Sopranos
- Thread starter Stephen
- Start date
I TELL YA THE FUNNIEST PART WAS TONYS WIFE ACTING LIKE ADRIANNA RAN AWAY
TONY WHERE CAN SHE BE NO ONE HAS HEARD FROM HER FOR A YEAR
DUHHHHHHHHHHHHHHHHHH WHICH WAY DID THEY GO BOSS:+wink-2+
TONY WHERE CAN SHE BE NO ONE HAS HEARD FROM HER FOR A YEAR
DUHHHHHHHHHHHHHHHHHH WHICH WAY DID THEY GO BOSS:+wink-2+
The General
Another Day, Another Dollar
Re: Sopranos
"Sopranos" signoff marks end of era.
LOS ANGELES (Hollywood Reporter) - When HBO introduced Tony Soprano to audiences in 1999, he was mashing a cigar between his thin lips and gazing intently at a family of ducks that had taken up residence in his swimming pool.
That pilot episode saw the patriarch -- swathed in a white robe, with swatches of hair perked up on the sides of his head like ears -- slowly wading into the water, unable to avert his gaze.
In this tranquil scene, Soprano was not the mobster who would go on to shoot his friend on a boat then dump the body overboard, cut off his cousin's head or even smother his beloved nephew following a car crash. He was, in his awed and delighted way, just like us.
Both sociopathic killer and troubled human being, Tony (James Gandolfini) has confounded and defined his audience in a way no other character on television has.
Both he and the show -- whose Sunday series finale is appropriately titled "Made in America" -- have spent six seasons in a kind of elevated televised consciousness.
The series occupied a rare place where a show could be written with a literary vision, from a creator who didn't much care for his antihero, then telecast on a network that didn't have to worry about advertisers, focus groups or censors of any stripe. It broke rules, changed and enforced stereotypes and told complex stories.
NOVEL APPROACH
"('Sopranos') has a novelistic sweep," the Paley Center for Media curator Ron Simon explains. "Each character is defined multidimensionally. Instead of going back to drama's theater roots, as TV did in the 1950s, it employs many of the techniques of, say, Charles Dickens and revitalizes them.
"This has been an interior journey from the beginning. Viewers took that trip with a bona fide sociopath, defying television's time-honored prohibition against unlikable protagonists. In that regard, (creator/executive producer David Chase) created perhaps the darkest series of all time."
And one of the most seminal -- not just for its content, but for the way it altered the perception of cable television's potential power.
In addition to several firsts in the Emmys -- the show; its actors, most notably Emmy and Golden Globe winners Gandolfini and Edie Falco; and writers have all been honored over the years -- "Sopranos" was the first series to break through as both a critical and ratings hit on cable, as executive producer (and current Paramount Pictures CEO) Brad Grey notes.
"It opened a lot of doors that others have gone through," he says.
That the series happened at all was the result of the right creator and the right network connecting at the right time.
Chase was a journeyman writer-producer with 20 years in the network trenches. By the time he'd signed with Brillstein-Grey Entertainment in 1995 and was asked to come up with an original series, Chase recalls, "I wanted to do something different, and I didn't care whether it sold or not."
He got what he wanted. After every major network turned down "Sopranos" (the pilot was shot two years before the series went into production), HBO finally bought the show about the put-upon mob boss who goes into therapy and has to wrestle with inner demons.
Despite the difficulties in finding a home for the show, Chase ended up with the ideal outlet for his lofty ambitions, and he was given more or less free reign to develop his vision of the show. Paired with Grey, "Sopranos" was almost an immediate hit.
"'The Sopranos' has been the joy of my career," Grey says. "I believe it's the greatest adult TV show of all time, and it's all due to David's work in creating and nurturing it all the way through. I'm fortunate even to have been able to participate in it in a small way."
BREAKING THE RULES
The series' success is traceable to its disdain for television convention, Grey says.
"There were very few rules other than to try to honor the behavior of these people," he says. "At first, I remember having all of these conversations about what would make someone likable or not likable. They were able to have characters who murder people and make them likable, which defied all kinds of television rules. 'The Sopranos' had a historic sort of creative freedom to explore real motivation."
All of that dark motivation has been good for HBO's bottom line. Although the network keeps specific revenue figures confidential, it's fair to say that "Sopranos" helped pad HBO's subscriber base while simultaneously elevating its status as a premium-quality network.
It also helped launch the network's reputation as a destination for talent looking for cutting-edge original series work.
"It said, 'Hey, we're here. We're open for business," HBO entertainment president Carolyn Strauss says. "We can help you achieve what you want creatively."
Adds Chase, "I think it legitimized the business model (insofar as) somebody actually made a lot of money off of it."
PIECE OF THE ACTION
Helping contribute to the profit was HBO's decision to release Season 1 on DVD in December 2000, just before Season 2 debuted on the network -- a strategy that other networks have unashamedly mimicked in order to build momentum for new season premieres.
Incidentally, "The Sopranos: The Complete First Season" remains in Amazon's top 100 best-selling DVDs and currently retails for $39.99.
"That's where the show really broke out," recalls executive producer Ilene Landress. "Now, everybody's back catalog is on DVD, but when we first came out, it was pretty revolutionary."
The success on DVD also was noteworthy because HBO wasn't certain how the profane, violent show would fare in syndication.
But in early 2005, A&E decided it would find out, snagging rights at a reported $2.5 million per episode. This January, the show premiered as the most-watched off-network series debut in cable history.
According to A&E Network executive vice president Robert DeBitetto, "Sopranos" -- combined with the network's purchase of CBS' "CSI: Miami" reruns -- has lifted A&E from the top 20 to the top five of cable outlets.
More importantly, he says, "'The Sopranos' sells at a significant premium compared to our primetime CPM. Maybe 60 percent above. It is our most-coveted inventory on the network."
TELEVISION LEGACY
What will linger long after the financials have faded, however, is the show's legacy. According to Strauss, "It's opened the doors for us to have all kinds of great storytellers and great characters," but she stops short of giving the show credit for later complex HBO dramas such as "Deadwood," "The Wire" or "Rome."
However, there's no doubt that "The Sopranos" has pushed TV drama forward. "We were in awe of it," says executive producer Matthew Weiner (who joined the series in 2004) of the shop talk among his fellow screen scribes.
