Poetic Television Review: Commendatori (The Sopranos, S2X04, 2000)

In twilight's hush, where shadows play,
A formula breaks, and darkness sways,
A city's grasp, a distant shore,
A stranger's world, where Tony roams once more.

Naples, ancient, vibrant, and bright,
A counterpoint to Jersey's darkened night,
The Camorra's labyrinth, secrets untold,
Where Annalisa's power, like a tempest, unfolds.

Tony's visit, a calculated risk,
A business deal, with hearts that blur and sink,
The lines of pleasure, blurred and crossed,
A fragile dance, with Annalisa, whose power is lost.

In parallel, Pussy's nightmares reign,
A sledgehammer's brutality, a cover's strain,
The FBI's web, a fragile thread,
A desperate bid, to protect the life he's led.

The episode's tone, a delicate balance,
Between stunning vistas, and darker prance,
The cinematography's brush, a masterpiece true,
Yet some scenes, like a misplaced note, feel anew.

Andrea Bocelli's song, a haunting refrain,
A memory that clings, like a ghostly strain,
Sofia Milos, a star, that shines so bright,
Annalisa's complexity, a captivating sight.

Tony Sirico's Paulie, a comedic spark,
A joyous discovery, in a prostitute's dark,
A levity amidst, the darkness and the pain,
A character's growth, like a sunrise after rain.

Commendatori, a departure from the norm,
A refreshing break, from The Sopranos' form,
A world of contrasts, where darkness meets the light,
A story woven, like a rich and intricate night.

(Note: The review in its original form can be read here.)

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