil (Paul Schulze) while her son A.J. is at a friend's sleepover. They both relax with leftover baked ziti, wine and the film 'The Remains of the Day' starring Sir Anthony Hopkins and Emma Thompson. It is watching a particular scene where Carmela's wave of emotions gushes out as she confesses to Father Phil about her marriage and Tony's female psychiatrist, fearing for her children and her own soul and partakes in communion with him. She tries to kiss him romantically, but the communion wine sickens him as he lies on the sofa until the effects subside.

Tony drops Meadow off at Colby College the following day to go and ambush Petrulio at his "Frederick 'Fred' Peters" travel agency, a former DiMeo clan member who is now part of the Witness Plan Protection program of whom Tony recognized at a gas station earlier that day. A manhunt between the two ensues, eventually leading to the climax where Petrulio senses his foe is near, but is deceived as he only sees a deer in the underbrush. Suddenly, Tony emerges from behind and strangles him with a length of cable wire around the throat, the man pleading for his life. But Tony, undeterred, whacks the guy and leaves his corpse outside his trailer office. Driving his daughter afterwards from picking her up, she notices a gash on his hand, as Tony states he cut it on a screen door. Met with more skepticism from Meadow during the drive from Colby to Bowdoin College, after arriving, Tony is struck by a quote by Nathaniel Hawthorne on display in the admission's office: "No man... can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true."

Since the characters obviously don't know God personally, the confession scene showed some immediate depth to Falco's persona for the show in actual remorse for past sins and wanting to release them at last. At least she had a desire to be freed from what had occurred in her life unlike Tony and had a sense of Who God was and what He could do for her for the sake of a possible redemption. But again, does Tony being "honest" with Meadow in the car and in the college bar count as a redeeming grace for him? Perhaps maybe a little? I find it a poor excuse.

The show, after all, is about a man placed in two very different realms and how he lives and breathes through both of them on a day-to-day basis. Surviving hardships at home and even hardships away from home including his own life is truly one thing, but living out honesty and trust on a daily basis is indeed another and takes enormous practice, where this show, however, exemplifies it poorly. James Manos, Jr. and David Chase received the Emmy for Outstanding Writing for a Drama Series for their work on this episode, and Edie Falco got her first Emmy nomination and win for Outstanding Lead Actress in a Drama Series for her performance as Carmela. Chase named this as his favorite episode because of its self-contained nature, as Gandolfini and Lynn-Singler similarly cite this installment. Nonetheless a great episode with powerful acting, opening with Alabama 3's catchy, gritty theme. RIP Mr. Gandolfini.

S1E5 College

[The-Social-Introvert · 22 September 2014]

