As I stated in my last blog entry, I loved the last ever episode of The Sopranos. I have not experienced this much vitriol about my opinion from other pop culture fans since the time I asserted that Crash was the worst Best Picture winner ever (and far inferior to Brokeback Mountain, I might add).

In my eyes, The Sopranos finale was creator David Chase’s big F YOU. Although it might seem strange to aim to piss off a loyal audience, keep in mind that this is the same man who made us wait for almost a year between each season. And we did. Patiently and quietly for the most part. (For what it’s worth, people seem to be bickering more about the Lost hiatus than they ever did about the agonizing lag between seasons of The Sopranos.) So I understand the outrage. We each dedicated eight years of our lives to a program that aired inconsistently, and were rewarded with a vague ending that left us with far more questions than answers.

Listen, Chase is not an accessible Hollywood type, nor is he one of those producers/writers who either reads or cares about viewer blogs and actual audience opinion. He made the show he wanted to make from start to finish, and we ate it up. And really, The Sopranos was of those rare series where major cliffhangers were not prominent features of season finales.

The Six Feet Under series finale set the bar very high. We were not expecting closure when that series ended, but were pleasantly surprised to be offered it in the form of a future flash forward. It was neat and clean, a far cry from the abrupt and heart-stopping ending to The Sopranos.

The expectations for The Sopranos series finale were astronomical, because characters we’d grown to love (despite the fact that they were cold-blooded murders and blatant philanderers) were being killed off one by one.  It seems that just about everyone wanted to see Tony either get indicted or die. Personally, I was all for the easier target, AJ. His storyline was intolerably grating this season (except for that phenomenal pool scene a few episodes ago).

Frankly, I thought that the comedic moments that permeated the series finale of The Sopranos were more unexpected than that last scene. I particularly enjoyed the fact that Phil Leotardo met his end in the very way he’d recently ordered the hit on Tony – a decapitation of sorts. And the quick transformation of the depressed, save-the-world-and-environment AJ into AJ the BMW-driving-movie-producer with not a worry in the world? Brilliant.

I am not defending the series finale of The Sopranos. I don’t need to or have to. But just as I have said about the first three seasons of Lost, we have been spoiled by absolutely stellar and high quality programming over the last few years. It is natural for the dedicated masses to hold their favorite shows to very high standards.

So if you still feel robbed, angry and/or empty after that finale, I recommend that you watch it again with all six seasons in mind. Regardless of how you initially felt about the last episode ever, if you are a true fan of The Sopranos, I know that you’ll remember and recognize the entire series as a very entertaining and satisfying show fueled by jaw-dropping performances and incredible scripts. 

If you fit one or more of the categories below, you will enjoy Knocked Up:

A. You have a sense of humor
B. You catch very topical pop culture references
C. You have slacker and/or stoner friends
D. You are a guy
E. You’ve had a baby
F. You know someone who has had a baby

(WHAT A) CAST

Katherine Heigl, who was so impressive that the phrase ‘Grey’s Anatomy‘ never popped into my head.

Seth Rogen, whose performance will give false hope to nerdy guys everywhere that they too can land such a lady. He’s kind of like Will Ferrell Lite, but much more subtle. Thankfully.

Paul Rudd, who is hysterical in almost everything he’s appeared in, finally plays a grown up with great success in this one.

Half the cast of (cancelled cult shows) Freaks & Geeks and Undeclared, several episodes of which were written by Knocked Up director Judd Apatow.

Half the cast of The Office in cameo appearances: Steve Carrell, playing himself. Darryl from the warehouse (Craig Robinson). And the temp (BJ Novak).

Leslie Mann, wife of director Apatow and real mother of the daughters in the film.
[POP CULTURE ASIDE: They met on the set of The Cable Guy, which he produced and she was in.]

Iris and Maude Apatow, the cutest onscreen kids I’ve seen in a long time. I don’t care about nepotism when it actually benefits a motion picture.

Harold Ramis, known forever as Egon Spengler from Ghostbusters but perfectly cast here as the equally hapless father to clueless son Rogen.

Joanna Kerns, with a saucy haircut that Maggie Seaver from Growing Pains would never attempt.

Kristen Wiig from Saturday Night Live, who stole the few scenes she was in.

Loudon Wainwright III: musician, actor and Apatow regular.

Alan Tudyk, who I’ll always think of as Steve the Pirate from Dodgeball and the patient with the accent in that crap Sandra Bullock rehab movie, 28 Days.

Ryan Seacrest, in a refreshingly funny cameo.