Yet few of the inevitable imitations have achieved the level of success that "Sopranos" maintained throughout its run.
The early part of the millennium brought a tidal wave of pilot pitches that somehow tried to riff on the series, but few if any lived past a season (though Showtime's "Brotherhood" is now in its second).
The concept of anchoring a show around an anti-hero has had better luck, particularly in the form of Michael Chiklis' Vic Mackey on FX Network's "The Shield," Denis Leary's bad-boy fireman Tommy Gavin on that network's "Rescue Me" and, to a lesser extent, Hugh Laurie's eponymous crank on Fox's medical drama "House."
Notes "Sopranos" executive producer Terence Winter, "I remember watching the pilot of 'The Shield' (where) Chiklis turns around and blows a hole in the head of another cop, and I remember thinking you could absolutely trace that type of thing right back to 'The Sopranos."'
Winter says nonpremium networks just can't compete when faced with the red-tape bureaucracy of standards and practices and notes and advertiser concerns, most of which go a long way toward preventing broadcast TV from inheriting "Sopranos' " creative genes.
"They live in fear of offending anybody. If one guy writes in and says, 'I'm never going to buy Ivory soap again because you had a joke in your show about albinos and I'm an albino,' you will get a memo the next day: 'No more albino jokes.' They don't have the courage of their convictions," Winter says.
Although the series ends "elegantly and probably exactly the way it should," Grey says, he doesn't close the door on the idea that it could re-emerge as a feature film.
That won't happen anytime soon, most likely. Tony might get out of the pool with the ducks, but the waters will take time to recede.
"It's going to take a few years' separation from this series, a chance to really think about its impact," Simon explains. "That's the one thing about perfection. It sort of brings things to a close."
washingtonpost.com
"Sopranos" signoff marks end of era.
LOS ANGELES (Hollywood Reporter) - When HBO introduced Tony Soprano to audiences in 1999, he was mashing a cigar between his thin lips and gazing intently at a family of ducks that had taken up residence in his swimming pool.
That pilot episode saw the patriarch -- swathed in a white robe, with swatches of hair perked up on the sides of his head like ears -- slowly wading into the water, unable to avert his gaze.
In this tranquil scene, Soprano was not the mobster who would go on to shoot his friend on a boat then dump the body overboard, cut off his cousin's head or even smother his beloved nephew following a car crash. He was, in his awed and delighted way, just like us.
Both sociopathic killer and troubled human being, Tony (James Gandolfini) has confounded and defined his audience in a way no other character on television has.
Both he and the show -- whose Sunday series finale is appropriately titled "Made in America" -- have spent six seasons in a kind of elevated televised consciousness.
The series occupied a rare place where a show could be written with a literary vision, from a creator who didn't much care for his antihero, then telecast on a network that didn't have to worry about advertisers, focus groups or censors of any stripe. It broke rules, changed and enforced stereotypes and told complex stories.
NOVEL APPROACH
"('Sopranos') has a novelistic sweep," the Paley Center for Media curator Ron Simon explains. "Each character is defined multidimensionally. Instead of going back to drama's theater roots, as TV did in the 1950s, it employs many of the techniques of, say, Charles Dickens and revitalizes them.
"This has been an interior journey from the beginning. Viewers took that trip with a bona fide sociopath, defying television's time-honored prohibition against unlikable protagonists. In that regard, (creator/executive producer David Chase) created perhaps the darkest series of all time."
And one of the most seminal -- not just for its content, but for the way it altered the perception of cable television's potential power.
In addition to several firsts in the Emmys -- the show; its actors, most notably Emmy and Golden Globe winners Gandolfini and Edie Falco; and writers have all been honored over the years -- "Sopranos" was the first series to break through as both a critical and ratings hit on cable, as executive producer (and current Paramount Pictures CEO) Brad Grey notes.
"It opened a lot of doors that others have gone through," he says.
That the series happened at all was the result of the right creator and the right network connecting at the right time.
Chase was a journeyman writer-producer with 20 years in the network trenches. By the time he'd signed with Brillstein-Grey Entertainment in 1995 and was asked to come up with an original series, Chase recalls, "I wanted to do something different, and I didn't care whether it sold or not."
He got what he wanted. After every major network turned down "Sopranos" (the pilot was shot two years before the series went into production), HBO finally bought the show about the put-upon mob boss who goes into therapy and has to wrestle with inner demons.
Despite the difficulties in finding a home for the show, Chase ended up with the ideal outlet for his lofty ambitions, and he was given more or less free reign to develop his vision of the show. Paired with Grey, "Sopranos" was almost an immediate hit.
"'The Sopranos' has been the joy of my career," Grey says. "I believe it's the greatest adult TV show of all time, and it's all due to David's work in creating and nurturing it all the way through. I'm fortunate even to have been able to participate in it in a small way."
BREAKING THE RULES
The series' success is traceable to its disdain for television convention, Grey says.
"There were very few rules other than to try to honor the behavior of these people," he says. "At first, I remember having all of these conversations about what would make someone likable or not likable. They were able to have characters who murder people and make them likable, which defied all kinds of television rules. 'The Sopranos' had a historic sort of creative freedom to explore real motivation."
All of that dark motivation has been good for HBO's bottom line. Although the network keeps specific revenue figures confidential, it's fair to say that "Sopranos" helped pad HBO's subscriber base while simultaneously elevating its status as a premium-quality network.
It also helped launch the network's reputation as a destination for talent looking for cutting-edge original series work.
"It said, 'Hey, we're here. We're open for business," HBO entertainment president Carolyn Strauss says. "We can help you achieve what you want creatively."
Adds Chase, "I think it legitimized the business model (insofar as) somebody actually made a lot of money off of it."
PIECE OF THE ACTION
Helping contribute to the profit was HBO's decision to release Season 1 on DVD in December 2000, just before Season 2 debuted on the network -- a strategy that other networks have unashamedly mimicked in order to build momentum for new season premieres.
Incidentally, "The Sopranos: The Complete First Season" remains in Amazon's top 100 best-selling DVDs and currently retails for $39.99.
"That's where the show really broke out," recalls executive producer Ilene Landress. "Now, everybody's back catalog is on DVD, but when we first came out, it was pretty revolutionary."
