Christopher and Brendan return the hijacked truck, but Uncle Junior remains unsatisfied, convinced that a clearer message needs to be sent. Tony goes to visit the ailing Jackie in the hospital, lifting his spirits and also "gifting" him with a buxom young woman. Meadow and her friend think that they will need speed to help them study for their exams, and a reluctant Christopher gives it to them, knowing that they will be promptly victimized if they go elsewhere. Tony, Silvio, and Paulie agree to help out a Hasidic motel owner with his troublesome son-in-law. And Charmaine has a revelation in store for Carmela regarding Tony.
There are some good laughs, and interesting touches in this typically strong episode, written by Mark Saraceni and directed by Nick Gomez ("New Jersey Drive", "Laws of Gravity"). The story with the son-in-law (guest star Ned Eisenberg, in a standout performance) is good because here we have a character who really is not afraid to die. So Tony, Silvio, and Paulie have to find a different way to get through to him; the answer, of course, makes perfect sense. Christopher has a very sobering scene where he begs for his life. Tony ponders the idea of mortality while stopping for some self-reflection in a session with Dr. Melfi. James Gandolfini, brilliant as always, has a great moment when Tony complains about being tricked by a painting. (The meaning in artwork is a minor but intriguing detail here.) There's a little light humour where Artie and Tony have an argument that results in a brief food fight. But the ending to the episode is indicative of some real brilliance: intercutting between the genuine execution of Brendan and a concert performance by Meadow and her fellow students. The song they are singing is an ideal counterpoint to what is a very efficient and artfully done killing.
Incidentally, what is fun to note is that the elderly Hasidic man is played by Chuck Low, who nine years previous had played Morris Kessler in "GoodFellas".
Eight out of 10.
There are some good laughs, and interesting touches in this typically strong episode, written by Mark Saraceni and directed by Nick Gomez ("New Jersey Drive", "Laws of Gravity"). The story with the son-in-law (guest star Ned Eisenberg, in a standout performance) is good because here we have a character who really is not afraid to die. So Tony, Silvio, and Paulie have to find a different way to get through to him; the answer, of course, makes perfect sense. Christopher has a very sobering scene where he begs for his life. Tony ponders the idea of mortality while stopping for some self-reflection in a session with Dr. Melfi. James Gandolfini, brilliant as always, has a great moment when Tony complains about being tricked by a painting. (The meaning in artwork is a minor but intriguing detail here.) There's a little light humour where Artie and Tony have an argument that results in a brief food fight. But the ending to the episode is indicative of some real brilliance: intercutting between the genuine execution of Brendan and a concert performance by Meadow and her fellow students. The song they are singing is an ideal counterpoint to what is a very efficient and artfully done killing.
Incidentally, what is fun to note is that the elderly Hasidic man is played by Chuck Low, who nine years previous had played Morris Kessler in "GoodFellas".
Eight out of 10.