Do Not Resuscitate (2.02)

Corrado, released from prison, resumes his tense relationship with Tony.
Janice and Livia also have a tense relationship.
We learn that Big Pussy has divided loyalties.

Episode 15 – Originally aired Jan 23, 2000
Written by Green & Burgess and Frank Renzulli
Directed by Martin Bruestle 


This episode confirms that Tony’s apprehensions about the people who have reinserted themselves into his life are justified.  Pussy is a major threat to Tony and the NJ mob, and Parvati/Janice is not the West Coast peacenik that she has portrayed herself to be.

It turns out that Pussy has indeed flipped, but it looks like he’s trying his best to protect Tony.  This may be part of the reason why his back pain is so bad; his burden is doubly heavy because he’s playing both sides against the middle.  His handler, Skip Lipari, does not resemble Agent Mulder or any other FBI man that we’ve ever seen on television.  In fact, he could pass for one of the mob guys: he’s overweight, wears track suits, and mocks Tony (calling him a “yuppie”) for getting psychotherapy.  It is perhaps because Skip is such an identifiable character for Pussy that he will ally himself with the FBI more and more as the series progresses.

It is fitting that an episode that is about seeing characters more clearly would have a scene set in an ophthalmologist’s office.  In the clip below, we see the cut from the ophthalmologist’s waiting room to Livia’s hospital room:

It is Janice who comes into focus as Livia’s blurry eyesight clears.  Like Livia and the opthalmalogy patients, the viewer’s vision becomes clearer in this episode—we get our first good picture of who Janice really is.  She has cloaked herself as an arts-minded hipster (“Lady Kerouac” she calls herself in her supposed video project) but the facade is wearing thin.  We begin to see her true reason for coming to NJ: she wants control of Livia’s house.  To gain this control, she must prevent her brother from selling the house and she must also restrengthen her relationship with her mother.  Meadow reminds her that music is one of the few things that Livia enjoys, and Janice capitalizes on this.  She buys CDs for Livia and reminisces on childhood memories of Mario Lanza.  When a Pavarotti song softens Livia’s harshness, Janice quotes the first part of William Congreve’s line: “Music hath charms…” (wisely leaving off the second part: “…to soothe the savage breast”).  Although Janice plays the warm and sweet daughter in this scene, the scorpion ring on her finger hints at her poisonous character:

janice scorpion ring

Janice seems to have inherited her mother’s murderous inclinations.  Livia has a filicidal impulse while Janice may have a matricidal impulse.  Janice not only wants Tony to sign a D.N.R. for Livia, she may actually be thinking of killing her mother.  Livia certainly believes this to be the case (although it’s difficult to know just how much of Livia’s fear of her daughter is produced by her pathological paranoia).  Livia hints that she has riches hidden away somewhere, but she may be saying this just to help insure against her murder.  She lets Janice know that she is on to her by making a reference to some Richard Widmark film; she is almost certainly alluding to Kiss of Death, the 1947 film in which Widmark’s character pushes an old Italian woman down a flight of stairs.  Prompted by this reference or her own dark impulses, murder flashes through Janice’s mind.

widmark stairs kiss of death

We almost feel pity for Livia when she calls the Soprano home, apprehensive that her life is in danger.  On the phone with Carmela, she describes Janice as “a snake in the grass.”  (The previous episode made a reptilian comparison as well—we saw the pool cleaner take on a snake-like appearance when it shared a scene with Janice.)  Carmela curtly hangs up the telephone—she does not want to resuscitate the relationship with her mother-in-law.  But other factors are pulling Livia back into Tony and Carmela’s life.  Corrado is insisting that Tony repair the relationship with his mother because the current situation is disgraceful and bad for business.  People are talking.  (Philly Parisi in the previous episode and Freddy Capuano in this episode are killed for their gossiping.)  So far this season, Tony has refused to allow anyone to even mention Livia to him, but he seems to be softening his stance.  He and Janice discuss their mother:

Janice: It’s not gonna be long before they release her.
Tony:  How can she make “tremendous strides” when there’s nothing wrong with her in the first place?
Janice: It’s called Face-Saving Therapy.  The patient has to believe that they’re getting therapy.  Believe me, Medicare is not gonna pay for it if it’s not as necessary as real, would they?
Tony: (shaking his head) And the taxpayer foots the bill…

Tony’s last statement is profoundly ironic—he had no hesitation whatsoever crafting an HMO scam in the Pilot episode which could potentially bilk taxpayers and Medicare.  But my larger point here is that Tony is at least willing now to have a conversation about his mother.  A couple of scenes later, Tony (angered and frustrated by Janice’s BS) agrees not to sell Livia’s house so that mother and daughter can both live there together: “The two of you in that house deserve each other.  It would be worth it just to watch.”  Yes, it will be.

