I am incredibly grateful to Game of Thrones for this adventure I have found myself sucked into for some years now. I am grateful for all the emotions it brought me since day one, bitter and sweet alike. I am grateful for all the laughs, all the tears, all the jokes and gags, every single bit of it, I really am grateful and appreciative of it all. It's been just... wonderful.
That said, I am feeling robbed and betrayed right about now. This ending is arguably one of the worst series finales in the history of television and trust me I realize how bold of a statement that is. The terrible violations the characters have suffered this season, the lack of proper resolution to many of the plots and narratives developed over seasons worth of buildup, the seeking of shock value at the expense of quality writing... that and much much more solidified this as an absolute disappointment of a finale, as opposed to the marvel wrap it could've given this cultural phenomenon.
This episode does have its positives, as always the score, acting and cinematography are perfectly performed but I just do not think it's nearly enough to compensate for how lackluster the writing has been, as much as I wish they did. Oh well, sad as it may be, I'll just hold on to the good stuff and hope that GRRM's book, once finished, will tackle the ending in a more coherent, more respectful and more meaningful way. It's been real y'all...
P.S: I'll leave this here lest some people jump me again. This comment is a representation of my own personal opinion, I am entitled to one just as all of you are. If you enjoyed this season and felt this finale delivered what you were looking for then more power to you mate, but that doesn't nullify my opinion nor does it make yours any valid. If you want to discuss or challenge my views, I'd be more than happy to engage you on that basis but if all you have to offer are petty remarks then please keep them to yourself.
What in the actual f*ck.
I'm a reasonable man, I realize I've been crapping on D&D even more than usual this season but I really do have to give them props for doing exactly what they set out to do. They hoped to subvert our expectations and they did just wonderfully in that regards.
We expected all of that buildup over the years to actually amount to something that at the very least passes for a presentable series finale but instead, we got an incoherent, steaming pile of shit. Expectations subverted!
We expected all of that character development to actually result in a beautiful pay-off that respects the journey of self-discovery each and every one of our beloved characters went through to get to where they are now but instead, we got a painful, disrespectful cycle of character regression. Expectations subverted!
We expected the final season of this show to keep us at the edge of our seats with thrilling writing that didn't subvert our expectations for the sake of subverting our expectations via low-quality shock value-seeking writing, but to introduce plot twists that make sense within the overall narrative of the story but instead, we got CW-level predictable, cringe material. Expectations subverted!
I get it. I really do. GRRM let them down by not getting the books ready in time and so they had to improvise away from his influence, but this? This? For a long while, Game of Thrones lived up to the slogan of its parent network, it wasn't just TV, it was something different, something unique and now to have to see it come to this... it's nothing short of disappointing.
On the bright side though, at least this episode didn't suck completely. The acting, score and cinematography were all on point, so I guess it's nice that I didn't walk out of it having appreciated absolutely nothing about it.
So why do I even bother anymore? I honestly could not tell you, though it's probably a mixture of masochism and a faint sliver of hope that they won't flush our collective investment into this series down the drain by the end of it, just one more episode dammit.
Man, what a poor episode, lackluster after lackluster. If this is the culmination of the time and interest myself and others have invested into Game of Thrones all of these years, then it is truly unfortunate and disappointing if not almost bordering on an insult.
Such a shame that this will be the legacy of a series that once took the world by storm with its brilliant storytelling and exhilarating plot twists, hardly recognizable anymore when it parades around in a pathetic shell of its former self.
I can't say I'm excited nor even interested in the remaining episodes, at least not when this season has taught me time and again to lower my expectations as much as possible, but I hope they will at least respect what this series once was and offer a conclusion worthy of its story. sigh
Ser Criston Cole is a Dragon rider now!
So did Tony die or didn't he? I think he did. I think the suddenness of the cut to black and the previous flashback to his conversation with Bobby that you don't see or hear death nods in that direction. But I also think it doesn't really matter. The point, if I may be so bold, is that the end doesn't necessarily come on schedule. It can come at any time, when you least expect it, when you're not thinking about it, in the heightened moments when you fear for your life at a safe house with an assault rifle draped across your stomach, or when you're feeling safe and enjoying a family meal at a diner.
