But hey, in the history of this show even the minor characters on this program were so quirky, you wanted to know who/what/why... - the female tennis coach who apparently had lesbian designs of Adrianna - Vito's son who went goth - Livia's caretaker with the removable leg - "Jamal Ginsburg, the Hassidic Homeboy" - that female crime lord that sat in on one meeting (just the fact that she was a woman in a male-dominated profession...) - Hesch's young African-American girlfriend who died without a warning - that wimpy guy who fronted Visiting Day, a goofy emo band who was bankrolled by Adrianna and Chris -...and of course, everybody's favorite: the crazed Russian guy in the woods that Chris and Paulie had a hard time tracking down (a/k/a The Celebrated "Pine Barrens" Episode)
Not since Seinfeld have I seen a show where this many one-episode characters nearly upstaged the stars.
But, who cares?? Those characters obviously weren't major characters, and hardly "upstages the stars". I'm glad they didn't do some sappy reflection thing, where they run down all those random characters showing what happened to them, while some melancholy rock tune from the 70's plays in the background. They kept the plot tight and meaningful without cluttering it with extra bullshit, and that was a great choice.
cosign
but what about Hesch? They neglected a pretty major character that had been around since Season 1. and Artie. but whatever, yeah I guess I didn't NEED updates on them really.
one last thing i saw on another board which seems to make sense. The last scene is tony's point of view.. last thing he sees is meadow walk in, and the sudden black is him getting popped.
That's how I saw it too.
no way. if tony was gonna die, we would have seen it.
Yeah - look, I'm don't want to bash people on something as subjective as trying to interpret signs and symbols in a tv show but I have this crazy pet peeve about how viewers try to auger these conclusions when there's no actual evidence within the text itself to arrive at such a reading.
And on that note, everyone leaves the water cooler and gets back to work.
was that like a gift for her 21st birthday or something? "my little darling can have whatever she wants! after a pretty unremarkable Season 1 plot, I am gonna immortalize you by putting you in the final episode!"
was that like a gift for her 21st birthday or something? "my little darling can have whatever she wants! after a pretty unremarkable Season 1 plot, I am gonna immortalize you by putting you in the final episode!"
nepotism is a bitch. yes mad doggie.
I'll say this much though: Hunter's turn from being this party girl disaster into a med school student certainly played into the anxiety of Carmela over Meadow's career arc. I thought the scene didn't fit very well (but neither have a lot of scenes this season) but it did underline the general uneasiness that permeated the episode - both in terms of the viewers' experience as well as those felt by Tony and Carmela over what will happen to their children.
But hey, in the history of this show even the minor characters on this program were so quirky, you wanted to know who/what/why... - the female tennis coach who apparently had lesbian designs of Adrianna - Vito's son who went goth - Livia's caretaker with the removable leg - "Jamal Ginsburg, the Hassidic Homeboy" - that female crime lord that sat in on one meeting (just the fact that she was a woman in a male-dominated profession...) - Hesch's young African-American girlfriend who died without a warning - that wimpy guy who fronted Visiting Day, a goofy emo band who was bankrolled by Adrianna and Chris -...and of course, everybody's favorite: the crazed Russian guy in the woods that Chris and Paulie had a hard time tracking down (a/k/a The Celebrated "Pine Barrens" Episode)
Not since Seinfeld have I seen a show where this many one-episode characters nearly upstaged the stars.
But, who cares??
Me, myself, and I, that's who. Remember now, I said "nearly[/b] upstaged the stars." I'm not insisting that Massive Genius should have a spinoff or that Dr. Melfi's son should be introed as Meadow's new love interest, but I'll remember the both of them quicker than any of Greg Brady's cheerleader girlfriends or the members of Fred Flintstone's bowling team. Just the fact that these minor characters are remembered at all (at least among folks I know in the real world, can't speak for Soul Strut) lets us know how well the scriptwriters crafted these minor background players.
i loved the psychiatrist scene where tony cant help but talk about himself. great episode. i like the pov theory. it makes sense, with the bobby discussion about not seeing it happen.
fuckin great. if it sucked we'd have nothing to discuss.
What do I think? It doesn't really matter, the way Chase left it you can write your own ending. Whatever you want to happen, happened. Happy now? I thought it was great, by the way, I need to watch it a few more times.
Yes, the ambiguity can't be argued. It has made for some fun discussions. At least most of you guys aren't in the camp taht the ending "tainted the whole thing".