College is a fine entry in the Sopranos canon, especially due to the fact that it is a departure from the traditional story structure, and focuses on Tony's relationship with his family, Meadow in particular, rather than his mobster life or therapy sessions with Dr Melfi. Most of the episode sees us with Tony and his daughter as they drive around the county inspecting colleges for the latter to enrol in. It is on one of these drives that Meadow confronts her father about his lifestyle. Although the exchanges were quite funny ("There is no mafia!") is severely depresses Tony, as does the news that his done is somewhat aware of his dealings. After attempts to hide or justify the lifestyle to Meadow, Tony comes to accept that she knows more about him than he knew…or previously cared to know. In return of the new found honesty Meadow confesses that she took drugs for her studies, but wisely chooses not to tell Tony where she got them from. It doesn't take long for Tony to get his game face back on, however, as he spots a man who he thinks may be Fabian "Febby" Petrulio, a former wise guy turned snitch before entering and being thrown out of the witness protection programme (I'm sure there are many people like him, but the similarities to Henry Hill did not go unnoticed for me). Since his mouth has put many of Tony's friends behind bars it's only logical that the man wants revenge. Contrastingly his wife Carmela, sick from the flu, seeks out some spiritual comfort in the form of Father Phil after having found out that Tony's therapist is in fact a woman, fearing the worst. I like that fact that David Chase uses plot devices, in this case the flu as Jennifer also is sick and whose therapy sessions are irrelevant to the episode's plot, to affect more than one character and story line, making it more plausible and giving it a more real-world feel. The seed of Tony and Carmela's crisis marriage is set in College, as are his troubling relationships with each of his children. But it is his attitude, notorious of the mob, of never forgiving rats is probably what is most remembered from this episode. Nowhere is this shown more clearly than after coming face to face (well, one face behind the other) with "Febby" after a day and night of cat-and- mouse is-he-isn't-he exchanges he expertly squeezes the life out of the snitch outside his caravan. There's no pleasure in his eyes as Tony makes his first kill of the series, just satisfaction that he is dutifully carrying out an honourable act for 'the family'. This is a different man who was drinking and joking with his daughter just a day ago. This isn't Tony the father. This is Mr Soprano, the true boss of New Jersey. It echoes Scorsese just how right David Chase gets the mafia mentality with Tony, and you feel empathy for his longing to end the snitches life after having seen him, but being unable to do anything (for a day or two) since he is with his daughter. Gandolfini IS Tony Soprano, as far as I am concerned. I also enjoyed the scenes with Father Phil and Carmela. The sexual desperation from both parties was quite amusing but I was glad Carmela didn't stoop that low (not that she could have – Phil threw up in the toilet within seconds of getting close to her). It's also interesting how she guiltily expresses that she knows what kind of life her husband leads, and how she allowed "evil" into her home for "a better life, better schools, this house, money…" Honesty all round in this episode, eh? Even Father Phil admits he has a thing for Emma Thompson DVDs.

Ant(iher)ony Soprano

[WoodcuttingLVL99 · 6/10 · 5 July 2023]

Until this episode we have seen Tony in a fairly traditional good light. He still calls his mistress before his wife among other flaws but he has been a mobster we can root for. Even the first half of the episode establishes an honest relationship with Meadow. But we see all this undeveloped as Tony's anti-heroic side takes over.

When the rat revealed that he abstained from killing Tony when he had the chance then we expect the main character to show some form of compassion or difficulty in making the kill. But with a shallow response, Tony villainously kills the man.

Carmela's storyline and the college surfing make the episode not too engaging as a whole. I can still appreciate the complex development with Carmela and the priest but it's just not good enough.

Most important episode in terms of Tony and television history - yes, maybe.

Best episode of S1 - definitely not.

Perhaps the most boring episode of the entire.. 😓

[Yashakur · 3/10 · 17 June 2020]

Don't get me wrong, I love the show very much, I have watched the whole thing at the least four times till now.

However, this episode here; "College", perhaps is the most boring episode I can think of in the entire show... 😓

College (#1.5)

[ComedyFan2010 · 8/10 · 26 February 2014]

Tony goes with Meadow on a trip looking through her colleges where she can apply. On the trip she confronts him with being part of a mafia and he confesses that some of his money is made in illegal way. He also sees a snitch on the trip and strangles him to death. And Carmela has a night with her priest where they have a moment and also finds out that Tony's therapist is female.

A pretty good episode showing us conflicts between the family and opens some ways where it can develop.

We also see a more brutal side of Tony in a hard core scene where he kills somebody who decided to go the honest way.

As Chase says the Ultimate Episode

[mikeyboy26 · 10/10 · 2 January 2022]

David Chase called it the "Ultimate Episode". For me it is my favourite episode, multi layered and full of symbolisms. A stand alone ep that has little to do with the whole Sopranos story arc but is so compelling i couldn't take my eyes of the screen throughout the story. There are plenty of episode of much greater consequence and significance but this one off ep is a tv gem.

Are you in the mafia ?

[nicktusk-95591 · 9/10 · 6 July 2023]

The famous college episode. Father and daughter day. Meadow hits Tony with a earth shattering question. Tony, giving her a half ass answer replies. Some of his income is illegal. Gambling streams. When he sees an old friend from the life. Fabian Petrillo. Gets into a high speed chase on the highway well Meadow is freaking out in the front passenger seat. I guess she gets her question answered. Considered a standalone episode. With the reviews speaking for themselves. Besides one lame brain who gave it a three lol. College they must see episode, if you have not yet viewed the Sopranos. "Colby left "!

