The episode begins with a shot of Tony grunting and sweating his way through sex, and for a moment we might think that it is Carmela wriggling beneath him. Let me start off by ignoring my own advice-let me, as usual, overthink this hour.Įven though the dream sequence dominates all discussions about this episode, Chase’s foray into Tony’s subconscious doesn’t actually begin until we’re about 20 minutes into the hour. That being said, I do have a major gripe with the dream sequence, but I’ll get to that later. ![]() ![]() But I don’t think anything in this episode is merely filler. Why would Chase and his team “fill” time with a complicated dream sequence that is possibly more difficult to write, film, and edit? I know that filler moments may very well exist in The Sopranos-after all, David and his team are only human, subject to fatigue, frustration, and boredom just like everyone else. I’ve never understood this “filler” argument. Some also thought that the long dream sequence was simply a way to fill time this season. (I think the majority of Sopranos viewers understood by now that we could expect some serious weirdness from David Chase every now and then.) Most of the detractors had a problem with the running time of the extended dream sequence, if not the sheer strangeness of it. I believe-though I’m not sure-that the episode’s detractors were in the minority. I found it to be a wild and wonderful hour, one that is best enjoyed if you just sit back and let it play out without overthinking it. Oh man, how to begin? How does one analyze an episode that defies analysis? Many viewers found “The Test Dream” to be a test of their patience (and perhaps that is exactly what Chase meant it to be). ![]() Written by David Chase and Matthew Weiner Blundetto is acting a little rattled after attacking a New York capo.Ī long, strange dream helps Tony figure some stuff out.Įpisode 64 – Originally aired May 16, 2004
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