The success on DVD also was noteworthy because HBO wasn't certain how the profane, violent show would fare in syndication.
But in early 2005, A&E decided it would find out, snagging rights at a reported $2.5 million per episode. This January, the show premiered as the most-watched off-network series debut in cable history.
According to A&E Network executive vice president Robert DeBitetto, "Sopranos" -- combined with the network's purchase of CBS' "CSI: Miami" reruns -- has lifted A&E from the top 20 to the top five of cable outlets.
More importantly, he says, "'The Sopranos' sells at a significant premium compared to our primetime CPM. Maybe 60 percent above. It is our most-coveted inventory on the network."
TELEVISION LEGACY
What will linger long after the financials have faded, however, is the show's legacy. According to Strauss, "It's opened the doors for us to have all kinds of great storytellers and great characters," but she stops short of giving the show credit for later complex HBO dramas such as "Deadwood," "The Wire" or "Rome."
However, there's no doubt that "The Sopranos" has pushed TV drama forward. "We were in awe of it," says executive producer Matthew Weiner (who joined the series in 2004) of the shop talk among his fellow screen scribes.
Yet few of the inevitable imitations have achieved the level of success that "Sopranos" maintained throughout its run.
The early part of the millennium brought a tidal wave of pilot pitches that somehow tried to riff on the series, but few if any lived past a season (though Showtime's "Brotherhood" is now in its second).
The concept of anchoring a show around an anti-hero has had better luck, particularly in the form of Michael Chiklis' Vic Mackey on FX Network's "The Shield," Denis Leary's bad-boy fireman Tommy Gavin on that network's "Rescue Me" and, to a lesser extent, Hugh Laurie's eponymous crank on Fox's medical drama "House."
Notes "Sopranos" executive producer Terence Winter, "I remember watching the pilot of 'The Shield' (where) Chiklis turns around and blows a hole in the head of another cop, and I remember thinking you could absolutely trace that type of thing right back to 'The Sopranos."'
Winter says nonpremium networks just can't compete when faced with the red-tape bureaucracy of standards and practices and notes and advertiser concerns, most of which go a long way toward preventing broadcast TV from inheriting "Sopranos' " creative genes.
"They live in fear of offending anybody. If one guy writes in and says, 'I'm never going to buy Ivory soap again because you had a joke in your show about albinos and I'm an albino,' you will get a memo the next day: 'No more albino jokes.' They don't have the courage of their convictions," Winter says.
Although the series ends "elegantly and probably exactly the way it should," Grey says, he doesn't close the door on the idea that it could re-emerge as a feature film.
That won't happen anytime soon, most likely. Tony might get out of the pool with the ducks, but the waters will take time to recede.
"It's going to take a few years' separation from this series, a chance to really think about its impact," Simon explains. "That's the one thing about perfection. It sort of brings things to a close."
washingtonpost.com
Re: Sopranos
IVE HEARD THAT TONY WAKES AND REALIZES THAT IT WAS ALL A DREAM!!!:doh1 :doh1 :doh1 HES NOT EVEN IN THE MOB! BUT ACUTALLY.......LIVES IN VIRGINA... IS A FORMER PSYCHIATRIST AND NOW OWNS AN OFFSHORE WAGERING WEBSITE!!!!
WHICH IS WAYYYYYY BETER THAN BEING A MOB BOSS!!!
IVE HEARD THAT TONY WAKES AND REALIZES THAT IT WAS ALL A DREAM!!!:doh1 :doh1 :doh1 HES NOT EVEN IN THE MOB! BUT ACUTALLY.......LIVES IN VIRGINA... IS A FORMER PSYCHIATRIST AND NOW OWNS AN OFFSHORE WAGERING WEBSITE!!!!
WHICH IS WAYYYYYY BETER THAN BEING A MOB BOSS!!!
wrigley
2
Re: Sopranos
I have that feeling to could be a who shot JR type ending and you will need to go see the movie to see the real conclusion to the series.
I have that feeling to could be a who shot JR type ending and you will need to go see the movie to see the real conclusion to the series.
munson15
I want winners...
Mr Fury
2
Re: Sopranos
Phil got a bullet. I guess the ending leaves you wondering if those
guys were undercover feds. If they were mafia Tony would be dead
already.
I guess what I take from it is no matter what happens the mafia
continues to live.
Not sure how I would have liked to see it ended. I was glad that
Phil got a bullet. I guess the ending leaves you wondering if those
guys were undercover feds. If they were mafia Tony would be dead
already.
I guess what I take from it is no matter what happens the mafia
continues to live.
wrigley
2
Johnny Detroit
EOG Senior Member
Re: Sopranos
the cat had tony wacked to avenge christopher.
brilliant writing by chase.
no one thought about a cat doing it.
just brilliant.
the cat had tony wacked to avenge christopher.
brilliant writing by chase.
no one thought about a cat doing it.
just brilliant.
Re: Sopranos
<TABLE class=tborder id=post759805 cellSpacing=0 cellPadding=3 width="100%" align=center border=0><TBODY><TR><TD class=thead style="BORDER-RIGHT: #2b295e 0px solid; BORDER-TOP: #2b295e 1px solid; FONT-WEIGHT: normal; BORDER-LEFT: #2b295e 1px solid; BORDER-BOTTOM: #2b295e 1px solid">
06-10-07, 09:03 PM </TD><TD class=thead style="BORDER-RIGHT: #2b295e 1px solid; BORDER-TOP: #2b295e 1px solid; FONT-WEIGHT: normal; BORDER-LEFT: #2b295e 0px solid; BORDER-BOTTOM: #2b295e 1px solid" align=right> #13 (permalink) </TD></TR><TR vAlign=top><TD class=alt2 style="BORDER-RIGHT: #2b295e 1px solid; BORDER-TOP: #2b295e 0px solid; BORDER-LEFT: #2b295e 1px solid; BORDER-BOTTOM: #2b295e 0px solid" width=175>d ray<SCRIPT type=text/javascript> vbmenu_register("postmenu_759805", true); </SCRIPT>
I don't blame you.
Join Date: Aug 22, 2006
Location: Wisconsin
Posts: 1,221
</TD><TD class=alt1 id=td_post_759805 style="BORDER-RIGHT: #2b295e 1px solid">
Re: Sopranos
<HR style="COLOR: #2b295e" SIZE=1>i'm a huge sopranos fan and enjoyed the last episode.
