The Re-emergence of Finnerty?

There’s no place for nostalgia in Tony Soprano’s world. “Remember when,” he spews, “is the lowest form of conversation.” The old school can’t cut it anymore. Paulie’s loose lips, for instance, just about sink his ship (he almost ended up with Pussy, swimming with the fishes); and Junior’s momentary return to form as patron of the prison-ward Executive Game costs him what’s left of his lucidity and his life.

For Tony, the old “stand-up guy” approach is rusted out, dangerous even: seventies game shows serve only to irritate him; the Virginia motel where his father Johnny Boy lammed it is long gone, but doubts about his father’s faith in him visit Tony like a fresh plague. Soprano’s mind is bleeding. Like Kevin Finnerty plunging down the stair well of the Costa Mesa inn, Tony falls prey to identity theft in his plush Miami suite.

Soprano may bang the young blond, but he’s more attached to his backyard tomato garden than the minx in his bed. He stands on the balcony of his suite, seeing nothing but darkness, hearing nothing but the wind of the ocean/coma chiding him. Like Finnerty, he is lost between two worlds. How can he (Finnerty/Soprano) ever return home?

Re: The Re-emergence of Finnerty?

On the other hand there is intense nostalgia for what was versus what is. He wants the mob to be glamorous and edgy and young and drive around in 59 Caddies. But they are old, obese, sick, crippled, dying and drive around in Ford Windstar mini vans while cutting deals with stylish young Cubans. The Cubans dress well, are healthy, vicious and drive hip Mercedes Benzes. Paulie babbles and laughs at old Three's Company reruns. He wears orthopaedic shoes and track suits that were stylish on Long Island 20 years ago.

That blond was a star though. Star Meinke.
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