We try to ignore that fact, to try to live as though it weren't true. You pretty much have to in order to keep living any semblance of a real life. But Tony, more than most people, lives, as Carmella notes, with a sword of damocles hanging over his head at all times. And that means that we should, as Tony once said and as AJ reminds him, remember the good times, to try to enjoy those sweet moments when we have them because we don't know how long they might last or how many opportunities we may have to find them again. It's existentialist, but a surprisingly optimistic take on it for this show.
Drawing back to the title, there's always been something the show posits as quintessentially American about Tony. In the final scene, they surround him with Americana at the diner: the friendly young couple, the cub scout troupe, the sports hero murals on the walls. Even Tony is assembling his nuclear family. He's from an immigrant family, considers himself self-made and both proud of his heritage and a part of the melting pot. Is Tony himself an aging superpower, or am I reading too much into it here?
The finale spends more time with AJ than I might prefer. But it also shows that as much as Tony wanted it, his kids cannot really escape his orbit. AJ is naive and misguided for the most part, and certainly insanely self-pitying, but he also shows a (again naive) sense of understanding about the greater tragedies in the world. His method of trying to help is an interesting one, but also a hard one, which is not typically the Sopranos way. Instead, his parents ply him with a cushy job (as the equivalent of a D-Girl, as Chris might say). And suddenly his concerns about the material world seem to drift away. He may not be a mobster, but he can be corrupted.
And Meadow has given up Tony's dream for her - becoming a pediatrician, and helping little babies. (The episode does lean hard into the "sociopaths like babies and pets" idea between this and the cat.). Instead, she's going to become a civil rights lawyers, and Tony can see her representing folks like him, marrying another mobster, and being pulled into a life he did not want for her. If there's a persistent theme to these series, it's not simply about the difficulty of changing on a personal level, it's about it on a generational level, how we carry the baggage of our parents and grandparents and other generations past, that makes it difficult to escape from their orbit. The show is a little blunt about it when Meadow says that if she hadn't seen her father dragged away so many times civil rights wouldn't be such a salient concern for her, but it's an interesting idea.
Indeed, another theme the show has kept close and blossoms in this episode is the idea that Tony taints whatever he touches. AJ is back to being a spoiled brat. Meadow is too much in the world of the mob to truly escape it. Carmela long ago figured out that she was in too deep to pull out of the life she had made with Tony. Agent Harris has gone native, cheering on the NJ crime family when he hears that Phil has been executed. Paulie talks about taking time off, but instead agrees to skipper the construction crew. And as he hits out in front of Satriale's, there are a lot of empty tables there with him.
So when the episode cuts to black, do we see a man about to get his just deserts, a tumor in the lives of friends and family being removed, or have we simply ended our time with a man who will go on to face a weapons charge? I have my thoughts on it, but more importantly than the outcome is the idea behind it. We don't know whether Tony lived or died, just like we don't know when the end is coming. There are perilous forces in the world like Tony Soprano who result in people like the motorcyclist from the last episode dying, or the comare and her father, who have no reason to suspect they'd be impacted by these events in this way. You can live the high-powered life of Junior Soprano and still have who you are taken away by forces beyond your control. Value the good times, David Chase & Co. seem to say, because we live in a state of sudden uncertainty, where the cut to black could come without warning or fanfare, and those moments become all we have, or had.
Piss off. This was not the ending the series or the characters deserved after everything.
Full disclosure, I knew what happened in this episode before I went in. Sometimes you just pick things up through cultural osmosis. But it took some of the oomph out of this one for me. It was still tragic to see what Adrianna went through, to see her tentative hopefulness and dreams of getting away from all this dashed completely. But I can only imagine what the impact would be if you didn't know it was coming.
One of the things I find interesting about The Sopranos is that, contrary to a lot of movies and shows about the mob, it's never really on the mobsters' side. Sure, the show invites you to be allured by Tony Soprano and his brood, but at the same time wants to chastise you for being allured by him. The beleaguered gardener throughout the season is a persistent reminder that these are not good men, and most of what they do involves stepping on the little guy.
But at the same time, it doesn't make the FBI agents who are plotting against the mob looking any more righteous by comparison. They gossip casually about why Adriana hooking up with Tony would be good for business. They casually discuss how a woman marrying her abuser could be good for them. They treat Adriana, a woman who is clearly out of her depth with this stuff, like a tool, almost like cattle, rather than a person. Sure, the FBI are on the side of good, to the extent it exists in a show like this, but they're just as dehumanizing and dismissive of anyone who doesn't help them achieve their goals as the mobsters are.