Corrado is also being pulled back into Tony’s life.  He is more directly involved in the business now that he’s been granted house arrest (though Judge Greenspan demands he wear an ankle bracelet.)  (The scene in which Jewish lawyer Melvoin tries to nix Corrado’s ankle bracelet by smoothing the riled feathers of the racially oversensitive Jewish judge is my favorite scene of the episode.)  The death of old man Herman James, Sr., may also serve to warm Tony’s feelings toward Corrado: Herman Sr. and Corrado are both WWII veterans, they are part of the Greatest Generation—and as such, they should be cared for and respected.  When Corrado proves his old age and vulnerability by slipping and hurting himself in the bathtub, Tony comes over to help.  In the final shot of the episode, Ella Fitzgerald’s song “Goodbye My Love” starts up as Tony lifts and carries the ailing Corrado.  It’s a tender moment (made a little humorous by that romantic love song) and it affirms that the two men will be able to bury the hatchet.  Business and family obligations require that this relationship be resuscitated.

tony carries ju


Tony plays both sides against the middle in this episode, pitting black laborers against the Italian-owned construction firm.  He pays Rev. Herman James, Jr., to instigate a strike by the black workers, and then accepts money from Jack Massarone to send in his henchmen to break up the strike.  One of the black protesters holds up a sign that puns on the old slave term for “master”:

MASSArone strike

“No More Massarone,” the sign proclaims.  While the frustration of the protesters may be real, the rally itself was falsely initiated.  Herman Jr. engineered it as part of a scheme to line his pockets, not as a way to right racial wrongs.  The real “massa” is greed, a master that very few in SopranoLand seem to be able to escape.  The senior Herman certainly would not approve of this scheme, nor of his son’s collusion with Tony Soprano.  But Herman Sr. dies of old age by the end of the episode, leaving Herman Jr. free to look forward to his next scam with Tony.  (An asbestos removal job looks promising and profitable to them.)

The Sopranos is a heavyweight show—perhaps no TV cast in history has topped, in pounds as well as talent, the group that appears here.  This episode alone, with the introduction of Skip Lipari and Bobby “Bacala” Baccalieri, adds several hundred pounds to the cast’s overall tonnage.  This is certainly by design.  Tony continuously insults Bobby’s because of his weight in this episode.  Poor Steve Schirripa, who plays Bobby, had to take the insults even though he not that obese—David Chase asked him to wear a fat-suit to play the role of Bobby.  Avi Santo, in his fine essay, “‘Fat fuck! Why don’t you take a look in the mirror?’: Weight, Body Image and Masculinity in The Sopranos,” explains why it is so important for the Bobby-character to be so obese:

Even though he is a made guy, Bacala is primarily Junior’s nursemaid, a role that clearly feminizes him…Bacala’s body manages to house many of the disempowering features of fatness—from his domesticated, feminized, peripheral, and servile role in the Soprano family to his laziness and his repeated objectification and ridicule…

There will be many jokes made at Bobby Bacala’s expense.  Of course, Tony has a considerable girth as well, but he carries his weight, and himself, in a more masculine way.  He is weighty, larger-than-life, a man to be reckoned with.  And, as Santo also points out, Tony is protected from ridicule in a way that Bobby is not, because of their different positions within the Mob.  Bobby does not have Tony’s standing, and Tony does not hesitate to remind him of this.  We can’t help but chuckle when hangdog Bobby, trying to add a little dramatic flair to his exit, proclaims, “To the victor belong the spoils,” and Tony—ever the pragmatist—responds, “Why don’t you get outta here before I shove your quotations book up your fat fuckin’ ass!”

Earlier in this scene, before he dismisses Bobby from Satriale’s, Tony seriously threatens Bobby.  Against a background of the pork store’s products (which magnify his porcine characteristics), Bobby is told that if he doesn’t use discretion, “They’re gonna find pieces of you in eight different dumpsters.”  With this background imagery, violence is equated with food—just as the image of the meat locker behind Chris at the same pork store did in the Pilot.  Satriale’s will become further associated with violence in shocking and grotesque ways in later episodes.

