Anyone catch last night's episode? (spoiler alert)
Just when I thought Tony & Co. had jumped the shark, they pull out a killer episode. I felt for Adriana - terrible outfits, make-up, hair and all - but I suppose she should have known what she was in for when she got involved with Michael. And what about those creepy FBI agents? They make Tony look humane in comparison. Can't believe we'll have to wait two weeks for the next installment. Great moment at the end, when Tony tells Johnny Sack where to stick it.
Sopranos
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Who Shot Sam?
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Sopranos
Mother, Moose-Hunter, Maverick
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wehitandrun
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martinfoyle
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SPOILER ALERT
Watched last nights episode, which I downloaded, down in my local coffee shop this evening and was devastated by Christophers demise 5 minutes in. I sat there bugeyed watching the rest while life went on all around me. Truly gobsmacking, I cant remember the last time a tv show so zonked me out. Compelling stuff, I'm already missing this show even though there are 3 episodes left. Just amazing.
Watched last nights episode, which I downloaded, down in my local coffee shop this evening and was devastated by Christophers demise 5 minutes in. I sat there bugeyed watching the rest while life went on all around me. Truly gobsmacking, I cant remember the last time a tv show so zonked me out. Compelling stuff, I'm already missing this show even though there are 3 episodes left. Just amazing.
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Mr. Average
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SPOILER ALERT:
Well, I liked the whole depression sequence with AJ and the twisted "therapy' that relieved him.
But their is little more twisted than the person Tony has become. Incredible writing to convey a total demented crazoid whilst still building empathy for a mob boss that makes the morality of John Gacy seem genteel and almost acceptable by comparison.
Cris-tah-fur. We hardly knew ye. But you did manage to get managed to earn the right to be wasted by the big guy (especially large sized this season, you think?).
Looking forward to the end. My guess? Carmella gets whacked by mistake and Tony lives in the horror of a world he definitely made, unlike Howard the Duck.
Well, I liked the whole depression sequence with AJ and the twisted "therapy' that relieved him.
But their is little more twisted than the person Tony has become. Incredible writing to convey a total demented crazoid whilst still building empathy for a mob boss that makes the morality of John Gacy seem genteel and almost acceptable by comparison.
Cris-tah-fur. We hardly knew ye. But you did manage to get managed to earn the right to be wasted by the big guy (especially large sized this season, you think?).
Looking forward to the end. My guess? Carmella gets whacked by mistake and Tony lives in the horror of a world he definitely made, unlike Howard the Duck.
"The smarter mysteries are hidden in the light" - Jean Giono (1895-1970)
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Who Shot Sam?
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SPOILER ALERT
Man, last night's episode was really superb. I never liked AJ, but last night's attempted suicide had me feeling some real sympathy for him. Outstanding performances by Gandolfini and Robert Iler. This final season started slowly but has really been ticking along beautifully lately. Hoping for a great conclusion.
Man, last night's episode was really superb. I never liked AJ, but last night's attempted suicide had me feeling some real sympathy for him. Outstanding performances by Gandolfini and Robert Iler. This final season started slowly but has really been ticking along beautifully lately. Hoping for a great conclusion.
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Otis Westinghouse
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I've never bothered. Watched the odd episode and thought 'Cliched genre with a shrink thrown in, typically well done US stuff, but why are people so overheated about it?' Haven't attempted to revise the opinion, but apparently series 1 is on free PPV right now. Shall I start from the beginning and see if I get into it? How many series have there been and which has been best?
There's more to life than books, you know, but not much more
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Who Shot Sam?
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Well maybe it's just not your bag, but if you want to give it a second chance, get your hands on the Series 1 DVDs and go from there. As with all of the big HBO dramas, I think it's the kind of thing that is better absorbed all at once, rather than jumping in on the occasional episode without any context. I felt that the show was in a bit of a rut last season, but it is winding up superbly.Otis Westinghouse wrote:I've never bothered. Watched the odd episode and thought 'Cliched genre with a shrink thrown in, typically well done US stuff, but why are people so overheated about it?' Haven't attempted to revise the opinion, but apparently series 1 is on free PPV right now. Shall I start from the beginning and see if I get into it? How many series have there been and which has been best?