</TD></TR></TBODY></TABLE>
I HAVE NOT MISSED ONE SHOW EVER.
WHAT PART OF THIS SHOW DID YOU LIKE AGAIN?
AND THE ENDING.
WTF WAS THAT? I HAVE BEEN WATCHING THIS SHOW FOR YEARS AND I GET THAT SHIT FOR A FINALE.
UNFUCKING REAL.:+clueless
<TABLE class=tborder id=post759805 cellSpacing=0 cellPadding=3 width="100%" align=center border=0><TBODY><TR><TD class=thead style="BORDER-RIGHT: #2b295e 0px solid; BORDER-TOP: #2b295e 1px solid; FONT-WEIGHT: normal; BORDER-LEFT: #2b295e 1px solid; BORDER-BOTTOM: #2b295e 1px solid">
06-10-07, 09:03 PM </TD><TD class=thead style="BORDER-RIGHT: #2b295e 1px solid; BORDER-TOP: #2b295e 1px solid; FONT-WEIGHT: normal; BORDER-LEFT: #2b295e 0px solid; BORDER-BOTTOM: #2b295e 1px solid" align=right> #13 (permalink) </TD></TR><TR vAlign=top><TD class=alt2 style="BORDER-RIGHT: #2b295e 1px solid; BORDER-TOP: #2b295e 0px solid; BORDER-LEFT: #2b295e 1px solid; BORDER-BOTTOM: #2b295e 0px solid" width=175>d ray<SCRIPT type=text/javascript> vbmenu_register("postmenu_759805", true); </SCRIPT> I don't blame you.
Join Date: Aug 22, 2006
Location: Wisconsin
Posts: 1,221
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Re: Sopranos <HR style="COLOR: #2b295e" SIZE=1>i'm a huge sopranos fan and enjoyed the last episode.
</TD></TR></TBODY></TABLE>
I HAVE NOT MISSED ONE SHOW EVER.
WHAT PART OF THIS SHOW DID YOU LIKE AGAIN?
AND THE ENDING.
WTF WAS THAT? I HAVE BEEN WATCHING THIS SHOW FOR YEARS AND I GET THAT SHIT FOR A FINALE.
UNFUCKING REAL.:+clueless
dirty
EOG Master
Re: Sopranos
I agree.. A great show and ending.... You knew he could not have closure with it no matter what Chase and the actors said in the interviews.... He probably wanted to but he just couldn't.... Means too much to him...
I waited and watched the last 2 episodes tonight and one after the other, man it was great...
IMO Tony is alive, because the Cockeyed fucker that was Phil's right hand Knew Phil was wrong for not ending the war and then he hung up on him. That is why He had the sitdown with Tony and Carmine and promised they would call off the dogs. If it was not a Joint Hit on Phil from the NY Crew and Tony then after Phil gets clipped they go back into Hiding...that didn't happen... The last half of this season was Great and written Brilliantly... Made you think and use your Mind for a change instead of all this Bullshit where everything is easy to read and spelled out for you on the screen.. Who the fuck wants to watch something you can figure out halfway thru it... The ending meant one thing...The Soprano's will be talked about for years and then they will do a Movie... Also I still think Paulie had something to do with the Families patching things up, because remember he forged Alliances with Johnny Sac and Carmine a couple of years ago when he was pissed at Tony....Lots of theories to go around.... But one thing I am certain of is Both Families Had Phil Taken out... Notice you couldn't see who the Driver was after he got clipped.... I think it was one of the NY crew members...If it would have been a Soprano crew, then you would have seen who it was... And in Mob tradition, to keep the heat off of them from the other NY families they didn't clip their own Boss.... they had the NJ crew do it....
I agree.. A great show and ending.... You knew he could not have closure with it no matter what Chase and the actors said in the interviews.... He probably wanted to but he just couldn't.... Means too much to him...
I waited and watched the last 2 episodes tonight and one after the other, man it was great...
IMO Tony is alive, because the Cockeyed fucker that was Phil's right hand Knew Phil was wrong for not ending the war and then he hung up on him. That is why He had the sitdown with Tony and Carmine and promised they would call off the dogs. If it was not a Joint Hit on Phil from the NY Crew and Tony then after Phil gets clipped they go back into Hiding...that didn't happen... The last half of this season was Great and written Brilliantly... Made you think and use your Mind for a change instead of all this Bullshit where everything is easy to read and spelled out for you on the screen.. Who the fuck wants to watch something you can figure out halfway thru it... The ending meant one thing...The Soprano's will be talked about for years and then they will do a Movie... Also I still think Paulie had something to do with the Families patching things up, because remember he forged Alliances with Johnny Sac and Carmine a couple of years ago when he was pissed at Tony....Lots of theories to go around.... But one thing I am certain of is Both Families Had Phil Taken out... Notice you couldn't see who the Driver was after he got clipped.... I think it was one of the NY crew members...If it would have been a Soprano crew, then you would have seen who it was... And in Mob tradition, to keep the heat off of them from the other NY families they didn't clip their own Boss.... they had the NJ crew do it....
roseman
EOG Dedicated
Re: Sopranos
My expectations were high after the last couple episodes were great. I was disappointed it didnt have a bigger bang, but he set everything up and even closed the loop with Jr. 2 years til a movie hits. Never say never, look at the chicks from sex and the city, they caved and are doing it.
My expectations were high after the last couple episodes were great. I was disappointed it didnt have a bigger bang, but he set everything up and even closed the loop with Jr. 2 years til a movie hits. Never say never, look at the chicks from sex and the city, they caved and are doing it.
dirty
EOG Master
Re: Sopranos
COMMENTARY
'Sopranos' ends with last blast of brilliance
By JILL VEJNOSKA
The Atlanta Journal-Constitution
Published on: 06/12/2007 No disrespect intended, but ... youse guys are nuts.
Yes, you, the ones going on and on Monday about feeling cheated or "disrespected." By a fictional television show, of all things. And by HBO, which aired it, and which you are now threatening to get even with by never, ever paying for any of its programming again.
