The 5 Best Easter Eggs From ‘The Sopranos’ Chevrolet Super Bowl Commercial - Bliteoc

The 5 Best Easter Eggs From ‘The Sopranos’ Chevrolet Super Bowl Commercial

7 months ago 91

Fans of The Sopranos were gobsmacked to hear the familiar pulse of “Woke Up This Morning” (Alabama 3) kickoff the Super Bowl LVI’s Chevrolet commercial, then further delighted, then again aghast, to see Meadow Soprano (Jamie-Lynn Sigler) behind the wheel. She is driving from New York City back to New Jersey, as her father, Tony Soprano (the late James Gandolfini) does in the series’ opening sequence of the show. Meadow eventually pulls into the restaurant parking lot of Bahrs Landing in Highlands, a town on the New Jersey Shore, where her brother, AJ Soprano (Robert Iler), is waiting for her. They embrace tightly, without words; implicit is their bond as Soprano siblings and, it much feels like, fatherless ones. Here are the 5 best Easter Eggs from this emotional and artistically riveting, precisely one-minute long commercial.

1. The Chevy

Meadow drives a 2024 Silverado EV, the same make (Chevrolet) as her father’s car in his New York City to New Jersey journey. In Tony’s day, it was a 1999 Chevy Suburban. It makes sense that grown-up Meadow would have a car like her father’s; she is, in many ways, an upgraded version of Tony. Throughout the series, Meadow stands up to Tony, one of the only people who do, drawing boundaries between them that were premature for her age. Meadow saw her father, in part, as a child, which worked as a double entendre for them; Meadow, for all of her intelligence and clairvoyance, was a spoiled child and very spoiled adolescent before tightening her identity ship and seeing Tony, and her mother, Carmela Soprano (Edie Falco), as full spectrum humans, not only faulty parents. What Tony and Meadow have in common, Tony expresses, is an ability to see right through things. Now, here she is, living a socio-cultural Soprano upgrade she has made her own.

2. The lollipop

Tony lighting up his cigar after he goes through EZ Pass is replaced by Meadow sucking easily, determinedly, on a lolly. Tony lighting up his cigar always feels like a sigh of relief as he exits the city mob scene and returns to his North Caldwell home, to his Jersey milieu and crew, what he knows and runs well. Meadow’s lollipop is also a tender nod to her father’s sweet tooth, one of Tony’s most endearing traits. Who had dry eyes after he exercises and finds AJ watching TV, depressed as then-usual, and they end up laughing, bowls of ice cream overflowing and whipped cream spilling out their mouths?

3. Meadow’s Parking

When Meadow parks, she kills it. Harken back to the most anxious sequence of the series finale, as Meadow, already late to meet her family for dinner at Holsten’s Brookdale Confectionery, in Bloomfield, New Jersey, struggles to parallel park. In the meantime, a moving conversation takes place inside between Tony, Carmela, and AJ, where family tensions are at bay, Tony and Carmela are, at once, creased and at peace with each other, and AJ reminds his father that he told them to focus on the good times.

Once Meadow parks, she rushes towards the restaurant. As golden television’s quietly genius, divisive ending then goes, when we hear the door jingle, opened by Meadow, we assume, but Chase-magic means maybe not, and then the screen goes black. When she pulls into Bahrs Landing, in her eco-conscious vehicle, she does it smoothly, no hiccups nor curses uttered. And, then, we see AJ. He looks towards her with a wounded resignation replaced so fast by happiness to see his sister. This is a full-circle moment with Meadow showing up on time.

4. The Jersey Shore

We do not know where Meadow is going, but then we see the Jersey coast, that peaceful, social Atlantic spread inimitably “the Shore.” Her tidy arrival there recalls and juxtaposes Tony’s story of success. In Season Four, he buys a home in Sea Bright, at the northern tip of the coast. He tells the kids having a home at the Shore was a dream for him and Carmela. Tony makes a lot of money, but money is not always easy for him, as Season Six indicates with his gambling. Tony’s rigamarole predicates on stress, that cortisol he runs from and to since his mother raises him through withholding, weariness, and barely concealed rage alongside a husband who has panic attacks and commits murders. We do not know how successful Meadow is, nor at what (Did she become a high profile defense lawyer?), but judging from her jewelry, car, beautifully done hair and make-up, polished clothing, and, most of all, an air of focus, she is doing well.

5. The Stylized, Sexy, Ominous Editing of the Whole Damn Thing

The commercial might indicate that series creator David Chase is experimenting with what a revival could feel like, or perhaps the commercial is a confirmation of more Soprano storytelling (Focusing on the siblings? And, where is Carmela?). Either way, if the vibe feels familiar, you are right. The commercial was directed by Chase, along with The Sopranos’ series Director of Photography, Phil Abraham, who also directed the series’ opening sequence. Our déjà vu is, cleverly, not only stoked by seeing Meadow and AJ but in being reminded of the show’s elemental viscerality. In our minds, and our feelings, we are riding behind, sometimes alongside, Tony’s shoulders again. The commercial is a love letter to James Gandolfini. To his humbleness, and the partially incidental power that he, as an artist, activated and gave of himself to become Tony Soprano, a man with the bests and worsts of seasonal humanity.

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