D-Girl — Season 2 Episode Guide

D-Girl (S02E07) — Anthony continues to cause problems at home, while Pussy's divided loyalties cause him greater anguish. — Anthony continues to cause problems at home, while Pussy's divided loyalties cause him greater anguish.

Plot

The season opener finds Tony Soprano navigating a landscape that feels increasingly hostile, both domestically and professionally. The episode opens with a surreal sequence involving Meadow's new boyfriend, who seems to be struggling with his own identity, setting a tone of disorientation that permeates the rest of the night. Tony attempts to manage his family dynamics before heading into the workday, but the central conflict quickly shifts to Christopher Moltisanti. Christopher is desperate to get a role in a movie, and he has arranged for a meeting with an actress who previously starred in a film directed by Robert De Niro. The scene plays out as a high-stakes social encounter where Christopher tries too hard to impress her. He attempts to be charming, but his desperation is palpable. He ends the night by telling her that he really liked her. Her response, which has long been a subject of discussion among fans due to the lack of subtitles at the time, is delivered in a way that suggests she finds him annoying or perhaps just sees through his posturing. The interaction highlights Christopher's inability to navigate adult relationships with dignity; he is still trapped in the mindset of a young actor seeking validation rather than building genuine connections. Tony spends much of the episode dealing with the fallout from his recent therapy sessions and the growing tension between him and his associates. He visits Dr. Melfi, where they discuss the nature of Tony's anger and how it manifests in his personal and professional life. The doctor probes into whether Tony is becoming a different person as he ages, questioning if the "old Tony" is disappearing. This conversation foreshadows the character's internal struggle with relevance and respect within the mob hierarchy. The business side of the Soprano organization faces scrutiny when an FBI agent named Livia Soprano (no relation to Meadow) visits Tony at his home. She claims she is there to discuss a potential partnership or merger between their organizations, but her true intent is to gather intelligence on Tony's criminal activities. The episode builds tension as Tony realizes that the woman he initially trusts is actually feeding information to the feds. This revelation adds a layer of paranoia to the narrative, suggesting that Tony's circle of trust is shrinking and that he must be more careful about who he allows into his inner sanctum. The episode concludes with a series of events that underscore the theme of isolation. Tony returns home to find that his world has changed in subtle but significant ways. The lines between friend and foe have become blurred, and the threat of federal intervention looms large over every interaction. As the night winds down, the audience is left with a sense of unease about the future stability of Tony's empire and his relationships within it.

Credits

James Gandolfini as Tony Soprano Lorraine Bracco as Dr. Jennifer Melfi Aida Turturro as Carmela Soprano Jamie-Lynn Sigler as Meadow Soprano Michael Imperioli as Christopher Moltisanti Edie Falco as Adriana La Cerva Steven Van Zandt as Silvio Dante Matt Casella as Paulie Walnuts Robert Iler as Junior Soprano Tony Danza as Christopher's Girlfriend (Movie Actress) Frank Vincent as Corrado Soprano Sr.

Music

* "The Great Gig in the Sky" by Pink Floyd * "Sailing" by Cruising * "I'm So Lonesome I Could Cry" by Hank Williams * "Blue Moon" by Fats Domino * "Summertime" by Billie Holiday * "Fly Me to the Moon" by Frank Sinatra * "Let It Be" by The Beatles * "Yesterday" by The Beatles * "My Way" by Frank Sinatra * "The Way You Look Tonight" by Frank Sinatra * "Moon River" by Audrey Hepburn * "La Vie en Rose" by Edith Piaf * "Fly Me to the Moon" by Tony Bennett * "I've Got You Under My Skin" by Frank Sinatra * "My Girl" by The Temptations * "What a Wonderful World" by Louis Armstrong * "Happy Days Are Here Again" by Glenn Miller * "The Way You Look Tonight" by Dean Martin * "Moon River" by Andy Williams * "Fly Me to the Moon" by Nat King Cole * "My Way" by Ray Charles * "I've Got You Under My Skin" by Elvis Presley * "What a Wonderful World" by Harry Belafonte * "Happy Days Are Here Again" by Benny Goodman * "The Way You Look Tonight" by Ella Fitzgerald * "Moon River" by Barbra Streisand * "Fly Me to the Moon" by Dean Martin * "My Way" by Elvis Presley * "I've Got You Under My Skin" by Frank Sinatra * "What a Wonderful World" by Louis Armstrong * "Happy Days Are Here Again" by Glenn Miller * "The Way You Look Tonight" by Dean Martin * "Moon River" by Audrey Hepburn * "Fly Me to the Moon" by Tony Bennett * "My Way" by Frank Sinatra * "I've Got You Under My Skin" by Elvis Presley * "What a Wonderful World" by Harry Belafonte * "Happy Days Are Here Again" by Benny Goodman * "The Way You Look Tonight" by Ella Fitzgerald * "Moon River" by Barbra Streisand

Analysis

D-Girl serves as a crucial pivot point in the series, marking the moment where Tony Soprano transitions from a relatively safe position to one of active surveillance and paranoia. The episode masterfully deconstructs the theme of trust, which is central to organized crime families but equally vital in any high-stakes environment. When Livia visits Tony at his home, the scene acts as a narrative trapdoor. It forces the audience—and Tony—to realize that even those closest to him may be compromised. This betrayal of trust echoes throughout the series, suggesting that in the world of mobsters, loyalty is often a performance rather than a reality. The subplot involving Christopher and the movie actress offers a microcosm of his own trajectory. His inability to connect with the actress mirrors his inability to connect with Tony on an emotional level; both are trapped in roles they feel obligated to play. The awkwardness of their interaction underscores Christopher's desperation for acceptance in Hollywood, a dream that constantly threatens to overshadow his