<!--endtext--><!--endclickprintinclude--><table align="left" border="0" cellpadding="2" cellspacing="0" width="175"><tbody><tr><td>
WILL HART /HBO
</td></tr><tr><td class="caption">Tony Soprano (James Gandolfini), Carmela (Edie Falco) and A.J. Soprano (Robert Iler) again showed the strength and fragility of family ties in the HBO show's finale Sunday.
</td></tr><tr><td>
Craig Blankenhorn/HBO
</td></tr><tr><td class="caption">Mortality cast dark shadows on Tony's visit to the hospital room of the critically wounded Silvio (Steven Van Zandt).
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• Channel Serf: All due respect: 'Sopranos' ends in the dark
• Photos: Sopranos' farewell party
</td></tr></tbody></table></td></tr></tbody></table></td></tr></tbody></table><!--startclickprintinclude--><!--begintext--> Let me make sure I have this right: You're furious about how "The Sopranos" ended. "John From Cincinnati," the insufferably self-important and stupid "surf noir" drama (whatever the heck that means) that debuted immediately after it on HBO, you're fine with. But "The Sopranos" somehow betrayed you.
Like I said, nuts.
Sunday's "Sopranos" finale was much more than one fascinating hour of television. It was one of the best endings to a TV series ever, period. There, I said it. Stick a gun to my head, crush my noggin under an SUV tire Phil Leotardo-style, and I'll proclaim it again: One of the Best. Endings. Ever.
What's that you say? That it didn't really end at all, instead cutting instantly, wordlessly, to a black screen at the precise moment we all just knew everything was gonna come down. Either Meadow was going to get hit by a car crossing the street to where the Soprano family had gathered to share onion rings in a cozy diner. Or that shifty-eyed dude in the baseball cap was going to come out of the men's room, guns blazing Michael Corleone-style, and pop Tony between the eyes. Or the FBI was going to swoop in and place the family in witness protection — all except for mopey A.J., who was already too boring to live anymore anonymously, no matter where he went.
I'm sure I'm not the only person who simultaneously leapt for my TV and cursed the cable company when I thought the signal had failed in the last minute of the show. But unlike many "Sopranos" loyalists, I don't think series creator David Chase was thumbing his nose at us with this nonending ending. More like gently tweaking us for becoming so dependent on television and scornful of it at the same time (how much Paris Hilton coverage did you pretend not to watch last week?). Not to mention how he rewarded us with a completely unexpected twist at a time when — thanks to the instant, on-demand informational era we now live in — we thought nothing could possibly take us by surprise anymore.
And here's a news flash for everyone whining about how Sunday's episode didn't measure up to other beloved series' pat finales: Nothing is ever as good as you remember it. Gas has always cost too much, kids have always listened to crazy music, and the "MASH" sendoff wasn't that much better just because we knew what was going to happen to all the major characters afterwards. Real life rarely ties things up with nice, neat bows, so why should "The Sopranos" have done so?
For an episode in which nothing supposedly happened, it was impossible to tear your eyes away from the screen or to push back from the edge of your seat. Every moment, every gesture seemed fraught with tension and impending doom.
How convinced was I that Tony was either going to get whacked by Phil's guys or stung by the Feds? I actually started to suspect that stray cat that kept showing up everywhere of working undercover for someone!
It all recalled, in a beautifully symmetrical way, the first line in the first episode of this final season: Awakened in the early morning hours by pounding on their door by what turned out to be law enforcement agents, Carmela turned to Tony and blurted with a mixture of fear and resignation: "Is this it?"
Is this it, we kept wondering throughout Sunday's tense, comical hour? And, when things suddenly went black at the end, we blathered in disbelief "Is that it? Is it really over?"
Of course it's not. That's the cynical view (or maybe it's the hopeful one) of folks who point out how perfectly Chase has positioned things for a continuation of the "Sopranos" saga, possibly on the big screen.
That may well be true, but I think Chase also had something else in mind by leaving us with such a lingering sense of uncertainty. Terrorism showed up late on "The Sopranos," which debuted in 1999, but like some shadowy new crime family creeping onto the old-time gangsters' turf, its presence was increasingly and ominously felt. By series end, A.J. was talking about joining the Army to fight al-Qaida, and the FBI agent who'd started out trying to catch Tony in acts of organized crime had moved on to hunting terrorists.
Watching that final "Sopranos" scene, set over onion rings in a throwback-era diner, it was entirely possible to think everything would turn out OK — and impossible not to be convinced that at any moment, all that could change in ways too horrible to imagine. The place was full of familiar faces and unknown ones, people of all ages, sex and race. Forget the bad guys. Who even knew who the good guys were anymore?
"The Sopranos" was always about family: Tony's colorful, dysfunctional, but ultimately closely bonded mob family. And the similar one he went home to every (well, most) nights.
Watching the finale — which was titled "Made in America" — you got the feeling this was about yet another big, anxious family uncomfortably coexisting in the year 2007. It was about all of us living in America, not sure when or if the end is coming, and hoping everything will turn out OK.
Is this it?
What more could anyone have asked for from a fictional television show
'Sopranos' ends with last blast of brilliance | AccessAtlanta
COMMENTARY
'Sopranos' ends with last blast of brilliance
By JILL VEJNOSKA
The Atlanta Journal-Constitution
Published on: 06/12/2007 No disrespect intended, but ... youse guys are nuts.
Yes, you, the ones going on and on Monday about feeling cheated or "disrespected." By a fictional television show, of all things. And by HBO, which aired it, and which you are now threatening to get even with by never, ever paying for any of its programming again.
<!--endtext--><!--endclickprintinclude--><table align="left" border="0" cellpadding="2" cellspacing="0" width="175"><tbody><tr><td>
</td></tr><tr><td class="caption">Tony Soprano (James Gandolfini), Carmela (Edie Falco) and A.J. Soprano (Robert Iler) again showed the strength and fragility of family ties in the HBO show's finale Sunday.
</td></tr><tr><td>
</td></tr><tr><td class="caption">Mortality cast dark shadows on Tony's visit to the hospital room of the critically wounded Silvio (Steven Van Zandt).
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</td></tr></tbody></table></td></tr></tbody></table></td></tr></tbody></table><!--startclickprintinclude--><!--begintext--> Let me make sure I have this right: You're furious about how "The Sopranos" ended. "John From Cincinnati," the insufferably self-important and stupid "surf noir" drama (whatever the heck that means) that debuted immediately after it on HBO, you're fine with. But "The Sopranos" somehow betrayed you.
