The incarcerated Johnny Sack's cancer has deteriorated to the point that he has to breathe through a cannula, and is barely mobile. His doctor informs him that his cancer has spread throughout his body, and he has only a few months left to live. His condition worsens to the point that he is transferred to a jail infirmary in Missouri, and frequently has to spend most of his days bed-ridden. He encounters Warren Feldman, an oncologist who was imprisoned for murdering his wife, his aunt, and the mailman, and now serves as a prison trustee who acts as a nurse's aid. With Johnny's permission, Feldman takes a look at his numbers and gives him a second opinion, saying that Sacramoni might actually have a couple of years left to him. The two of them end up bonding and forming a friendship of sorts.
Sack also has his brother-in-law, Anthony, arrange insurance coverage for Ginny and Allegra after he dies. Johnny, concerned about his legacy, also asks Anthony what his reputation was on the street. Anthony replies that for the most part, it was good, but he also had a reputation for becoming bloodthirsty after becoming boss. Sack in turn angrily replies that few people can understand how stressful and thankless a job being a mob boss really is.
Agents Goddard and Harris pay a visit to Tony in his driveway. They ask him to give them information on any activity in Port Newark that may be related to Middle Eastern terrorism for their gratitude. Tony walks away from them to reject the offer. He takes out his anger on Carmela once he's back in the house.
Almost every still-living character attends the premiere of Chris' movie project, Cleaver. Chris does not give any credit to J.T. Dolan, whose participation as a writer had been coerced. Some of the Jersey mobsters find it entertaining. Carmela points out to Tony that the antagonist character, "Sally Boy" as played by Daniel Baldwin, is actually Chris' representation of Tony. A meaningful exchange of looks between Carmela and Rosalie confirms that Rosalie suspects it as well.
An after-party is held after the premiere. Larry Boy Barese is arrested for violating his parole. Phil informs Tony that Johnny Sack's health is worsening, and he is likely to die. Tony urges Phil to take over as boss of the New York family, hoping that it will stabilize relations between New Jersey and New York. But Phil declines for health reasons.
Carmela points out to Tony that "Cleaver" amounts to Chris' revenge fantasy against Tony. Tony starts to become suspicious. He asks Silvio questions about the movie. Silvio gives simple and non-committal answers, but it's obvious he has the same suspicions as Carmela and Rosalie.
Carmela tears into Chris for basing "Cleaver" on his revenge fantasy, saying she is disappointed in him. Chris outwardly denies any intentional similarities, but privately starts to worry about the implications should Tony come to that same conclusion. He visits J.T. Dolan and demands that he widely and publicly states that the love triangle and revenge themes in "Cleaver" were Dolan's own ideas. When Dolan initially refuses, Chris hits him over the head with his Humanitas Award and threatens to do worse if he doesn't comply. Reluctantly, Dolan seeks out Tony at the Bada Bing and claims that he based "Sally Boy" on Harry Brock from Born Yesterday. But Tony notices the bruise on Dolan's head and instantly figures out that Chris coerced Dolan into saying that "Sally Boy" was always Dolan's idea. Tony later watches Born Yesterday, and remains unconvinced by what Dolan told him.
Tony has another therapy session with Dr. Melfi. He feels hurt and betrayed by Chris now that he understands what has truly informed the creation of "Cleaver". He also feels Chris is ungrateful to him for having been a surrogate father figure.
As Johnny Sack's condition continues to deteriorate, Feldman notices that his cancer is unusually aggressive, and apologetically tells him that his first prognosis was probably right. At death's door, Johnny, only barely able to breathe on his own, hallucinates or sees visions of his mother, before he passes away in the morning surrounded by Ginny and his daughters.
Phil, Butchie, and Patty are holding a post-mortem 47th birthday for long-dead Billy Leotardo. Phil has a private discussion with Butchie. He blames his own perceived weakness for the murder of Gerry (murdered earlier in the episode at the order of Doc Santoro in a power play for NY mob leadership), as well as not properly avenging Billy against Tony Blundetto. He has now resolved to fully throw himself back into the Mafia power plays, and avenge any wrongs he perceives against his family.