Chase I heard is doing an interview for NJ.com tomorrow so maybe we'll get some insight there.
And yes, rootless, I thought it was the funniest ep ever. I laughed out loud at least 10+ times. I guess you didn't think so?
was that like a gift for her 21st birthday or something? "my little darling can have whatever she wants! after a pretty unremarkable Season 1 plot, I am gonna immortalize you by putting you in the final episode!"
nepotism is a bitch. yes mad doggie.
I'll say this much though: Hunter's turn from being this party girl disaster into a med school student certainly played into the anxiety of Carmela over Meadow's career arc. I thought the scene didn't fit very well (but neither have a lot of scenes this season) but it did underline the general uneasiness that permeated the episode - both in terms of the viewers' experience as well as those felt by Tony and Carmela over what will happen to their children.
exactly. you can see a total mood change in carmela after she hears how well meadow is doing.
just a thought....but if all those people at the diner were from prior episodes ( i think this has been confirmed), isn't it possible that they were figments of tony's imaginiation?
how likely is it that 3 different groups of people would all be at the same place trying to take him out? you could argue that the ny families wanted him dead so they organized a massive attack (possibly on his entire family), that is feasible, but they wouldnt need to hunt down all of tony's enemies in order to make a hit. in fact, that idea would make it much easier for them to get caught.
I can't find any links to info about Nicky Leotardo being listed as a shown character in any prior episodes. If that's really what's what...that's a serious cop-out.
I"ll buy off on "Tony died" as soon as a plausible storyline is presented.
there are a number of possibilities, and i don't think finding one is really the purpose, but for argument's sake... how about butch and the NY crew took out tony in front of his family just like tony took out phil in front of his. one could dispute this and question why butchie would fuck up the peace after they finally reached it, but you never know what was discussed offscreen.
just a thought....but if all those people at the diner were from prior episodes ( i think this has been confirmed), isn't it possible that they were figments of tony's imaginiation?
how likely is it that 3 different groups of people would all be at the same place trying to take him out? you could argue that the ny families wanted him dead so they organized a massive attack (possibly on his entire family), that is feasible, but they wouldnt need to hunt down all of tony's enemies in order to make a hit. in fact, that idea would make it much easier for them to get caught.
Keith, I think folks are likely to drive themselves mad with trying to reach too much logic into the scene. The points you raise are perfectly reasonable - three sets of potential killers, really? - but I don't think it indciates either a dream sequence or the coordination of assassins. Mostly, to me, it reflects Chase having fun with the audience and that whole scene is laden with all kinds of meanings, none of which have to be completely symbolic nor rational. If, as David Bincolli, argues, the song choices this season mean anything, the scene closes out all these suggestions and hints Chase is throwing our way but in the end, they may signify everything or nothing.
All I know is that until Chase meets that quiet blackness, he'll be asked, "so is he or isn't he?"
Prediction: A Sopranos movie will take place BEFORE the timeline of the last season. That way, it doesn't have to answer the central question and brings back previously fallen characters. Big Pussy Lives!
was that like a gift for her 21st birthday or something? "my little darling can have whatever she wants! after a pretty unremarkable Season 1 plot, I am gonna immortalize you by putting you in the final episode!"
nepotism is a bitch. yes mad doggie.
I'll say this much though: Hunter's turn from being this party girl disaster into a med school student certainly played into the anxiety of Carmela over Meadow's career arc. I thought the scene didn't fit very well (but neither have a lot of scenes this season) but it did underline the general uneasiness that permeated the episode - both in terms of the viewers' experience as well as those felt by Tony and Carmela over what will happen to their children.
exactly. you can see a total mood change in carmela after she hears how well meadow is doing.
no doubt. the scene was not unnecessary, just Hunter's cameo. (almost) the same effect could have been had with Meadow causally mentioning Hunter's turnaround at dinner or something.
y'all are funny if you don't think Chase was flexing his muscle a little by putting his daughter in the last episode of the show. actually, given her long hiatus, I think he even intended for the audience to roll their eyes on some "oh brother he had to get his daughter in one last time." a subtle joke on his part IMO.
Prediction: A Sopranos movie will take place BEFORE the timeline of the last season. That way, it doesn't have to answer the central question and brings back previously fallen characters. Big Pussy Lives!
Or maybe the movie will start with Tony getting popped in the diner and go backwards from there, like Pulp Fiction or Memento or somethin'.