Like I said, nuts.
Sunday's "Sopranos" finale was much more than one fascinating hour of television. It was one of the best endings to a TV series ever, period. There, I said it. Stick a gun to my head, crush my noggin under an SUV tire Phil Leotardo-style, and I'll proclaim it again: One of the Best. Endings. Ever.
What's that you say? That it didn't really end at all, instead cutting instantly, wordlessly, to a black screen at the precise moment we all just knew everything was gonna come down. Either Meadow was going to get hit by a car crossing the street to where the Soprano family had gathered to share onion rings in a cozy diner. Or that shifty-eyed dude in the baseball cap was going to come out of the men's room, guns blazing Michael Corleone-style, and pop Tony between the eyes. Or the FBI was going to swoop in and place the family in witness protection — all except for mopey A.J., who was already too boring to live anymore anonymously, no matter where he went.
I'm sure I'm not the only person who simultaneously leapt for my TV and cursed the cable company when I thought the signal had failed in the last minute of the show. But unlike many "Sopranos" loyalists, I don't think series creator David Chase was thumbing his nose at us with this nonending ending. More like gently tweaking us for becoming so dependent on television and scornful of it at the same time (how much Paris Hilton coverage did you pretend not to watch last week?). Not to mention how he rewarded us with a completely unexpected twist at a time when — thanks to the instant, on-demand informational era we now live in — we thought nothing could possibly take us by surprise anymore.
And here's a news flash for everyone whining about how Sunday's episode didn't measure up to other beloved series' pat finales: Nothing is ever as good as you remember it. Gas has always cost too much, kids have always listened to crazy music, and the "MASH" sendoff wasn't that much better just because we knew what was going to happen to all the major characters afterwards. Real life rarely ties things up with nice, neat bows, so why should "The Sopranos" have done so?
For an episode in which nothing supposedly happened, it was impossible to tear your eyes away from the screen or to push back from the edge of your seat. Every moment, every gesture seemed fraught with tension and impending doom.
How convinced was I that Tony was either going to get whacked by Phil's guys or stung by the Feds? I actually started to suspect that stray cat that kept showing up everywhere of working undercover for someone!
It all recalled, in a beautifully symmetrical way, the first line in the first episode of this final season: Awakened in the early morning hours by pounding on their door by what turned out to be law enforcement agents, Carmela turned to Tony and blurted with a mixture of fear and resignation: "Is this it?"
Is this it, we kept wondering throughout Sunday's tense, comical hour? And, when things suddenly went black at the end, we blathered in disbelief "Is that it? Is it really over?"
Of course it's not. That's the cynical view (or maybe it's the hopeful one) of folks who point out how perfectly Chase has positioned things for a continuation of the "Sopranos" saga, possibly on the big screen.
That may well be true, but I think Chase also had something else in mind by leaving us with such a lingering sense of uncertainty. Terrorism showed up late on "The Sopranos," which debuted in 1999, but like some shadowy new crime family creeping onto the old-time gangsters' turf, its presence was increasingly and ominously felt. By series end, A.J. was talking about joining the Army to fight al-Qaida, and the FBI agent who'd started out trying to catch Tony in acts of organized crime had moved on to hunting terrorists.
Watching that final "Sopranos" scene, set over onion rings in a throwback-era diner, it was entirely possible to think everything would turn out OK — and impossible not to be convinced that at any moment, all that could change in ways too horrible to imagine. The place was full of familiar faces and unknown ones, people of all ages, sex and race. Forget the bad guys. Who even knew who the good guys were anymore?
"The Sopranos" was always about family: Tony's colorful, dysfunctional, but ultimately closely bonded mob family. And the similar one he went home to every (well, most) nights.
Watching the finale — which was titled "Made in America" — you got the feeling this was about yet another big, anxious family uncomfortably coexisting in the year 2007. It was about all of us living in America, not sure when or if the end is coming, and hoping everything will turn out OK.
Is this it?
What more could anyone have asked for from a fictional television show
'Sopranos' ends with last blast of brilliance | AccessAtlanta
gridironguy
EOG Veteran
Re: Sopranos
In the movie, the opening scene will be Meadows walking in and the family sitting there. Tony smiles, the Journey song is still playing.. then i have no idea what happens next..
In the movie, the opening scene will be Meadows walking in and the family sitting there. Tony smiles, the Journey song is still playing.. then i have no idea what happens next..
d ray
EOG Dedicated
Mr Fury
2
Re: Sopranos
What happened to Tony?
He was killed....
in fact, the ending was genius if you've paid attention to the show or are just a fan of well developed well thought out plots that all tie together and have the memory of a champ to remember it all
the ending was simple, he got killed, but let me tell you why and
Explain in detail... There was 3 people in the room total who had a
Reason to kill Tony.....
the two black guys, they were paid before to kill Tony but he was only shot in the ear, this was in one of the earlier seasons,
also in the earlier seasons, the trucker who was sitting at the bar
stool, who the camera kept focusing in on, is Nicky Leotardo, Phil
Leotardos nephew, he was in one of the early season episodes where Phil and Tony have a sit down....
heres where the genius comes in....
When Tony's walking in the diner, you see the camera focus on him, then it switches to his perspective, and you see him looking at the booth he's gonna sit at...
then the camera switches back to Tony's face, then it once again
Switches to his perspective, and it shows him looking at the door and looking at the people come in..... Every time the door opens the Chimes sound....... Carmela walks in, Chimes, AJ walks in Chimes, this when Meadows parallel parking, still trying to get inside the restaurant....
at this point the camera switches back to the trucker who goes in the bathroom......
Then it goes to a scene where meadow finally parks and starts running in the diner....
The doors about to open, Tony looks up....
And No Chimes......................
No Music............
Everything just goes black...............
In one of the early episodes of the Sopranos, Tony's talking with Bobby about what it must feel like to die......