The episode ends with the baptism of Chris' and Kelli's newborn baby girl. Chris and Tony stare each other down wearing smiles but then embrace.
Tropes:
- Actually Pretty Funny: Several of the main characters, especially Silvio, actually enjoy themselves during the movie.
- Afterlife Antechamber: It's implied that Johnny Sack saw his mother, moments before he too passes away onscreen.
- Alas, Poor Villain: For all the evil that Johnny Sack did in his life, it's hard not to feel for him and his family as his inevitable death by cancer closes in on him.
- All for Nothing:
- Johnny Sack feels this way about having undergone extensive chemo and radiation treatment, as well as diet changes, only to be doomed with a Lethal Diagnosis of terminal cancer.
- Phil Leotardo spent 20 years in prison for observing The Mafia code of never ratting out on other members of the crime family. But he feels that the loyalty was wasted on men he utterly despises, like Rusty Millio and Doc Santoro.
- As Himself: Daniel Baldwin, who takes on the role of the main antagonist in Chris' Cleaver movie.
- Blatant Lies: Chris forces J.T. Dolan to tell Tony that the Love Triangle and Revenge themes in Cleaver were Dolan's ideas. But Tony sees right through it.
- Brutal Honesty: Once Warren Feldman sees just how far the cancer has spread, he gives it straight without any bull to Johnny Sack.
- Bullet Time: The murder of Gerry Torciano (Phil's designated successor) is depicted in this fashion. Blood from Torciano's fatal wound hits Silvio in the face in slo-mo.
- Butt-Monkey: J.T. Dolan gets run through the ringers in this episode. First, Chris snubs him for a writing credit for Cleaver. Then Chris hits Dolan on the head with his own Humanitas Award to force him to tell Tony that the Love Triangle and Revenge themes in Cleaver were Dolan's ideas.
- The Chains of Commanding:
- Phil doesn't want to become boss of the New York family: "Obviously, healthwise, being boss is a young man's game."
- Johnny Sack asks his brother-in-law about his reputation on the street. Anthony replies that he developed a reputation for being The Caligula and Drunk with Power once he took over as boss. Sack replies that he wishes any of his detractors could try being boss themselves and that it's a "thankless job."
- Little Carmine also refuses the boss position when Tony pleads with him to take it. Carmine explains that he and his wife were worried enough about him getting murdered during the earlier Succession Crisis against Johnny Sack. He only wants a quiet life now and has no desire for the throne.
- Character Development combined with "Eureka!" Moment: Little Carmine explains to Tony that a symbolic dream about his father urging him to find happiness, and his wife pleading with him to stop participating in Mafia power plays, convinced him that family life was more important than being a mob boss.
- Coincidental Broadcast: An episode of the Geraldo Rivera show lampshades the Succession Crisis about to hit the New York family.
- Comically Missing the Point: The usually sharp Silvio misses Gerry's point about Phil's "heart giving out" actually meaning Phil not being up to accepting The Chains of Commanding.
- Continuity Nod:
- In what seems to be an Easter egg, in the climactic scene in Cleaver, just before Sally Boy is killed by Michael, there is a detailed camera shot of a car's rear-view mirror under which, along with the crucifix necklace, hangs an exact replica of the key chain Furio Giunta brought back from Italy for A.J. as a souvenir in "The Strong, Silent Type". Little Carmine explains to his daughter Alexandra that it represents "the sacred and the propane" (mistaking the common phrase "the sacred and the profane").
- Christopher's new NA sponsor reminds Christopher of what a poor condition of drug use relapse he was that time when he came into an NA meeting "with a woman," referring to Christopher and Julianna Skiff's affair in "Kaisha". which ended when they broke up and decided to attend an NA meeting.
