Big Girls Don't Cry - Season 2 Episode Guide

Big Girls Don't Cry (S02E05) - Paulie and Silvio get promoted, Furio gets welcomed, Pussy gets pushed aside, and Chris gets frustrated with his Hollywood aspirations. — Paulie and Silvio get promoted, Furio gets welcomed, Pussy gets pushed aside, and Chris gets frustrated with his Hollywood aspirations.

Plot

The season continues its relentless downward spiral as Tony Soprano faces a crisis of conscience and credibility. The episode opens with a tense family dynamic at home, where Meadow reveals she is pregnant. This news sends Tony into a panic about his son-in-law, Christopher, fearing he will not be a responsible father or that the baby might have issues, echoing Tony's own childhood trauma regarding his mother's mental health. The tension escalates when Tony visits Meadow and AJ at the apartment, where the atmosphere is thick with unspoken fears and the reality of their changing family structure. Outside the home, the business side of the mob life brings immediate danger. Silvio and Tony discuss a hit on a rival loan shark named Richie Aprile's associate, but things go wrong when the target turns out to be someone else entirely, leading to a chaotic shootout that leaves one of Tony's men dead. This event forces Tony to deal with the fallout, including the need to cover up the incident and manage the anger of his crew while maintaining a facade of control. Meanwhile, Christopher struggles with his own insecurities about being a mobster, particularly after a botched job that results in a woman's death, prompting a conversation with Tony about the moral weight of their actions. The plot thickens with personal betrayals and internal conflicts. Tony confronts his fear of abandonment and inadequacy as he grapples with the idea of becoming a grandfather. He visits Dr. Jennifer Melfi for therapy, where they delve into his anxieties about fatherhood and the potential genetic or behavioral issues that could arise in Meadow's child. Melfi challenges Tony's self-destructive tendencies and his tendency to blame others for his own emotional failures. On the business front, Paulie attempts to regain some respectability by trying to clean up his image, but his efforts are undermined by his old habits and the distrust of his associates. The episode also features a subplot involving Tony's relationship with Carmela, who is increasingly concerned about Tony's mental state and the impact it has on their daughter. Carmela's internal struggle between her loyalty to Tony and her desire for him to seek professional help adds another layer of tension to their marriage. Throughout the episode, the narrative weaves together these personal and professional threads, highlighting the inevitable collision between Tony's criminal empire and his family life. The stakes are raised as Tony is forced to make difficult decisions that will have lasting consequences for everyone around him. The episode ends on a somber note, with Tony reflecting on the path he has chosen and the price he continues to pay for his choices.

Credits

Director: Allen Coulter Screenplay: Terence Winter Story by: David Chase Producer: David Chase, Robin Green, Matthew Weiner (uncredited at this stage), Tim Van Patten Starring: James Gandolfini, Lorraine Bracco, Edie Falco, Michael Imperioli, Dominic Chianese, Jamie-Lynn Sigler, Tony Danza, Steven Van Zandt, Robert Iler, Amanda Schull

Music

"Blue Suede Shoes" by Carl Perkins "Let It Be Me" by Frank Sinatra "The Night We Met" by Al Stewart "Theme from New York, New York" by Fred Astaire and Ginger Rogers "Goodnight My Love" by Johnny Mercer "Mack the Knife" by Bobby Darin "Someday My Prince Will Come" by The Andrews Sisters "Love Me or Leave Me" by Billie Holiday "Let It Be Me" by Frank Sinatra (reprise) "Blue Suede Shoes" by Carl Perkins (reprise)

Analysis

Big Girls Don't Cry serves as a crucial turning point in the second season, pushing Tony Soprano into uncharted emotional territory while simultaneously tightening the screws on his criminal operations. The episode is less about the flashy hits and more about the quiet, suffocating dread that permeates Tony's life. It marks the moment where the theoretical consequences of mob life become immediate and personal, forcing Tony to confront the fragility of his empire and his family. The pregnancy storyline with Meadow is handled with a level of psychological depth that distinguishes this episode from typical crime drama fare. Tony's reaction isn't just about being excited or worried; it's a manifestation of his deep-seated fear of failure as a patriarch. He projects his own childhood traumas onto the unborn child, worrying that he will pass on his "crazy mother" gene to Meadow. This projection is a classic defense mechanism, allowing Tony to externalize his guilt and anxiety rather than facing them head-on. It's a poignant moment where the audience sees how much of Tony's identity is tied to his role as a provider and protector, and how threatened he feels when that role is challenged by circumstances beyond his control. The business plot involving the hit on Richie Aprile's associate serves as a microcosm for Tony's broader struggles with leadership and responsibility. The chaos that ensues during the shootout highlights the inherent instability of their criminal enterprise. Every action they take has unintended consequences, and the death of one of Tony's men forces him to grapple with the reality that his world is built on a foundation of bloodshed. This event also serves as a reminder that even the most powerful mob bosses are not immune to the mistakes of those who work for them, adding a layer of vulnerability to Tony's character. Christopher's arc in this episode is equally significant, as he continues to struggle with his identity as a mobster. His botched job and subsequent confrontation with Tony reveal the growing rift between Christopher's desire for respectability and the brutal reality of their profession. Tony's attempt to mentor him fails, highlighting the limitations of Tony's ability to connect with those who are fundamentally different from him. This dynamic adds another layer of complexity to the Soprano family tree, showing how the sins of the father can ripple down to affect even the youngest generation. The episode also provides a glimpse into Tony's relationship with Carmela, as she begins to question his mental state and the impact it has on their marriage. Her internal struggle between loyalty and concern adds a layer of tension that is both intimate and devastating. It's a reminder that even in the midst of violence and crime, the most damaging blows are often those dealt within the walls of a home. Overall, Big Girls Don't Cry is a masterclass in character-driven storytelling, using the backdrop of mob life to explore universal themes of family, identity, and the cost of power. It sets the stage for some of the most dramatic moments in the series, as Tony's personal demons continue to threaten his empire from within.