And that's the tragedy. Chris claims to have loved Adriana. His recurring beatings of her don't seem to lend credence to that, but he does seem broken up by it at the end of the episode. And Tony too, though he is allegedly supposed to be an unrepentant monster, has at least a moment's pause there on the lot at the end of the episode, which is more than can be said for the frosty FBI agent who's been Adriana's contact over these years.
At base, Adriana was someone reaching out for a person who cared about her, a real friend. Danielle halfway promised and provided that and then betrayed Adriana's trust. Chris seems entirely dismissive about Adriana's feelings and her stress. Her newer FBI contact bristles at any of Adriana's moments of reaching out for kinship. And Tony Soprano, the only one on the show who seems to actually connect with her, is the one who orders her killed. Adriana is, to the extent anyone on this show is, an innocent. She's dumb and naive and while she knows what's up to some degree, it's easy to see her swept up it at a level over her head. When people like that suffer or get killed, through the actions of both sides of the good guy/bad guy divide, it shows that this "war" has civilian casualties like any other.
This, this right here, this is The Flash. I haven't been this absorbed by a Flash episode since Enter Flashtime.
Superb episode, I hope the rest of the season follows suit.
What a dull season finale, compared to the last one which had me at the edge of my seat all throughout, this one struggled to even keep me watching past the 20 minute mark.
Truly disappointing.
Holy shit. Well, that was quite the episode, arguably the best thing Supernatural has put out in a couple of seasons...
God, what is happening to this show? Stale acting, dull writing, anticlimactic plots... it's almost insulting with how bad it's gotten.
For the love of everything The Flash once was, if this is the extent of your creativity and imaginative writing, please end the show.
Not that bad of an episode to be honest. Enjoyed watching how the characters chose to spend what supposedly are their last moments on Earth.
The reveal finally happened so there's that, though Dany's tone when speaking of Jon's claim to the throne does put me off a little bit seeing as it was more aggressive than anything and implied future conflict, I guess it's understandable since from her point of view, Jon just dropped a bombshell on her out of nowhere that nobody knew about and only a couple of people who are conveniently closely related to Jon could validate so it must seem like it's a scheme they're hatching in an attempt to discredit her as a legitimate heir. I really hope that's not what's they're going for though, it would be incredibly insulting to both the audience and their efforts in building up the romance between the two only to wash it down the drain so easily...
On the bright side, Emilia Clarke really sold the scene, the post-delivery emotional facial expressions alternating between utter shock, confusion and a hint of anger were really something to behold and added to the gravity of the whole thing.
Overall, I'm quite pleased with S8E02 and really excited to finally see the awaited battle unfold in the next episode!
Honestly, this is getting beyond frustrating and disappointing...
The narrative is all over the place, resulting in an underwhelming, predictable and overall, lackluster episode.
The whole Cicada plot could've been wrapped up eight episodes ago at most, leaving ample breathing room for the exploration of other avenues, like the Thawne one, which I don't think I'm alone when saying it's probably the only thing the majority of this season's viewers care about.
I remember a time when I would sit patiently waiting for the next Flash episode to wow me, this isn't the case anymore I'm afraid. The quality writing and storytelling this show once flaunted have both taken a back seat to low-quality, overly dramatic, repetitive and above all, undeniably predictable plots.
sigh Whatever, I guess I'll just watch the next episode to conclude the season and then - as much as it pains me - I'll give it the Arrow and Supergirl treatment by dropping it until such time as I either no longer care enough about the coherence, consistency and entertainment value of the story or until such time as all of those three matter once more to the show-runners. :confused:
Well, that was a disappointing mess, even more so considering it followed one of the most solid episodes in recent Flash history...
I get this is a CW drama, but can we please have one, just one episode where the focus isn't someone's emotional boo-boos? How about some story progression? Maybe character development that takes characters from one dimensional cardboard cutouts to three dimensional figures you can resonate with on some level? Any level? How about focusing on Barry for a change, remember him? He's sort of the main character? He has this whole problem that is of extreme consequence which he has to solve?
sigh Whatever, I digress. This whole season was just one big hallway scene, pathetic writing all across the board. The Flash - if I can even call it that anymore considering how it almost seems like the writers have all but forgotten about Barry - is done, to me at least.