Bobby says "at the end, you probably don't hear anything, everything just goes black"
part of that was revisited in the second to last episode during the
Last seconds of it, when Tony's about to go to sleep and he flashes back to the memory of him and Bobby on the boat... "You probably don't hear anything everything just goes black"
So in the end, the Journey song don't stop believing was playing, the chimes on the door sounded but when Meadow came in, the guy in the trucker hat came out and killed Tony...
its the reason you didn't hear, or see anything when he died.... it was from his perspective.... and everything went black, then the credits rolled
So, there you go. Now you have it.
What happened to Tony?
He was killed....
in fact, the ending was genius if you've paid attention to the show or are just a fan of well developed well thought out plots that all tie together and have the memory of a champ to remember it all
the ending was simple, he got killed, but let me tell you why and
Explain in detail... There was 3 people in the room total who had a
Reason to kill Tony.....
the two black guys, they were paid before to kill Tony but he was only shot in the ear, this was in one of the earlier seasons,
also in the earlier seasons, the trucker who was sitting at the bar
stool, who the camera kept focusing in on, is Nicky Leotardo, Phil
Leotardos nephew, he was in one of the early season episodes where Phil and Tony have a sit down....
heres where the genius comes in....
When Tony's walking in the diner, you see the camera focus on him, then it switches to his perspective, and you see him looking at the booth he's gonna sit at...
then the camera switches back to Tony's face, then it once again
Switches to his perspective, and it shows him looking at the door and looking at the people come in..... Every time the door opens the Chimes sound....... Carmela walks in, Chimes, AJ walks in Chimes, this when Meadows parallel parking, still trying to get inside the restaurant....
at this point the camera switches back to the trucker who goes in the bathroom......
Then it goes to a scene where meadow finally parks and starts running in the diner....
The doors about to open, Tony looks up....
And No Chimes......................
No Music............
Everything just goes black...............
In one of the early episodes of the Sopranos, Tony's talking with Bobby about what it must feel like to die......
Bobby says "at the end, you probably don't hear anything, everything just goes black"
part of that was revisited in the second to last episode during the
Last seconds of it, when Tony's about to go to sleep and he flashes back to the memory of him and Bobby on the boat... "You probably don't hear anything everything just goes black"
So in the end, the Journey song don't stop believing was playing, the chimes on the door sounded but when Meadow came in, the guy in the trucker hat came out and killed Tony...
its the reason you didn't hear, or see anything when he died.... it was from his perspective.... and everything went black, then the credits rolled
So, there you go. Now you have it.
Johnny Detroit
EOG Senior Member
Re: Sopranos
mr fury, nothing personal but you are one of the countless victims of one of the best internet hoaxes in a while.
1st, any fan of the sopranos would know, one of the black guys was killed in that episode and i believe the other might of got rammed into a car.
there was no boy scouts in the bobby scene. just two kids and their dad.
the guy in the booth and the mystery bathroom guy were not in former episodes.
the mystery guy was actually a local pizza shop owner who got his moment of fame.
i must of had 20 people email me this nonsense today.
anyone who believes this probably already sent the money to nigeria for the lottery they won.
mr fury, nothing personal but you are one of the countless victims of one of the best internet hoaxes in a while.
1st, any fan of the sopranos would know, one of the black guys was killed in that episode and i believe the other might of got rammed into a car.
there was no boy scouts in the bobby scene. just two kids and their dad.
the guy in the booth and the mystery bathroom guy were not in former episodes.
the mystery guy was actually a local pizza shop owner who got his moment of fame.
i must of had 20 people email me this nonsense today.
anyone who believes this probably already sent the money to nigeria for the lottery they won.
Johnny Detroit
EOG Senior Member
Re: Sopranos
After eight years and 86 episodes, the ultimate fate of fictional New Jersey crime boss Tony Soprano might be determined by a pizza shop owner from Penndel.
Paolo Colandrea, owner of Paul's Penndel Pizza, last month filmed a potentially pivotal scene for the final episode of “The Sopranos,” the groundbreaking HBO mob drama that says goodbye at 9 Sunday night.
Colandrea, 47, describes his role as simply “mystery man,” a guy who walks into a diner and locks eyes ominously with Tony, who's sitting at a table with wife, Carmela, and son, A.J. Colandrea sits down at the counter, stares at Tony again, gets up to go the bathroom, and ...
He can't say what happens next. But even if he could, it might not mean a thing.
“Sopranos” creator David Chase reportedly filmed three different endings to ensure secrecy. Colandrea, who spent 18 hours on the set one day and 10 hours two weeks later, doesn't even know if his scene will appear.
“I don't know. Nobody knows,” the charming Italian said while sitting in the restaurant he's owned since emigrating from Naples in 1978. “They keep it so closed, not even the cast knows all that's going to happen. I can assume, but I don't know.”
Colandrea, who doesn't have any lines, filmed his scene at Holsten's Diner in Bloomfield, N.J. Off camera, he said he mingled with series stars James Gandolfini (Tony) and Edie Falco (Carmela) and met Robert Iler (A.J.) and Chase. During his first day of filming, he shared a sushi dinner with Gandolfini, Falco and the crew.
“He's such a nice guy, just an unbelievable person,” Colandrea says of Gandolfini. “And Edie Falco, she's the sweetest woman you ever want to meet.”
Colandrea, who earned more than $3,000 (before taxes) for his role, also saw Jamie-Lynn Sigler (Meadow) on the set but didn't talk to her.
“She's so gorgeous,” he said. “She has bodyguards with her, but I don't blame her.”
So how does a pizza shop owner with no previous acting experience land a role on the final episode of the most acclaimed program in cable television history?
<table class="adwrap" align="left" cellpadding="0" cellspacing="0"><tbody><tr><td><script language="JavaScript"> DisplayAds ('Middle');</script>
</td></tr></tbody></table>Right place, right face, really.
Earlier this spring, Eileen DeNobile, owner of the Lawrenceville, N.J.-based Noble Talent Management, was looking for an Italian man, about 6 feet tall, between the ages of 30 and 50, for a part on “The Sopranos.” She stopped into Penndel Pizza for dinner one evening, saw the framed photo of Colandrea pouring a glass of wine and thought she might have found her man.
“That's authentic Italian all the way,” said DeNobile, who already knew Colandrea casually. “He certainly looks the part. Plus, we were looking for a person easy to work with, and he's got a great personality, very bubbly.”