- Carmela believes the character of Sally Boy had sex with the protagonist's fiancée in Cleaver because of Christopher's belief Tony had intercourse with Adriana La Cerva behind his back, which refers to "Irregular Around the Margins".
- When toasting the memory of Johnny "Sack," Paulie says, "Ride the painted pony, let the spinning wheel glide," which is a misquote of a line from the Blood, Sweat & Tears song "Spinning Wheel". This song appeared earlier as Muzak in "The Happy Wanderer" when Richie Aprile collects his vig from David Scatino.
- Crazy Jealous Guy: The thought that his wife was cheating on him spurred Warren Feldman's murder spree.
- Cut Himself Shaving: Tony notices the gash on J.T. Dolan's head from where Christopher assaulted him. Dolan claims that he hit his head on a cabinet.
- Damn, It Feels Good to Be a Gangster!: Little Carmine provides a Deconstruction. He explains that he and his wife were always worried about him getting murdered during the earlier Succession Crisis against Johnny Sack. He has no desire to leave his wife behind as "the wealthiest widow on Long Island".
- Double-Meaning Title:
- After being told that his cancer has advanced to stage IV, Johnny Sack correctly guesses there is no stage V.
- The title could also refer to the fifth stage of grief (acceptance), as Johnny Sack accepts his fate after the doctor gives him his diagnosis and prognosis.
- It could also refer to Cleaver itself when Chris' movie-making aspirations finally make their way to the big screen.
- It also refers to Little Carmine and Chris introducing Cleaver on the stage of the theater for the advance screening.
- It could also mean that Chris and Tony's relationship has reached a new and final stage, irrevocably damaged and past the point of no return.
- Due to the Dead:
- The Jersey mobsters toast Johnny Sack's memory once they learn of his passing.
- Phil holds a post-mortem 47th birthday party for his brother, Billy.
- Enemy Mine: Agents Goddard and Harris make a plea along these lines to Tony, to keep them appraised of any activity in Port Newark that is relevant to The War on Terror in exchange for their gratitude. Tony walks away from them, symbolically rejecting the offer (at least for now).
- Et Tu, Brute?: Dr. Melfi notices that Tony looks hurt after it fully sinks in for Tony that Cleaver is Chris' Power Fantasy against Tony, and an expression of Chris' bitter resentments towards Tony.
- Even Evil Has Loved Ones:
- What perhaps hurts Johnny Sack even more than the cancer itself is the thought of leaving behind Ginny and Allegra and watching them suffer emotionally when they visit him. Sack also makes insurance provisions for them on the assumption that he doesn't have much time left.
- Tony feels hurt once he learns what motivated Chris, whom he came to regard as a son, to produce Cleaver.
- Phil is still really torn up over Billy's death, and even holds a post-mortem 47th birthday party in his honor.
- Expy Coexistence: Daniel Baldwin's antagonist in Cleaver is obviously an Expy for Tony.
- Foreshadowing:
- Blanca is shown constantly nagging on A.J. and A.J. still doing his utmost to please her ...
- In particular, the episode makes a point of focusing on Blanca during the premiere when the "Sally Boy" tells the Korean mistress that Michael isn't good enough for her and "What you need is a man".
- Friendly Enemies: Mobsters from both sides of the Hudson River celebrate the premiere of Cleaver during the after-party, including taking pictures together. That includes mobsters who, even during the party itself, are vying for control of the New York family in another Succession Crisis about to come.
- Hidden Depths: Little Carmine has frequently been dismissed as The Ditz and Inadequate Inheritor by many other characters during seasons 5 and 6. But he ends up providing an insightful and penetrating Deconstruction of life in The Mafia that even Tony finds uncomfortable to face head-on.
- Improvised Weapon: Chris bonks J.T. Dolan on the head with his own Humanitas Award.
- Lethal Diagnosis: Johnny Sack hears nothing but bad news from his doctor about his condition and is forced to face imminent death.