Comments
cosign
but what about Hesch? They neglected a pretty major character that had been around since Season 1. and Artie. but whatever, yeah I guess I didn't NEED updates on them really.
And on that note, everyone leaves the water cooler and gets back to work.
That's like 3 years too late...WTF? But ill probably still go as well.
well that explains it thank you.
pretty lame of him though.
was that like a gift for her 21st birthday or something? "my little darling can have whatever she wants! after a pretty unremarkable Season 1 plot, I am gonna immortalize you by putting you in the final episode!"
nepotism is a bitch. yes mad doggie.
I own all the DVD's........
But a movie? Damn.
I hear Mr. Big is gonna get wacked.
(no pun intended)
I'll say this much though: Hunter's turn from being this party girl disaster into a med school student certainly played into the anxiety of Carmela over Meadow's career arc. I thought the scene didn't fit very well (but neither have a lot of scenes this season) but it did underline the general uneasiness that permeated the episode - both in terms of the viewers' experience as well as those felt by Tony and Carmela over what will happen to their children.
Me, myself, and I, that's who. Remember now, I said "nearly[/b] upstaged the stars." I'm not insisting that Massive Genius should have a spinoff or that Dr. Melfi's son should be introed as Meadow's new love interest, but I'll remember the both of them quicker than any of Greg Brady's cheerleader girlfriends or the members of Fred Flintstone's bowling team. Just the fact that these minor characters are remembered at all (at least among folks I know in the real world, can't speak for Soul Strut) lets us know how well the scriptwriters crafted these minor background players.
fuckin great. if it sucked we'd have nothing to discuss.
Yes, the ambiguity can't be argued. It has made for some fun discussions. At least most of you guys aren't in the camp taht the ending "tainted the whole thing".
Chase I heard is doing an interview for NJ.com tomorrow so maybe we'll get some insight there.
And yes, rootless, I thought it was the funniest ep ever. I laughed out loud at least 10+ times. I guess you didn't think so?
exactly. you can see a total mood change in carmela after she hears how well meadow is doing.
vanilla fudge from the s/t album
how likely is it that 3 different groups of people would all be at the same place trying to take him out? you could argue that the ny families wanted him dead so they organized a massive attack (possibly on his entire family), that is feasible, but they wouldnt need to hunt down all of tony's enemies in order to make a hit. in fact, that idea would make it much easier for them to get caught.
Really. It sure didn't sound like that one to me. It sounded more modern I thought. I'm not arguing w/ a dude who programs the music though.
there are a number of possibilities, and i don't think finding one is really the purpose, but for argument's sake... how about butch and the NY crew took out tony in front of his family just like tony took out phil in front of his. one could dispute this and question why butchie would fuck up the peace after they finally reached it, but you never know what was discussed offscreen.
uh...please to confirm?
Ha ha, I give that review three and a half
it had some great lines, and yeah I laughed.
but nowhere near the funniest for me.
Keith,
I think folks are likely to drive themselves mad with trying to reach too much logic into the scene. The points you raise are perfectly reasonable - three sets of potential killers, really? - but I don't think it indciates either a dream sequence or the coordination of assassins. Mostly, to me, it reflects Chase having fun with the audience and that whole scene is laden with all kinds of meanings, none of which have to be completely symbolic nor rational. If, as David Bincolli, argues, the song choices this season mean anything, the scene closes out all these suggestions and hints Chase is throwing our way but in the end, they may signify everything or nothing.
All I know is that until Chase meets that quiet blackness, he'll be asked, "so is he or isn't he?"
Prediction: A Sopranos movie will take place BEFORE the timeline of the last season. That way, it doesn't have to answer the central question and brings back previously fallen characters. Big Pussy Lives!
no doubt. the scene was not unnecessary, just Hunter's cameo. (almost) the same effect could have been had with Meadow causally mentioning Hunter's turnaround at dinner or something.
y'all are funny if you don't think Chase was flexing his muscle a little by putting his daughter in the last episode of the show. actually, given her long hiatus, I think he even intended for the audience to roll their eyes on some "oh brother he had to get his daughter in one last time." a subtle joke on his part IMO.
paulie picking up the broom to whack the cat, and starts sweeping when tony comes in, that was hilarious
Or maybe the movie will start with Tony getting popped in the diner and go backwards from there, like Pulp Fiction or Memento or somethin'.
so are you gonna ask the Donald for some time off? (i might have butchered that line a bit)