"More Sopranos Blogging"
I feel like Scott Lemieux is suffering here from some kind of television version of the Stockholm Syndrome: Since David Chase is a genius, and The Sopranos is a brilliant show, it therefore follows that all of his narrative and dramatic choices were brilliant coups.
The idea that desire to see the story of the show brought to some kind of conclusion rather than this childish “is he dead?” / “did the FBI pinch him?” / “guess we’ll never know” BS is inherently “middlebrow” has got to be the prime symptom of the illness. I think the beginning/middle/end narrative structure characterizes a lot of perfectly highbrow works. Not to give anything away, but at the end of Anna Karenina we find out what happens to Anna, and it’s not because Tolstoy sold out.