2 meat lockers



  • By Season 6, there will be an interesting reversal, weight-wise, between Tony and Bobby.  After years of overindulgence (of every sort), Tony becomes a slovenly, lumbering beast whereas Bobby seems to “grow” into his girth—he becomes a more substantial character with a meatier role in the business and the family.
  • Corrado thinks about getting new eyeglass frames here but thank God he doesn’t.  Those frames are an instantly recognizable emblem of Corrado Soprano.
  • The series often shows us how characters make mental associations that ignite some thought or idea.  We see Corrado, for example, remember the old joke about “Cadillacs” after he hears a man speak of “cataracts” at the ophthalmologist’s office.  Similarly, AJ remembers a joke—“What did one prick say to the other prick?”—just after hearing his dad cuss at the dinner table.  And the next time we see them at the dinner table, Tony associates pricks with Italian sausage, in an allusion to Janice’s penchant for giving blowjobs.
  • Speaking of the ophthalmologist’s office: Corrado may meet Masserone at the eye doctor’s office because: 1) under the conditions of his house arrest, doctor appointments are one the few legitimate reasons for which he can leave his house; 2) patients in this particular waiting room, with their various eye ailments, might have difficulty seeing the payoff be made.
  • Speaking of Janice’s blowjobs: Tony will allude to this again in “Soprano Home Movies” (6.13).
  • The stair thing: In episode 1.02, Tony recounts to Melfi how his mother laughed when his father tripped and fell down some stairs.  Here, Livia worries (perhaps justifiably) that her daughter will toss her down a staircase.
  • Meadow tells Janice that her dad used to bring the music of “that Mario Lasagna guy” to Livia.  We might remember that Tony brought his mother a Mario Lanza CD in episode 1.11.
  • Skip tells Pussy, “Jimmy Altieri ate the pill for you,” which could perhaps mean that Jimmy was not actually an informant—he may have been killed because Tony had a mistaken intuition.
  • The song that Janice listens to while driving, just after she and Livia share a sentimental moment, is Paul Simon’s “A Mother and Child Reunion.”  Simon has said that the song title is actually the name of a chicken-and-egg dish that he once saw in a Chinese restaurant menu.
  • At one point, Tony tells Pussy how hard it is to find good workers: “They’re either on drugs or compromised with the law or young, they don’t listen to orders.”  He has just inadvertantly described, respectively, Chris Moltisanti, Pussy himself, and Matt Bevilacqua & Sean Gismonte.
  • At family dinner, Meadow says that she got her driver’s license despite having trouble with parallel parking.  She still will not have acquired this skill by the series’ conclusion, she will struggle with it as the family waits for her at Holsten’s Diner.

23 responses to “Do Not Resuscitate (2.02)

  1. Not sure if you’re still updating this blog. Fantastic job! I was wondering, so you think Janice’s pov glimpse at the ‘falling down stairs’ sign but also be a quick flashback for her to when her own father tumbled down the stairs “and the whole family laughed” as Tony told the story to Melfi? Even if Janice joined in on the laughter, it was obvious she admired her father very much. It seems to me that Livia’s treatment of him was a very scarring influence on her. The male figure falling down the stairs was repeated in reference to Janice with Ralph, and repeated when Tony took a tumble walking quickly out of his mother’s house. The bit of acting on Gandolfinis face when his mother breaks out in laughter suggests he also flashed back to this moment and the memory was a painful one for him as well.

    Liked by 1 person

    • Sorry to repeat myself and for my typos but i think falling down stairs factored into finerty dream as well. Wonder if this “happy memory” is an anchoring one for Janice and Tony


      • Yes, I think you’re really on to something… There are also three or four other notable incidents that occur on staircases in addition to the ones that you’ve mentioned…I’ll be referencing them in future write-ups…


  2. lol. Meadow still not being able to parallel park, by series’ end. Parallel parking is like being left handed or right handed. Either you have that hand eye coordination to learn it fast, or you never really do. I’m 41 and I still avoid parallel parking. Luckily I live in a medium size city where spacious parking is typically available. Also, thankfully, California DMV’s doesn’t even test for it! Woohoo. Who needs it anyway? Plenty of parking on the beach.

    Liked by 1 person

  3. Notable that a family secret is inadvertently shared by AJ with Livia in this episode – for the second time. It was AJ who told his grandmother about Tony’s therapy, and this time, he spills the beans about DNR. Obv he doesn’t understand the implications on either occasion. Excellent blog, btw 🙂

    Liked by 1 person

  4. Good job here, Ron. Skip Lipari certainly does not fit the typical FBI agent mold we have all grown accustomed to from other television and films we may have seen. I’m sure “Skip” isn’t even his real name. He certainly looks and almost speaks like a wise guy. I appreciate how they (FBI) don’t look polished or as if they are perfect, they are normal people too. I think Chase does these kinds of things on purpose and I think it adds depth to the characters. Good point on the bonding of Skip and Sal towards the end of the season. I love the way Skip was introduced to us segueing to Big Pussy being a rat. Confirmed in a car when driving with an FBI agent who escorted him to get back injections. WTF!? Reading this and thinking of the Janice Soprano character, she may be as ruthless as Tony, and I even think a bit worse. Tony seems to have a conscience and does seem to generally care for people. Janice is about Janice. The whole Baccala thing, being called a “fat fuck” and being made fun of is just too damn funny. The scene where he struggles to get out of his Lincoln and Tony calls him a fat fuck is just too much and I find myself laughing hysterically every time I see it. I’m laughing just thinking about it. What makes it even better is how we see Bobby is very hurt by it, and his comment afterwards. HA! I must read the FAT FUCK! essay.