Tony just has to crush anyone else's sandcastle, huh? There was something wonderful about Janice really learning something, about getting her anger under control, about making a better start in life. Sure, it's Janice, so it all may have just been a passing fad, but she was trying! And succeeding! (And some impressive backbone from Bobby in prompting her to do it!) And then Tony comes in and can't let her do it, he can't let her find the peace and progress that has eluded him so. He has to push her sorest button until she cracks. Then he storms off, entirely self-satisfied.
Tony's impulse control has never been his strong suit. The moment where he yells "mother fucker" at the T.V. was hilarious, and it was interesting to see him halfway confront what has been one of his defining character traits.
Chris's story was interesting too. I liked how he went from his initial disdain for Tony B., to gradually warming to him after the goings on at Uncle Pat's farm, to feeling more and more marginalized once the two Tonys are together again and back to their old ways of breaking his balls. There's a certain idea that you separate these people from their business, and from each other for that matter, and they become something approaching decent folks. Take these mobsters away from the city, put them in some place much more bucolic, and even when they're digging up bodies, they're kind of removed from it all. Tony sitting there smoking a cigar looks like a much less perturbed, much more easy-going man. Tony B., who we've been reminded had a high IQ, has moments that suggest if he had been born at a different time or into a different family, he could have done something respectable, maybe even noble.
But you put these people back in their usual element, put them into context with each other, Uncle Pat and his daughter, the two Tony's, Janice and her brother, and they bring out the worst in each other. It's very interesting stuff.
(As an aside, there's something darkly funny about the poor bouncer at the Bing continually bearing the brunt of Tony's misplaced frustrations. Also, what the hell was the deal with that freeze frame and wipe? At first I thought it was my video screwing up.)
This has been an incredible season that really did the source material justice, although they took some liberties in a consequential moment or two, it was still beautifully made and exactly what I was hoping to see from this arc's adaptation.
S4 has been confirmed for October 2020 and knowing what's to come of it, I'm on pins and needles!
Three things:
I'm not sure if I'm going to pick up the sixth season because frankly, I'm growing ever tired of enduring something this lackluster season after season. Maybe they'll surprise me and actually pull off something amazing next season, or maybe they'll continue to be oblivious to the fact that this show has so much to offer when not limited by the lack of creative imagination on part of its show-runners.
I guess we'll see.
Why does it feel like every time I come back and re-invest in this series, I end up feeling bamboozled by the end? I find myself having to echo the same complaints I had last season, the show prioritizes looks over substance, add to it the ridiculously slow pacing and frankly irrelevant elements that eat away at the available runtime and my frustration begins to add up. I mean honestly, how much content did they adapt this season? Ten pages worth? Whatever...
I feel I have to ask myself if investing further is a wise decision or not and I hate to do that because I'm a massive fan of Gaiman and especially of this title. I will stick around for next season, if there is one, and depending on how that goes, I might have to drop this puppy. :confused:
That wasn't enjoyable... I just spent ~90 minutes being angry at my TV.
Sansa better not survive the last episode.
Fair but incredibly anticlimactic, all of that buildup and hype over the years just wasted in one episode like this, disappointing doesn't even begin to describe it. sigh
Second season has been a big letdown,half the time I've not got a clue what's going on....season 3?
My god this show has become so bad
Somewhat decent episode, all things considered.
While I'm glad with the conclusion of the Michael arc (hopefully, I'm genuinely going to have an aneurysm if it turns out he's still alive and his arc is drawn out even further) finally took place, I am nowhere near being satisfied with the execution. It felt rushed and underwhelming considering the stakes at hand, something that remains an apparent constant with Supernatural's "big bad" fights since S5 finale.
This particular conclusion to this arc felt more like a cheap getaway card the writers gave themselves at the last second to justify not having to take a more... "severe" route with Dean, which annoys me because there are literally no more consequences on this show, nothing is at stake, what's the point of having the Ma'lak box twist if you're not even going to entertain the idea even for a couple of episodes?
Speaking of the Ma'lak box, can we file this one under continuity errors? Seeing as it just poked a massive hole in the show's lore as far as death and fate are concerned. Billie stood right in front of Dean and told him fate has chosen one single ending for him and Michael, and now Jack comes out of nowhere with a strength he shouldn't even have at his disposal and offs Michael? Seriously? Where's the consistency?