9.45/10, Amazing

[dcdude-26988 · 9/10 · 18 August 2023]

How about just one decimal higher? You know? Just to get it up to being a 9.0 star rating? That's fine I guess. Anyways, my favorite characters in this episode were Tony, Meadow, and Carmela. My favorite thing about this episode was the Protagonist, the Antagonist, and the storyline. Just like the last episode, this was is severally underrated as well. I wish some of these episodes could be higher, because these episodes are all amazing. Tony for me is already in the top 2 of fictional characters for me, and this show is already on track to being top 5. As I may not always but most of the time say, definitely watch this show if you are looking for a good criminal show.

College (S1 E5)

[agvg-15110 · 10/10 · 24 November 2021]

"College" is a very different episode to what the series has proposed to us, but that does not make it a bad episode.

This is a very important episode and at the same time very different. It may seem pointless for the plot and just be a filler episode, but it is not. It is important because it brings us closer to Tony, and lets us see his fatherly side by taking Meadow to see some schools. It is an important episode not for Tony's relationship with business and the mob, but with his relationship with his daughter and how he has to deal with the question of "Are you in the mob?"

It clearly lets us see that Tony can't have a nice, quiet student trip with his daughter without mob problems intervening, when he discovers a snitch from several years ago whom he is forced to murder.

And that does, in the end Tony brutally hangs the man in a rather crude scene, which is a reflection that his criminal life will always be stained with blood and will be violent, and that he will always be present even in his family moments.

In conclusion, "College" is a great episode that really unfolds Tony's criminal and family conflict.

10/10.

Great episode, great series. David Chase really hit a home run with The Sopranos. Sad that Mr. Gandolfini didn't live longer and share more of his talent with us

[Neptune165 · 10/10 · 27 June 2022]

I've been revisiting The Sopranos and and just as amazed as I was in the beginning. This was literature on film. Absolutely brutal, thought provoking, deeply disturbing, and heartbreaking. I'm so glad I was able to experience this show from the beginning. Now with the film of his youth I'm looking forward to how this will play out. I'm cautiously optimistic. Glad his son will play a young Tony. Still the best TV show ever made. The symbolism in this show is honestly incredible. There is something timeless about this episode. When I watch it, I just feel like I'm in that time when I first saw it. That it was cinematic but more revolutionary... more intimate than a film. I think if you first saw Gandolfini in True Romance this episode wasn't as shock.. but you know the threat he portrayed was electric. This episode always stayed with me after all these years. The fact he's taking his daughter around different colleges - which is a happy, normal thing to do - and picks her up again after murdering someone an hour before. And the murder itself is pretty disturbing.

Fake Mask

[AvionPrince16 · 8/10 · 7 April 2024]

A very interesting episode .

I loved it

Tony help his daughter to find a university and i enjoyed the fact that we know that Tony is lying to her and the fact that Tony even made some promise that he dont make that whole scene and relationship heartbreaking and even more considerate he is her father . But very interesting for us as a viewer .

And we got also tension with an old friend who came back , the one who betrayed Tony . So its like the game hide and seek . Tony spying on him and that friend spying on Tony too . That kind of game made us asked : who will find who ? And what will happen ? But Tony killed him at the end despite that his daughter was here and lied to her once again . And i really love that moment when they go to university andony read a message about fake mask ; Tony feel that the message is for him with all these lies and that part was really meaningful

We got also Carmela who learned that the shrink of Tony is a woman : is she gonna be jealous ? Angry ? And that episode was also was interesting for her because we got more her POV on her relationship with Tony trough the religious man . Carmela and that man got tested and we can see that Carmela respect Tony despite their problems . But the religious man tried to flirt but it didnt go far and no sin happened that night.

And it got more interesting when he had that confrontation between Tony and Carmela : are they gonna resist to their problems ? Is Tony will get more physical with her shrink ? Or is he just gonna respect Carmela. And their relationship ?

Like i said ,it was a very interesting episode for each character and they all get tested in some ways and i like the tension that bring with that old relationship of Tony and make it dynamic in some ways. Very nice.