    • You’re right in thinking WTF, its insane that Skip would be accompanying Pussy to the doctor’s office. They tool around together quite a bit. I don’t know if this is the writers getting it wrong about how much discretion the FBI would actually have, or maybe it’s just to set up the plot-point of the Elvis-impersonator who sees Puss and Skip together a coupla episodes from now…


      • I wonder if the reason Skip is Pussy’s handler is precisely BECAUSE he talks/looks/acts like a made Jersey guy. In the same way they made up Adrianna’s handler to be more of a guidette in order to ingratiate herself with Ade.
        Anyway, I’m on my 5th rewatch and I know I’m way late with these comments but (Davey) you’re doing a good job! This is my favorite Sopranos analysis I’ve found and I’ve read most of them. Really hope you’re still finding the time to do them.. and if you are, thank you.

        Liked by 1 person

  5. I also love the little detail when Livia asks the nurse to swap out the offending tapioca, saying “they can’t expect me to eat this!” then she immediately offers it to Janice, “would you like some of my tapioca?”

    Liked by 2 people

  6. She never mentioned trouble with parallel parking. She mentioned the circumstances under which she had to parallel park–which is a common cause of anxiety for many potential drivers. I agree her bad driving in the opening is a fun link to the finale, but I think it’s a bit irresponsible to reach for “trouble” parallel parking here, when she did not mention any specific trouble; only that she was nervous doing so. That, again, is very common.

    Liked by 1 person

    • Sure, but just to clarify — I don’t think Chase is reaching forward to the Finale here, instead I think he may have been reaching backward from the Finale to the conversation in this episode. Chase’s main method for forming a connective web through the series is by reaching backwards..

      Liked by 1 person

      • That’s fair. I was kind of hoping–morbid as that may sound–that there would be a line about Tony not taking her to practice parallel parking. “No thanks to you, Dad” kind of thing…since her inability to parallel park left Members Only Jacket a clear shot.

        Liked by 1 person

  7. Oh I think Jimmy Altieri was a rat. But it’s possible that he has been turned recently, maybe partly to take the heat off Pussy. He was so bad at it that (1) it was obvious that he was fishing for information, so yes, he was a rat, and (2) he might have been new at the job. I go back and forth on whether they turned him after that bust at the card game and threw him back as bait or whether it was a separate thing, in that they would get informants whenever they could. For dramatic purposes, flipping him on purpose to deflect from Pussy makes sense. Realistically, who knows?

    Liked by 2 people

    • That’s a good take. I tend to think that Jimmy was flipped by the Feds too, but I’ll never feel 100% certain about it. Tony had just seemed too eager to label Jimmy a rat so that he wouldn’t have to label his good buddy Pussy a rat…


    • The first time I watched, I thought Jimmy Altieri was innocent, for at least four reasons. (1) As Ron says, Tony was too eager to suspect him. (2) Pussy obviously was an informant. (3) This is subjective, but I thought his manner was so innocent, his questions so ingenuous, that he must be innocent. And when he was taken to see a prostitute, he was like an adolescent, worried that he wasn’t good-looking enough. (4) Like matteobrasi, I thought it was a plot device – but a good one. Although he’s a criminal thug, in this case he’s innocent, and one feels pity for him, being killed for nothing.
      The second time I watched, I thought he was guilty. A search for one informant uncovered another; he was unlucky.

      Liked by 1 person

  8. I’ve never been sure either, but I was watching this episode again the other night, and what clinched it for me was the way Jimmy said, sort of whispering, “Mother of God” when Silvio mentions a wire calls him a rat and then “Oh, God” again just before Sil shoots him. Before that, he’d been angry, calling them pieces of shit and saying, “Did you forget I’m a captain.” As soon as Silvio says rat, the fight goes out of Jimmy. It’s the intonation. It sounded to me like the voice of a man thinking, “They know! I’m F’ed!”

    Liked by 2 people

    • I thought just the opposite. I thought it was the intonation of an innocent man realizing they thought he was a rat at the last minute.

      Liked by 1 person

    • There is no doubt in my mind he was a rat. No way a Capo like Jimmy would not vociferously defend himself when told he was a rat, unless of course he was a rat. Nor was there any reason for him to be asking Tony about the money, or calling for a meeting to rehash “old business”. Frankly, if he was NOT a rat, I would consider it very poor writing, an unrealistic plot device to eventually take the heat off Pussy. It was just too on point.

      Liked by 1 person

    • Yes, I agree 100%.

      Liked by 1 person

  9. “It’ll be like “whatever happened to baby Janice over there.” That’s a good line.

    Liked by 1 person

  10. Another point to make; at the final scenes with Tony picking up Junior from his falling injury, the song in the background is similar to when Tony is shot later in the series by Junior as he “loses his mind.”

    Liked by 1 person

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