Television Review: D-Girl (The Sopranos, S2X07, 2000)

D-Girl (S02E07)

Airdate: February 27th 2000

Written by: Todd A. Kessler
Directed by: Allen Coulter

Running Time: 57 minutes

The Sopranos, a show renowned for its unapologetic portrayal of Italian American organised crime, has never shied away from indulging in pop culture references, particularly those that delve into the fascinating relationship between Hollywood films and the Mafia. The creators of the show have consistently exploited this captivating subject, often incorporating references to iconic films that have shaped the public's perception of organised crime, as well as the mafiosi's perception of themselves. While this approach has yielded some remarkable episodes, the sheer volume of pop culture references has, at times, begun to feel repetitive or even obstructive to the main plotlines and themes. However, in the seventh episode of Season 2, titled "D-Girl," this connection is explored more profoundly than in previous episodes, offering a critical examination of the allure and pitfalls of Hollywood's glamorous facade.

The episode's exploration of this theme is primarily anchored in its first major plotline, which revolves around Christopher Moltisanti and his aspirations as a screenwriter. Following a breakdown at an acting/screenwriting workshop, Christopher destroyed all his written work, but Adriana reveals that she has kept copies. This twist sets the stage for a fateful encounter when Christopher and Adriana visit New York City and meet Christopher's cousin Greg (played by Dominic Fumusa) and his fiancée Amy Saphir (played by Aliciia Witt), who works as a production assistant for Jon Favreau, playing himself in the episode. Amy is immediately captivated by Chris and his connections to the Mafia, and her fascination grows even more intense when she learns about his screenplay. She takes Chris to visit the set of one of Favreau's films and even arranges a meeting between Chris and the renowned director. Chris is quickly seduced by the glamour of the Hollywood world, and his infatuation is further intensified when he and Amy engage in a romantic tryst. However, this illusory connection is short-lived, as Chris soon discovers that one of the anecdotes about the Mafia he shared in confidence is being used as part of the script for Favreau's next film. When Amy returns to Los Angeles, the affair comes to an abrupt end, and with it, Chris' illusions about potentially launching a career in the film industry are shattered. Feeling exploited and disillusioned, Chris lashes out at Adriana, who later inadvertently reveals to Tony Soprano that Chris has been working on a screenplay. Upon learning this secret, Tony confronts Chris, presenting him with an ultimatum: either devote himself fully to the DiMeo family or sever all ties with it. After some hesitation, Chris opts to remain loyal to Tony, thereby abandoning his aspirations in the film industry.

The episode's other subplot revolves around A.J., who has stolen and wrecked Carmela's car on the eve of his confirmation. When confronted by his father, A.J. expresses his reluctance to undergo the confirmation ceremony, citing his loss of faith in God. Meadow attributes this crisis to A.J.'s recent discovery of existential philosophy, which has left him grappling with the meaninglessness of life. Pussy, who serves as A.J.'s confirmation sponsor, intervenes in an attempt to guide A.J. back onto the path of faith. A.J. eventually agrees to participate in the confirmation ceremony, but this development also creates tension for Pussy, who is struggling with the emotional burden of wearing a wire for his FBI handlers. Despite helping A.J. reconcile with his father, Pussy's inner turmoil ultimately boils over, and he breaks down in a private moment of despair.

D-Girl is an episode that will undoubtedly delight hardcore cinephiles, thanks to its plethora of references to Hollywood films, including not only classic Mafia-themed movies but also some more contemporary releases from the time of the episode's production. The episode even features cameo appearances by Hollywood stars Sarah Bernhard and Janeane Garofalo, playing themselves, and briefly mentions the Weinstein brothers. This abundance of references serves as a testament to the creators' fascination with the intersection of pop culture and organised crime. Furthermore, the episode also explores the realm of existential philosophy, with characters like Dr. Melfi explaining it to Tony and Pussy's college-attending son Matt (played by Steve Porcelli) explaining less nihilistic philosophies concepts to A.J. The character of Amy, with her Yale education, also name-drops Maslow's hierarchy of needs, flaunting her intellectual credentials.

While D-Girl is undeniably well-acted and well-directed, it feels somewhat atypical compared to other episodes of The Sopranos. The focus on Hollywood and existential philosophy creates a sense of detachment from the show's usual narrative, making it seem more like a brief vacation from the dreary world of organised crime rather than a crucial element of the overall plot. As a result, the episode's consequences appear somewhat limited, and it may be viewed as a self-contained, albeit intriguing, anomaly within the context of the series. Nevertheless, D-Girl remains a thought-provoking and engaging episode that offers a unique perspective on the intricate relationships between pop culture, organised crime, and the human condition.

RATING: 6/10 (++)

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