The Sopranos (1999–2007)
8.7/10
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Pax Soprana 

Tony tries to balance Junior against the other capos, while Carmela reasserts herself as the woman in Tony's life.

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Silvio Dante (credit only)
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A.J. Soprano (credit only)
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Meadow Soprano (credit only)
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Storyline

Tony gets another report from the cop who's been keeping an eye on Dr. Melfi. He's still having erotic dreams about her but is suffering from erectile dysfunction and a distancing from Carmela. He tells Jennifer Melfi how he feels about her but she has an explanation for his emotions. Uncle Junior is the new boss and he's making his presence felt. He decides to tax Hesh who had a special arrangement with his predecessor. Hesh doesn't mind being taxed, it's the amount that he doesn't like. The other captains are unhappy as well as Junior is stepping in on some of their money earning schemes without even having the courtesy of telling them about it. Tony approaches New York boss Johnny 'Sack' Sacramoni to find a solution to the situation. Written by garykmcd

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Plot Keywords:

gangster | See All (1) »

Genres:

Crime | Drama

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TV-MA | See all certifications »

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Release Date:

14 February 1999 (USA)  »

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1.33 : 1
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Did You Know?

Trivia

The title is a reference to Pax Romana, the long period of relative peace in the Roman Empire from the beginning of Augustus Caesar's reign in 27 B.C. to the end of Marcus Aurelius' in 180 A.D. (And Livia Soprano, fittingly or ironically, shares the same first name as Emperor Augusta's wife and trusted advisor, Livia.) See more »

Goofs

In the scene where Tony brings Dr. Melfi a coffee during their session, the tissues in her tissue dispenser keep changing shape and position. See more »

Quotes

Tony Soprano: Remember the story you told me about the father bull talking to the son? They're up on this hill and looking down on a bunch of cows. And the son goes to the father, "Dad, why don't we run down there and fuck one of these cows?" Now do you remember what the father said? Father says, "Son, why don't we walk down there and fuck them all?"
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Connections

Referenced in The Simpsons: The Real Housewives of Fat Tony (2011) See more »

Soundtracks

Willy Nilly
Composed by Isaac Hayes, David Porter
Performed by Rufus Thomas
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User Reviews

 
Junior's big moment
24 February 2008 | by (Italy) – See all my reviews

After scaring the crap out of Chris Moltisanti and having Brendan Filone killed in Episode 3, Corrado "Junior" Soprano finally steps into the spotlight, quietly dominating the events of Pax Soprana.

The title originates from Pax Romana, a political move by Emperor Augustus (a constant reference point in The Sopranos - see the name Livia) that kept the Roman Empire together without useless bloodshed for over a century. The similarities are obvious: Tony must prevent his uncle from disrupting the Family, and therefore agrees with the other captains to name Junior new boss of the NJ branch, while secretly pulling the strings behind the "capo" 's back. This is a smart move, as the FBI will focus on Corrado instead of Tony, but the plan comes close to backfiring when Junior sends his henchman Mikey Palmice (Al Sapienza) out to whack "uncomfortable" individuals. Things don't fare much better on the domestic front, either: not only is Carmela angered by the discovery that her husband's shrink is a woman, she also has to deal with the slight trouble of Tony being temporarily impotent because of his medication. On top of that, she demands he rely on her for emotional support rather than Dr. Melfi. In other words: be it one family or the other, they will both bite you in the ass at some point.

In the end, though, despite all the attention that's given to personal problems, it's the business aspect that matters the most in this episode, all thanks to the sublime double act between Gandolfini and Chianese: the former, normally a package of volatile primal energy, is very subdued and calm, pacing his words slowly in order to win sympathy and exposing the more calculating side of his character; the latter, a veteran of gangster epics (he played Johnny Ola in The Godfather: Part II), sidelines the hotheaded ex-thug seen in previous episodes, revealing a more ambitious, authoritarian figure, one that looks suited to be boss but will inevitably screw things up due to his old-fashioned view of the world. He is Vito Corleone to Gandolfini's Michael: a respectable but ultimately inadequate leader who no longer understands the dynamics of Family affairs. He is frightening as hell, too. How he never got an Emmy for his work on the show remains a frustrating mystery.


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