The Big Picture
The Sopranos
episode “D-Girl” explores Christopher’s struggle between his ambitions as a screenwriter and his loyalty to Tony, shedding light on his potential role within the mafia.
Christopher’s decision to remain in the mob highlights his maturity issues and foreshadows his downfall later in
The Sopranos
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The episode also delves into Tony’s existential crisis as he reaches out to help his troubled son, A.J., which shows his empathetic side.
Although the series had a seismic impact on the development of “prestige television” within the 21st century, The Sopranos contains more than a few references to classic works of crime cinema. The series takes place within a version of our reality where films like Goodfellas and The Godfather exist, and informs Tony Soprano’s (James Gandolfini) understanding of what a “made man” should look like. Although the running commentary on the depiction of mobsters within cinema added a touch of self-awareness to the series, The Sopranos explores the production of a fictional gangster movie in the episode “D-Girl.” While it is arguably one of the funniest installments in the series, “D-Girl” also provides important context on Tony’s relationship with his nephew, Christopher Moltisanti (Michael Imperioli).
The Sopranos
New Jersey mob boss Tony Soprano deals with personal and professional issues in his home and business life that affect his mental state, leading him to seek professional psychiatric counseling.
Release Date January 10, 1999
Creator David Chase
Main Genre Drama
Seasons 6
Studio HBO
Christopher Moltisanti Becomes a Screenwriter in ‘The Sopranos’ Episode, “D-Girl”
While the first season of The Sopranos had the responsibility of introducing the primary characters and exploring their life in the mafia, the second season was able to examine the shifting power dynamics within Tony’s family. As he attempts to wrestle power away from his manipulative Uncle Junior (Dominic Chianese), Tony begins to introduce Christopher to the responsibilities he may inherit should he ever become the new leader of the family. Unfortunately, Christopher’s erratic behavior suggests that he may not be suited for this position of power. In “D-Girl,” Christopher is forced to choose between his ambitions as a Hollywood screenwriter and his loyalties to Tony. Although screenwriting had always been a hobby for him, Christopher must consider which route will determine the rest of his life.
“D-Girl” follows Christopher’s involvement with the production of a mob-related movie after his cousin Greg (Dominic Fumusa) and his fiancée Amy (Alicia Witt) introduce him to Jon Favreau, who appears as himself in an amusing cameo. After Favreau notes the popularity of mafia films, Christopher realizes that his experiences with Tony could serve as the perfect “background research” for a crime movie. The episode invokes humor by comparing the sensationalized depiction of gangsters with reality, as Christopher finds himself impressed with the way that Hollywood has romanticized aspects of his lifestyle. Even though the film he works on has little in common with his actual life, Christopher finds himself in a position of power when the production crew looks to him for guidance.
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The Sopranos was often funnier than it was given credit for, and “D-Girl” draws amusing parallels between the Hollywood power structure and the mafia. Film sets and the mob involve larger-than-life, egocentric individuals whose ambitions often get the better of them; the episode is keen to compare the role of a director to a mafioso. Ironically, Christopher and Favreau are equally in awe of each other in “D-Girl.” While Christopher is impressed with the technical expertise that goes into putting together a film, Favreau is keen to note Christopher’s observations in order to improve the production’s accuracy. While having celebrity cameos was a novelty for The Sopranos, the appearances by Favreau, Sandra Bernhard, and Janeane Garofalo as themselves help ground the series in a recognizable version of reality.
“D-Girl” Foreshadows Christopher’s Downfall in ‘The Sopranos’
While the venture into Hollywood makes for an amusing subplot, Christopher’s decision to remain in the mob at the end of “D-Girl” indicates his loyalty to Tony. After Favreau steals his ideas and leaves for California, Christopher realizes that Hollywood is keen to absorb his talents and give him no credit. He begins to understand that he has spent his entire life preparing to step into Tony’s shoes, and he doesn’t need to entertain his notions of a fake mafia world when he has the real thing. Despite being one of The Sopranos’ most ruthless characters, Christopher’s dilemma in “D-Girl” shows how his frustrations with Tony’s leadership forced him to nearly change professions. Irritated by his boss’s continued string of insults, Christopher wonders if he might earn more respect if he was able to work in a creative field.
Although his firm decision to stick with Tony seemingly sets him up on a path of success, Christopher proves in “D-Girl” that he is not mature enough to be a leader. Christopher’s volatile relationship with his girlfriend, Adriana La Cerva (Drea de Matteo), suggests that he is not able to control his impulses, and is prone to making rash decisions without thinking them through fully. Although Tony begins to share more insight with Christopher in later seasons, “D-Girl” foreshadows the shocking conclusion to his story arc. Unable to suppress his drug addiction or absolve his abusive tendencies, Christopher’s notion of leadership ends before it has the chance to begin. “D-Girl” suggests that Hollywood may have been a better route for Christopher, as his delusions about his own abilities give him more in common with a fictional character.
“D-Girl” Explores Tony Sopranos’s Existentialism
Image via HBO
Although the majority of the episode’s humor comes from Christopher’s tumultuous experiences in the film industry, “D-Girl” also adds context to Tony’s ongoing existentialism crisis. As Tony continues to engage in helpful sessions with his therapist, Dr. Jennifer Melfi (Lorraine Bracco), he grows concerned that his son, A.J. (Robert Iller), has fallen victim to depression as well. A.J. has always been a troublesome child, but Tony begins to suspect that his latest series of misdeeds are a cry for help, and not just the acts of a rebellious teenager. Although the season includes some of Tony’s worst moments, seeing him reach out on his son’s behalf casts him in a surprisingly empathetic light.
By establishing the importance of loyalty within Tony’s family, “D-Girl” serves as the perfect episode for the second season’s biggest twist. Throughout the season, Tony begins to suspect that one of his closest allies has been secretly giving up information to the authorities, but it’s revealed that this betrayer is actually Pussy Bonpensiero (Vincent Pastore), a “made man” and one of Tony’s closest friends. Although the two characters don’t come to blows until the shocking season finale “Funhouse,” “D-Girl” foreshadows the twist by showing how Pussy helps Tony guide A.J. during his existential crisis. It’s a situation that reveals both characters’ vulnerabilities and makes the eventual conflict between them even more heartbreaking.
The Sopranos is available to stream on Max in the U.S.
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