Television Review: I Dream of Jeannie Cusamano (The Sopranos, S1X13, 1999)

I Dream of Jeannie Cusamano (S01E13)

Airdate: April 4th 1999

Written by: David Chase
Directed by:

Running Time: 58 minutes

The final episode of a television season is often the most delicate and crucial part of the entire series, as it requires a masterful balance of closure and continuity. The season finale must provide a sense of resolution to the plotlines and storylines that have unfolded throughout the previous episodes, while also leaving room for the story to evolve and continue in subsequent seasons. This is a daunting task, as the success of the entire season can hinge on the quality of the finale. If the finale fails to meet expectations, all the hard work and effort invested in the preceding episodes can be rendered meaningless. Fortunately, David Chase, the creator of the television masterpiece The Sopranos, passes this test with flying colors in the Season 1 finale, I Dream of Jeanie Cusamano, which is widely regarded as one of the better season finales in the history of television.

One of the most pressing storylines demanding resolution was the power struggle within the DiMeo crime family. Following the botched assassination attempt on Tony Soprano orchestrated by Uncle Junior in Nobody Knows Anything, an inevitable showdown loomed. However, "I Dream of Jeannie Cusamano" opens with an unexpected scene: a seemingly ordinary business meeting where Tony and Junior interact cordially. This contrast highlights the tension underlying their relationship. When Junior is asked for permission to eliminate Jimmy Saltieri—suspected of being an FBI informant—he agrees without hesitation. This moment serves as a catalyst for subsequent events, as Silvio and Chris employ Russian prostitutes to lure Jimmy to a hotel room where he is killed. The episode escalates further when Tony's crew preemptively eliminates two of Junior’s top lieutenants, Chucky Signore and Mikey Palmice. In a twist of fate, the FBI arrests Junior and several associates on unrelated stock fraud charges. Faced with the choice to testify against Tony, Junior refuses due to both his commitment to omertà and his pride. This series of events ultimately positions Tony as the undisputed boss of the family.

Meanwhile, Tony is also dealing with a more personal and destructive enemy: his mother, Livia. At first, Tony is in denial about Livia's true nature, and when Dr. Melfi describes her as having a "borderline personality disorder," Tony reacts violently, ending their therapy sessions and leaving Dr. Melfi fearing for her life. However, when the FBI tries to gain Tony's cooperation by playing incriminating tapes of Livia's conversations with Junior, Tony finally realizes that Dr. Melfi was right. He returns to her office, apologizes, and warns her to leave town to avoid being caught in the crossfire. Tony also finally admits to seeing a psychiatrist to his crew, which leads to a mixed reaction from his associates. While Silvio and Chris are unhappy about it, Paulie surprisingly reveals that he had seen a therapist himself a few years ago.

Before Tony can address these issues, Livia makes another move that nearly costs him his life. After Artie Bucco visits her, she maliciously informs him that Tony had his beloved restaurant burned down—a claim that infuriates Artie and leads him to confront Tony with a rifle. In a desperate bid for survival, Tony lies about his involvement in the arson. The revelation that Livia manipulated Artie into confronting him pushes Tony to contemplate smothering her during her hospital stay following a stroke—a chilling reflection of their toxic relationship.

Complicating matters further is Father Phil Intitola, who becomes entangled in the unfolding drama. When Artie confides in him about the arson incident, Father Phil suggests he report it to the police—a notion Artie dismisses due to his loyalty to Tony and fear of losing financial stability from his new restaurant, Nuovo Vesuvio. Meanwhile, Carmela grows suspicious of Father Phil's relationship with Jackie Aprile’s widow, Rosalie (played by Sharon Angela), believing he exploits his spiritual authority for personal gain.

The episode culminates with the Soprano family caught in a thunderstorm while driving and seeking refuge at Nuovo Vesuvio. There they find Silvio, Paulie, Chris, and Adriana gathered together. In a poignant moment, Tony raises a toast encouraging his family to cherish "little moments that were good." This scene encapsulates both the triumphs and tribulations faced by the characters throughout the season.

One of the standout aspects of I Dream of Jeannie Cusamano is Chase’s masterful script that weaves together various subplots from earlier episodes into a cohesive narrative tapestry. The finale concludes on a note of realism; while Tony appears victorious—having eliminated key rivals—he remains ensnared in precarious circumstances: the FBI continues its pursuit, Junior’s imprisonment could lead him to reconsider alliances, and Livia’s potential feigned stroke might cause further havoc. The episode also features a subplot involving Meadow making out with her boyfriend, which provides another avenue for the show to explore in the future.

The realism of the episode is also reflected in the character of Dr. Melfi, who serves as the show's moral anchor. Despite being an experienced professional, Dr. Melfi shows great misjudgment and carelessness when she accuses Livia of having a borderline personality disorder, which leads to Tony's violent reaction. However, she acts in a realistic manner, displaying fear, apprehension, and initial distrust when Tony returns to her office to apologise.

John Patterson’s direction complements Chase’s writing effectively; he maintains the show’s established style while skilfully blending action, drama, and humour throughout the episode. Particularly notable are the assassination scenes which contain intricate details that reward attentive viewers without alienating those who may be less engaged.

If there is any flaw within this otherwise strong episode, it lies in its title—I Dream of Jeannie Cusamano. The title references an erotic dream recounted by Tony during therapy about Jeanine Cusamano, his neighbour's wife; however, she does not appear within this episode itself. The title alludes to I Dream of Jeannie, a popular 1960s sitcom starring Barbara Eden and Larry Hagman—a cultural reference likely lost on younger viewers unfamiliar with its context.

In conclusion, I Dream of Jeannie Cusamano exemplifies how a season finale should function: it resolves critical plotlines while leaving enough unresolved tension for future exploration. David Chase's adept storytelling ensures that this episode not only serves as an effective conclusion to Season 1 but also sets up compelling narratives for subsequent seasons of The Sopranos.

RATING: 8/10 (+++)

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