‘The Sopranos’ Episode “College” Set the Bar for Modern TV

by

I remember when I first started watching The Sopranos, I almost gave up! The beginning felt a little slow, and I kept wondering if it was really worth my time. It was like a bad first date – I was ready to bail when suddenly, something happened that completely changed my mind. The first few episodes are pretty mild, but then you get to “College,” and wow – it’s often considered one of the very best episodes, right up there with “Pine Barrens.” That’s when the show really grabbed me.

The episode “College,” written by Emmy winner James Manos Jr., first aired on February 7, 1999, and dramatically altered the course of the series. TV Guide placed it second on their list of all-time greatest episodes (after Seinfeld‘s “The Contest”), and creator David Chase frequently highlights it as a personal favorite, praising both its quality and the enjoyable production process. This groundbreaking episode from Season 1 is best understood not for its impact on television as a whole, but for how it reshaped The Sopranos itself.

“College” Has Three Spectacular Plots


HBO

“College” is a visually stunning episode. The camerawork, with its clever editing and perspectives, is truly captivating. What’s even more remarkable is that it manages to weave together three compelling stories – each strong enough to be a full-length movie on its own. Viewers would likely enjoy a film about a daughter connecting with her criminal father, a gangster tracking down someone who betrayed him, or a gangster’s wife developing a connection with a preacher. This episode features all of these narratives, letting them unfold separately before bringing them together at key moments.

The episode begins with a serious talk between Tony and his daughter, Meadow. He’s taken her to Maine to look at colleges, but she’s about to ask him some incredibly tough questions – even tougher than anything he might face if he had to testify before a Senate committee, like Michael Corleone. She starts by asking why he didn’t finish college, and then, while they’re driving, she asks the big question: “Are you involved in the mafia?”

It came completely out of the blue, like a surprise attack. As Tony awkwardly avoids Meadow’s direct questions, she gives him that look – the one that clearly shows what she’s thinking. She seems to be silently saying, “Dad, I know what you do. Just be honest with me.” Eventually, Tony confesses, and in a surprising turn, Meadow admits she used methamphetamine to help her study for the SATs. What a moment! If the FBI had been listening, they would have been shocked.

The story takes a turn when Tony sees someone at a gas station who he thinks is Fabian “Febby” Petrulio, an old associate of the DiMeo crime family. Febby previously went into hiding as an FBI informant. Tony asks Christopher to check the car’s license plate, and they discover Febby is now going by the name “Fred Peters.” This starts a chase, as Tony juggles helping Meadow look at colleges with tracking Febby down.

Eventually, Febby senses a threat – someone like a ‘Tom’ lurking and wanting to destroy his happiness. Despite his caution, Tony manages to overcome him. The scene where Tony kills the ‘rat’ is shockingly violent for a ’90s TV show, clearly influenced by the death of Luca Brasi in The Godfather. Initially, HBO resisted showing this murder, worried it would make Tony unlikeable. However, David Chase successfully argued for its inclusion.

Okay, so Tony and Meadow are out of town, and you won’t believe who shows up on Carmela’s doorstep late at night – Father Phil! Just Carmela and A.J. are home, but A.J.’s at a friend’s. And let me tell you, this priest has a serious appetite. It’s pretty clear he’s always looking for a good meal, and Carmela’s cooking is his weakness. He basically admits it! As soon as he walks in, he’s practically begging for her baked ziti – seriously, doesn’t he preach about moderation? Tony, of course, isn’t fooled and hilariously nicknames him ‘Monsignor Jughead,’ which is a perfect nod to that Archie comic character who’s always thinking with his stomach. It’s a funny moment, but also a little unsettling.

It quickly becomes clear that Phil is attracted to the mob wife and wants to be with her. He almost gets the chance after they connect while watching a movie, but a sudden urge to use the bathroom ruins the moment. Poor Phil! He could really use a prayer – specifically, the part about resisting temptation.

“College” Ruggedizes the Show’s Three Best Characters


HBO

The Sopranos is primarily a family drama, though it features a lot of mafia storylines. The three most compelling characters are Tony, Carmela, and Meadow. Tony is the most insightful and powerful figure in the DiMeo crime family and the wider criminal world of New Jersey and New York. Carmela is the most engaging character when it comes to the show’s romantic relationships, and Meadow consistently makes more sensible choices than other young characters.

Before this film really gets going, none of these characters felt fully realized. We meet Tony, who’s clearly struggling with some serious anxiety – panic attacks, in fact, and he’s even in therapy, which doesn’t sit well with his family’s… let’s just say traditional values. He’s constantly being pressured by his mother and uncle, and honestly, for a lot of the beginning, he comes across as pretty helpless, unable to handle even small issues on his own.

This episode reveals a particularly cruel side of Tony’s character, a trait that becomes more apparent as the series goes on. His cold and effective handling of the situation with “Febby” foreshadows his approach to problems throughout the rest of the show.

Subscribe to the newsletter for Sopranos deep dives

Crave deeper context? Subscribe to the newsletter for thoughtful Sopranos analysis, character studies, cinematography breakdowns and essays that sharpen your appreciation of landmark TV moments and storytelling craft.

By subscribing, you agree to receive newsletter and marketing emails, and accept Valnet’s
Terms of Use
and
Privacy Policy
. You can unsubscribe anytime.

Carmela established a character type now common in shows featuring flawed heroes: the wife who’s both frustrating and strong-willed. Before the episode “College,” she largely played the role of a traditional, obedient mob wife. But the episode reveals she’ll fight for her own well-being and won’t be controlled by her intimidating husband. This character arc became a model for characters like Skyler in Breaking Bad and Wendy in Ozark, and many others.

The episode featured a fierce argument between Carmela and Tony, where they mirrored each other’s behavior – if he accused her of something, she’d retaliate in kind. While this isn’t an ideal marriage, it made for incredibly compelling television. It was no surprise when Edie Falco won an Emmy for her performance; she ultimately received a total of four Emmys for her work on the show.

Meadow’s scenes with her father in this episode are incredibly powerful and emotionally resonant – some of the best ever seen on TV. Throughout “College,” she undergoes a significant transformation, evolving from a character reminiscent of Mary Corleone into a confident, intelligent, and perceptive young woman. A particularly touching moment occurs when she observes Tony’s injured hand and realizes he isn’t telling the truth, but instead of confronting him, she simply tells him she loves him. He reciprocates, saying, “I love you too.”

After that point, Meadow represents success and forward-thinking values. She distinguishes herself from her brother by being diligent, establishing a fulfilling career, and consistently earning her parents’ admiration. Tony never feels the need to shield her, as Meadow consistently demonstrates good judgment. Her strong character is a key reason the HBO series remains so captivating.

Read More

2026-01-08 16:23