The development with Jack getting his grace back felt way too rushed and honestly came out of nowhere. And if that's not enough, his conversation with Castiel regarding appreciating the time one has had with someone almost felt like the writer's way of telling the audience to brace themselves for a goodbye, I'm guessing said development isn't going to end well for him.
An interesting, weird episode of The Sopranos. The most striking thing about it at first blush how great James Gandolfini is at portraying what Tony Soprano might have been like if, as he mentioned in "College", he'd decided to sell lawn furniture on Route 9 instead of going into the mob. Even before he opens his mouth and we start hearing many more Rs than we're used to hearing from him, there's something in how Tony carries himself while walking up to the convention that immediately conveys the fact that he's a different man than the one we're familiar with. It's incredibly fascinating to see Tony as a shnook, to use a term from 'Goodfellas'. The way he's largely impotent and meeker, the way he's still too focused on his work and apt to cheat on his wife, even if he's less successful in both areas, the way he's polite and smiles and is uncomfortable at having to lie. Whether this is all in his head or purgatory or something else, it's an intriguing glimpse at the malleability of Tony; that while certain things are set as part of his personality, he could have been a very different man with a very different life.
There's a lot of religious imagery in the episode, and a lot of reason believe that Tony is in purgatory, if only in his own mind. He's stuck, unable to get back home or go on to his next stop. There's footage of flames from Costa Mesa suggesting hell, a religious infomercial suggesting heaven, and even a confrontation from Buddhist monks suggesting reincarnation. The entire exercise is much more linear and much less surreal than Tony's usual dreams.
All the while Tony is asking "Who am I?" "Where am I going?" "What's the point?" He picks up the wallet of one Brian Finnerty -- it's a bit of a reach, but the name sounds Irish and may be a hint toward the idea of Hell as an Irish bar as Chris once reported -- a sign that the doppleganger who took Tony's briefcases represents the life of the man we've come to know, and that it has a definite ending. And yet, there's also the strange conclusion to this little scene that Schnook Tony has alzheimer's, that he will literally forget who he is. Tony is spiritually and emotionally lost; he essentially admits as such; and yet there's a sense to all this that even if he had avoided the mob life, he still might have experienced something less than fulfilment and ended up like Junior.
In an odd way, this episode feels like two distinct episodes: one about Tony in his coma, and the other about his family and colleagues holding things together in his absence. I will continue to gush about Edie Falco and how amazing her work on this show is. Her monologue with Tony in the coma and her tears at hearing that Tony will likely die (news delivered by Masuka from Dexter!) absolutely blew me away. Robert Iler was less impressive as AJ (and that's no sin as compared to Edie Falco), but he was still moving and believable as a bratty teenager when he too spoke to Tony in a coma and vowed revenge on Junior. One of the most interesting moments of this side of the episode for me was when AJ said "poor you" to Meadow, in a frightening echo of Livia that suggests her grandson may have absorbed more from his grandmother than it initially seemed.
The mob stuff on the edges was a little less interesting, with Silvio consolidating things in Tony's absence and Chris rising in prominence as well, but mostly this was an episode about Tony's journey and his family coping with it, and while the tone occasionally felt different from the usual Sopranos vibe (likely intentionally), it still worked amazingly well.
One of the showrunners mentioned that this episode would feature one of the biggest fight scenes done on The Flash. Okay. I sat there and watched it, the cringe and boredom slowly intensifying. What a disappointment. The fight scene, the episode, and the entire season.
Glad Legends is finally back. While the episode surely had some entertaining bits to it, I don't feel it's really up to the standard Legends has set for itself this season, a lot of plot related stuff could've been handled better as opposed to feeling rushed and not getting the proper focus and attention it deserved (if anything, an entire episode could've been dedicated to properly exploring those avenues), the same thing could be said for the dramatic side to this episode, which honestly felt poorly thought out and as though only injected into the episode to fulfill the expected runtime, hopefully that is not the case.
Character interactions have, for the most part, remained the same; though some frustration was experienced in the process due to certain decisions by the writers, which I'm certain were only made in order to justify what they did with the relationship bit. Disappointing to say the least, as far as that is concerned.
I'm intrigued however by the plot twist at the end, which, while having not expected it at all (due to the fact they were jerking the audience expectations in one direction while preparing an entirely different alternative), is somewhat of an interesting turn of events and I'm curious to see the direction they take with it in coming episodes.