DeNobile sent the photo and a recommendation to HBO, and Colandrea was invited to audition in New York City, along with 29 others. The audition consisted of performing the actual role as it appeared in the script.
A few days later, Chase called Colandrea and asked him to come to North Jersey for a costume fitting.
The part was his.
“It's unbelievable,” said Colandrea, a fan of the show since its debut in 1999. “For an Italian, it's the experience of a lifetime to be on "The Sopranos.' ”
Colandrea, a single father of two daughters, said he plans to watch Sunday's episode with about 100 friends and family members at a cousin's house in Ewing. (“I have to cook for all of them,” he said, smiling.)
Meanwhile, he said, “half of Italy” is waiting to hear what happens Sunday night.
And if his scene ends up on the cutting-room floor?
“Everyone knows there's nothing I can do, that it's out of my power,” Colandrea said. “But I'm thinking, "Why make me go up again after two weeks if they're not going to use me?' I'm keeping my fingers crossed.”
After eight years and 86 episodes, the ultimate fate of fictional New Jersey crime boss Tony Soprano might be determined by a pizza shop owner from Penndel.
Paolo Colandrea, owner of Paul's Penndel Pizza, last month filmed a potentially pivotal scene for the final episode of “The Sopranos,” the groundbreaking HBO mob drama that says goodbye at 9 Sunday night.
Colandrea, 47, describes his role as simply “mystery man,” a guy who walks into a diner and locks eyes ominously with Tony, who's sitting at a table with wife, Carmela, and son, A.J. Colandrea sits down at the counter, stares at Tony again, gets up to go the bathroom, and ...
He can't say what happens next. But even if he could, it might not mean a thing.
“Sopranos” creator David Chase reportedly filmed three different endings to ensure secrecy. Colandrea, who spent 18 hours on the set one day and 10 hours two weeks later, doesn't even know if his scene will appear.
“I don't know. Nobody knows,” the charming Italian said while sitting in the restaurant he's owned since emigrating from Naples in 1978. “They keep it so closed, not even the cast knows all that's going to happen. I can assume, but I don't know.”
Colandrea, who doesn't have any lines, filmed his scene at Holsten's Diner in Bloomfield, N.J. Off camera, he said he mingled with series stars James Gandolfini (Tony) and Edie Falco (Carmela) and met Robert Iler (A.J.) and Chase. During his first day of filming, he shared a sushi dinner with Gandolfini, Falco and the crew.
“He's such a nice guy, just an unbelievable person,” Colandrea says of Gandolfini. “And Edie Falco, she's the sweetest woman you ever want to meet.”
Colandrea, who earned more than $3,000 (before taxes) for his role, also saw Jamie-Lynn Sigler (Meadow) on the set but didn't talk to her.
“She's so gorgeous,” he said. “She has bodyguards with her, but I don't blame her.”
So how does a pizza shop owner with no previous acting experience land a role on the final episode of the most acclaimed program in cable television history?
<table class="adwrap" align="left" cellpadding="0" cellspacing="0"><tbody><tr><td><script language="JavaScript"> DisplayAds ('Middle');</script>
</td></tr></tbody></table>Right place, right face, really.Earlier this spring, Eileen DeNobile, owner of the Lawrenceville, N.J.-based Noble Talent Management, was looking for an Italian man, about 6 feet tall, between the ages of 30 and 50, for a part on “The Sopranos.” She stopped into Penndel Pizza for dinner one evening, saw the framed photo of Colandrea pouring a glass of wine and thought she might have found her man.
“That's authentic Italian all the way,” said DeNobile, who already knew Colandrea casually. “He certainly looks the part. Plus, we were looking for a person easy to work with, and he's got a great personality, very bubbly.”
DeNobile sent the photo and a recommendation to HBO, and Colandrea was invited to audition in New York City, along with 29 others. The audition consisted of performing the actual role as it appeared in the script.
A few days later, Chase called Colandrea and asked him to come to North Jersey for a costume fitting.
The part was his.
“It's unbelievable,” said Colandrea, a fan of the show since its debut in 1999. “For an Italian, it's the experience of a lifetime to be on "The Sopranos.' ”
Colandrea, a single father of two daughters, said he plans to watch Sunday's episode with about 100 friends and family members at a cousin's house in Ewing. (“I have to cook for all of them,” he said, smiling.)
Meanwhile, he said, “half of Italy” is waiting to hear what happens Sunday night.
And if his scene ends up on the cutting-room floor?
“Everyone knows there's nothing I can do, that it's out of my power,” Colandrea said. “But I'm thinking, "Why make me go up again after two weeks if they're not going to use me?' I'm keeping my fingers crossed.”
Johnny Detroit
EOG Senior Member
Re: Sopranos
most of the people in that final scene were locals to that place who auditioned for bit roles.
most of the people in that final scene were locals to that place who auditioned for bit roles.
Mr Fury
2
Re: Sopranos
going black is correct.
My own personal take was:
The ending shows that the mob and the Sopranos go own. A J is turning
into his dad, a depressed guy who will go into making films with Carmine
and will probably follow in his dads footsteps in the mob.
Well I am not sure if I buy the email but the Bobby statement about
going black is correct.
My own personal take was:
The ending shows that the mob and the Sopranos go own. A J is turning
into his dad, a depressed guy who will go into making films with Carmine
and will probably follow in his dads footsteps in the mob.
Johnny Detroit
EOG Senior Member
Re: Sopranos
the email is 100% wrong. the article i posted talks about the guy going to the bathroom who was a local pizza owner.
no one will ever know cause chase is a conceited douchbag. he wrote and directed only 2 episodes. the pilot and last night.
he does not hide his resentment toward the audience and already was interviewed saying he does not have to explain anything.
the email is 100% wrong. the article i posted talks about the guy going to the bathroom who was a local pizza owner.
no one will ever know cause chase is a conceited douchbag. he wrote and directed only 2 episodes. the pilot and last night.
he does not hide his resentment toward the audience and already was interviewed saying he does not have to explain anything.
gopherbob
EOG Dedicated
Re: Sopranos
i watched the replay several times and i think i agree with you, tony was killed in the end. it was a fascinating ending, as it has everyone talking about it, debating it, etc
i watched the replay several times and i think i agree with you, tony was killed in the end. it was a fascinating ending, as it has everyone talking about it, debating it, etc
