I wish to respond specifically to koplaw and maroci, figuring that’ll kill the proverbial two stones and make for a shorter post (hah).

To koplaw: I would agree that “family” figures in the biggest way on “The Sopranos” because here, with just one episode left, what happens to Tony, Carm, Meadow, and AJ is entirely unknown and “up for grabs.” Whereas most of the “business family” (Big Pussy, Chris, Bobby, Sil) is accounted for. Dead. Except for Sil (and if Sil finishes the show in a coma, that’s a “loose end.” TONY came back from one. And Chris survived a shooting, too.) Paulie lives for now.

David Chase sold “The Sopranos” by making the case that the violent mob story would be the “genre framework” that he could use to tell some new stories: about a man and his Mother; about therapy; and about upper-middle class suburban life at the turn of a new century. I certainly don’t see the “mob wars” arc as what “The Sopranos” is “about”; but it is certainly the most exciting part of the show, and it drives everything: many people have been killed, and maybe some more will be.

With the “mob wars” as the main “plot arc,” “The Sopranos” has had many, many hours focused on other things: Tony’s therapy, his marriage, his kids, his “parental family” (Junior, Janice, the ghosts of Mom and Dad). Also, his affairs (the fatal one with Gloria most of all.)

I was watching an A and E rerun the other day where Tony and Carm met with AJ’s principal over his misbehavior. Tony was “the poor sap dad” who, in Carm’s disgusted eyes, didn’t stop the Principal from letting AJ off with a slap on the wrist. It was well-written suburban sitcom stuff, and you almost forgot that “poor Tony” was a mob boss. Almost.

One problem remains that AJ and Meadow are simply not as interesting as all those guys who’ve been killing each other. They’re “kids,” they aren’t fully formed. But the Tony-Carm marriage has indeed been a fascinating thing to watch, and a duet of two great actors.

I would add that some of Tony’s killings have been apart from the mob-war arc and “hidden” from NYC: Pussy and Ade (rats); Chris. Arguably Ralphie. Thus has another dimension been added to Tony’s murderous side.

One key thing I think I now realize (and this will segue to maroci): “The Sopranos” shifted course in a major way in Season Five, and I believe the show HAS been pretty fully plotted in advance from then on.

Recall that some critics (and, maybe HBO viewers) complained that “Sopranos” seasons 3 and 4 had too MUCH family stuff (AJ at school, Meadow with Jackie Jr, Tony and Carm going at it.) Only Ralphie’s murder really had that mob-shock charm.

I think maybe Chase took those complaints to heart, because came Season Five, we had “the Class of 84,” Phil, and a gang war, and EVERYTHING has followed from that start-up.

Which brings me to maroci:

Chase didn’t know how long the show would last during Season One. But from Season Two on, it was pretty much his call. And he took months off to plot seasons well ahead of time. Sure he could add in popular recent topics like “Saw” and movie “swag bags,”, but I’ll bet he’s had most of this arc set since “the class of 84” showed up in Season Five, with some ending stuff included from his first vision of the show in 1999.

By properly building the story, Chase DID create a sense of “inevitability,” I believe. All of the possible New York Dons with whom Tony could have lived peaceably -- Carmine Sr, Little Carmine, Sack, and likely Gerry (young) and Doc (no prison time?) – died or quit the wars (that’s only Little Carmine alive.) Phil Leotardo is “the inevitable one,” and he is killing Tony’s people and coming for him.