- Like a Son to Me: Tony admits to Dr. Melfi that he felt this way towards Chris since Chris was an infant.
- Living Lie Detector: Tony to Dr. Melfi, "I've been coming here for years now. I know too much about the subconscious."
- Malaproper: Little Carmine never fails to disappoint. "The sacred and the propane".
- Meaningful Look: Rosalie gives one to Carmela in the theater, and Carmela her head. They both realize that Cleaver is pure Power Fantasy.
- Never My Fault: Chris snubs J.T. Dolan for a writing credit for Cleaver. But he has no trouble passing the buck onto Dolan once he's alerted that both Carmela and Tony are aware of the Power Fantasy that animates the movie.
- Odd Friendship: Johnny Sack and Warren Feldman end up developing one.
- Once Done, Never Forgotten: Everything else being equal, Warren Feldman could throw himself right back into being an effective doctor. But his reputation as a multiple murderer precedes him, and nobody but Johnny Sack has regard for anything he has to say. Even Johnny Sack's brother-in-law, Anthony, makes a comparison to O. J. Simpson.
- Pet the Dog: The Federal Marshalls, who in previous episodes have been total Jerkasses to Johnny Sack, start to treat him with care and kindness when they see just how much he's suffering from cancer and hear that he only has a few months to live.
- Politically Incorrect Villain: Tony refers to his Polish maid as a "pollack".
- Pop-Cultural Osmosis Failure:
- When J.T. Dolan talks about Born Yesterday, Paulie confuses Judy Holliday with Billie Holiday.
- Phil Leotardo asks children at his late brother's birthday commemoration about Leonardo da Vinci. One of the kids incorrectly guesses he was the author of The Da Vinci Code.
- Power Fantasy: Carmela is right when she points out to Tony that Cleaver amounts to Chris' revenge fantasy against Tony over Adriana, and other matters.
- Put on a Bus: Meadow mentions breaking up with Finn in passing. We never see him or hear from him again.
- "The Reason You Suck" Speech: Carmela gives one to Chris for basing "Cleaver" solely on his own private Power Fantasy against Tony.
- Reasonable Authority Figure: Tony tries to insinuate himself into the question of whoever will take over the New York family now that Johnny Sack is obviously terminally ill. But his motivations are genuinely about bringing about stability for the New York family, which in turn means more stable business for New Jersey.
- Reformed, but Rejected: Chris becoming a Recovered Addict presents a dilemma for him. Hanging out at places like the Bing provides the temptation of alcohol, always threatening to throw him Off the Wagon. But not hanging out at the Bing costs him the social esteem of his peers, like Paulie.
- Revealing Hug: Tony and Chris give each other a seemingly warm embrace at the baptism of the latter's daughter, but both their faces are full of hurt and resentment as they do so, showing the growing rift between them.
- Selective Obliviousness: Initially almost everyone besides Tony realizes that the Sally Boy character in Cleaver is an Expy for Tony, and that the movie itself is Chris' Power Fantasy against Tony. Carmela tries to point it out to him in the theater. Silvio looks over at Tony in a bemused way, wondering if Tony himself is actually seeing what should be obvious. Tony even tries to deny it when Carmela tries to bring it up again afterward. It is when Carmela becomes more assertive that Tony's obliviousness unravels, and he realizes what was plain to everyone else.
- Shout-Out: When Silvio is dining with Gerardo "Gerry" Torciano at a restaurant, a high-pitched sound is heard just as Gerry is shot, referencing The Godfather when the loud sound is heard just before Michael shoots Sollozzo and McClusky.
- Show Within a Show: The premiere of Chris' pet movie project, Cleaver, is one of the foci for this episode.