Overall, it's an alright episode, but I'm hoping what comes next is up to the level of excellent quality we've come to expect of Legends.
Tremendous episode. The scenes with Chris and Tony in particular were striking how much subtext was built in to each and every interaction. It was superbly shot and edited, with some particularly great cuts and sequences and use of music in the background to convey certain moods. The sequence of Chris using again in particular was stellar in how it depicted his trip, and the dog as a stand in for Adriana (both herself and for her dog that he killed).
Paulie may secretly be my favorite character. He's an abominable person--selfish, miserly, cruel--but he's just so damn human, so heart on his sleeve at all times, even when he doesn't realize it, that the times when the show shines the spotlight on him, I'm always compelled, occasionally against my will. Between his struggling to put on the festival, to worrying about his biopsy, to (maybe?) reconciling with his mom(aunt), it was all very interesting to see him strain to balance everything and set his fears that he was getting his comeuppance for his various misdeeds aside. (His look to the rustling in the trees in particular was a nice nod toward his superstitiousness about this kind of thing.)
And there were so many wonderful little touches here. I love how Tony says to Carmela that he doesn't want to setback Chris's progress, while doing the same wine-tasting routine that started Chris slipping in the first place. I love the way Carmela hears Tony's version of the Adrianna events and subtly begins to realize that something is amiss, even if she can't admit it outright to herself yet. I love the awkwardness of Tony and Chris trying to recreate the magic of their post-heist conversation in the Sopranos' basement.
Adrianna is definitely a ghost haunting these proceedings. She hangs in the air in those interactions between Tony and Chris, in the back of Carmela's mind after she talks to Ade's mom, and she lurks in the shadows of the life Chris is trying to make for himself -- the house and the kids to fill the void of his guilt or pain or whatever you want to call what he feels for causing her to be killed. It's in the background of his using again as well.
And I love the theme of boredom that starts to filter in during the second half of the episode. Tony's life is never going to be a calm one, but there's a sense that things are good at the moment despite everything. He's recovering from his injury, he's living well, things are at a detante with Frank, there's no internal agitators like Richie or Ralphie or Feech. So what's there to do? Just kind of fumfer around in the daily grind, even if his grind is a lot better than most people's. The old days are done, and momentary jolts like the wine heist are just faint echoes of it that can't be preserved or recaptured.
The facade of the "new Tony" is beginning to crumble, bit-by-bit, and it's interesting to see the slow burn. Children, a recurring theme in the episode, offer some idea of hope, of something new and different and a reason to make a big change in life, something lots of people in The Sopranos are looking for. It doesn't seem to have changed Janice, Chris's trip doesn't portend great things, and it's doubtful that despite Tony's one-man teacup ride at the end, that hope is likely to be realized.
(Oh yes, and Janice continues, delightfully, to be pure evil. Clearly Livia's strongest inheritor. So much great stuff and wonderful little details built into this episode.)
What a tragic story Davey Sacatino's is. And in a way, Tony's story is tragic here too. Hell, so is Meadow's and Davey's son Eric's. Davey's a guy who clearly has a problem, and while Tony's right -- he makes his own choices and they're dumb ones and he has no one to blame but himself, but Tony lets him pursue those urges. Even though Tony wants to keep Davey's iron out of the fire, even though he tries to dissuade him, once the die is cast, he reluctantly does his job. And he realizes how it affects his daughter just a little, even if it angers him.
And he's right when he yells at her. Not to yell, but the point that he makes. Everything Meadow has comes from her father's business. It may not be as unmediated or clear as her friend's car, but everything she has is tainted in the same way. It's no fault of hers, but she seems hurt by the realization in the same way that Eric is frustrated by it. Tony seems frustrated by it too. A lot of the first season seemed to deal with Tony having to harmonize his family life and his work life, and against his almost best efforts, here they are colliding again.
When Tony is reflecting with his crew that he remembers his dad and Uncle Junior running the game when they were kids, there's a sense that it was supposed to be something more than this. This is supposed to be an achievement for Tony, and instead it just causes another headache and makes him have to do something he didn't want to do. Like the Happy Wanderer, Tony should be carefree now that he's at the top of the game. But the Executive Game is a microcasm - it's the trophy he wanted, but it doesn't make him happy.