- Speak Ill of the Dead: Johnny Sack tells Warren Feldman and another inmate that Carmine Sr. refused to authorize a hit on a made man who earned it, only for the reason that the made man was a good earner. But Carmine Sr. authorized the hit once the made man stopped bringing it in. Could also amount to Sack's highly-filtered recollection and Continuity Nod to when Carmine refused to authorize a hit on Ralph Cifaretto for making the fat joke about Ginny.
- Spotting the Thread: Tony notices the bruise on J.T. Dolan's head. He figures out almost instantly that Chris gave Dolan a Tap on the Head to coerce him into telling Tony that the "Sally Boy" character was Dolan's idea all along.
- Staring Contest: The last scene of the episode has Chris and Tony staring each other down, with Stepford Smiles to boot.
- The Starscream: Doc Santoro has his hit men shoot Gerry to death, in order to make his grab at the boss position.
- Succession Crisis: Phil Passed The Torch to Gerry during the previous episode to anoint him as the new boss. Doc Santoro has Gerry killed to make his own grab for being the Boss. But the Crisis isn't over just yet.
- Suspiciously Apropos Music: "Evidently Chickentown" by John Cooper Clarke is playing as Phil declares ""No more Butchie. No more of this" and as Chris and Tony are staring each other down at the baptism. The lyrics of the song are filled with the word "bloody". We're hardly done with the bloodshed in this series.
- Then Let Me Be Evil: Phil had previously been entertaining entering quiet retirement and living by a Heel Realization courtesy of Tony. As the episode nears its end he blames Gerry's murder, and the failure to properly avenge Billy's death by torturing Tony Blundetto to death, on his own "weakness". He resolves to fully throw himself back into The Mafia game, and take revenge against those he perceived as wronging him and his family.
- Title Drop: The doctor, while giving the Lethal Diagnosis to Johnny Sack, indicates that there's no "Stage 5" for his cancer.
- Toilet Humor: Tony, "Meat packers? I'm a happily married man".
- The Topic of Cancer: Johnny Sack is shown to be deteriorating more and more as cancer overtakes his body. He looks a hollow shell of himself having to breathe through a cannula and barely mobile, then he's completely bed-ridden and suffering more than ever, and then he eventually dies surrounded by his family who is in emotional agony over the whole thing.
- A True Story in My Universe: Almost everybody, Tony included, figures out that Cleaver not only includes Chris' Power Fantasy but is also an adaptation of how he perceived a Love Triangle between himself, Tony, and Adriana.
- Unfortunate Names: Phil relates that his grandfather had his family name changed, by mistake by a bureaucrat at Ellis Island, from "Leonardo" to "Leotardo".
- Ungrateful Bastard:
- Chris refuses to give J.T. Dolan even a writing credit for Cleaver.
- Tony feels that Chris is being one, as Tony saw himself as a Parental Substitute for Chris after Chris' father died.
- Unwitting Instigator of Doom: Carmela drives the point home to Tony that Cleaver is Chris' Power Fantasy against Tony. The relationship between Chris and Tony takes a nosedive from this episode onwards, and we all know how that ends...Would the revelation by itself be enough? Hard to say. It can definitely be seen as a contributor though.
- We All Die Someday:
- Really driven home by Johnny Sack's ordeal. The fact that he now resumes smoking indicates a resignation to the inevitable and deriving every last bit of enjoyment he can before he goes.
- Phil and Tony briefly share a Commonality Connection during the after-party as both came within an inch of dying from their respective medical emergencies.
- Wham Line: Phil to Butchie, "No more Butchie. No more of this."
- You Do Not Want To Know: Tony asks questions of Silvio as to what he thought of Cleaver. Silvio won't look Tony in the eye and gives simple non-committal answers. But it's obvious that he sees Daniel Baldwin's "Sally Boy" as an Expy of Tony, and the movie itself as Chris' Power Fantasy against Tony. And Tony picks up on what Silvio is really thinking.
- Your Days Are Numbered: Johnny Sack, suffering from terminal cancer, struggles more and more with this realization, as do his friends and loved ones.