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Otis Westinghouse
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Typical UK review:
"The Sopranos (C4) reached its midway-through-the-final-season mini-break (and let's hope all series don't start doing this) with an episode that proved the show is still the finest and purest distillation of the essence of 'What It Is To Be American' than anything else on screen. This has nothing to do with warring mafia factions and everything to do with the nature of the modern family; of love, hate, lust and loyalty; of hearts ruling heads and hope triumphing over experience.
The last few elegiac minutes - an It's A Wonderful Life of a Christmas Day at Tony and Carmela's - was not only beautiful to look at but loaded with humour and bathos. There was AJ with his new girlfriend and her son, and Carmela oozing hospitality and sequins, before turning to Tony:
'She's 10 years older than him and she's Puerto Rican.'
'Dominican. At least she's a Catholic ...'
And Christopher with his arm around his pregnant wife - the vision of familial contentedness, but for the fact that his wife doesn't know he's sleeping with Julianna Margulies and using heroin.
'You have a beautiful home,' said AJ's girl to Carmela (whose own Christmas present from Tony was a kick in the ass for the New Jersey planning department who had nipped her real estate career in the bud). Carmela smiled and said her thanks, patted Tony's knee, and the camera pulled back from the tableau without a word being uttered in anger or a punch being thrown, and the credits rolled, and you knew that, for the Soprano family, this was probably going to be as good as it got. The last half of the final series will be unmissable.
There wasn't a single slice of Brit drama that could compete with House, Lost or The Sopranos last week, so it made sense to seek sanctuary among our current affairs and documentaries, because when was the last time you watched an American documentary, as opposed to a documentary about America?"
I'm missing Lost cos it went to Sky, tragically, and Virgin Media, who are my supplier, had a falling-out with Sky and no longer carry them. Bastards.
Forget the DVD, I'll just watch for free on on demand. Agree it's something you probably need to watch and follow. The para above about 'What it is to be American?' is enough to convince me. I normally agree with this reviewer (Observer's Kathryn Flett).
"The Sopranos (C4) reached its midway-through-the-final-season mini-break (and let's hope all series don't start doing this) with an episode that proved the show is still the finest and purest distillation of the essence of 'What It Is To Be American' than anything else on screen. This has nothing to do with warring mafia factions and everything to do with the nature of the modern family; of love, hate, lust and loyalty; of hearts ruling heads and hope triumphing over experience.
The last few elegiac minutes - an It's A Wonderful Life of a Christmas Day at Tony and Carmela's - was not only beautiful to look at but loaded with humour and bathos. There was AJ with his new girlfriend and her son, and Carmela oozing hospitality and sequins, before turning to Tony:
'She's 10 years older than him and she's Puerto Rican.'
'Dominican. At least she's a Catholic ...'
And Christopher with his arm around his pregnant wife - the vision of familial contentedness, but for the fact that his wife doesn't know he's sleeping with Julianna Margulies and using heroin.
'You have a beautiful home,' said AJ's girl to Carmela (whose own Christmas present from Tony was a kick in the ass for the New Jersey planning department who had nipped her real estate career in the bud). Carmela smiled and said her thanks, patted Tony's knee, and the camera pulled back from the tableau without a word being uttered in anger or a punch being thrown, and the credits rolled, and you knew that, for the Soprano family, this was probably going to be as good as it got. The last half of the final series will be unmissable.
There wasn't a single slice of Brit drama that could compete with House, Lost or The Sopranos last week, so it made sense to seek sanctuary among our current affairs and documentaries, because when was the last time you watched an American documentary, as opposed to a documentary about America?"
I'm missing Lost cos it went to Sky, tragically, and Virgin Media, who are my supplier, had a falling-out with Sky and no longer carry them. Bastards.
Forget the DVD, I'll just watch for free on on demand. Agree it's something you probably need to watch and follow. The para above about 'What it is to be American?' is enough to convince me. I normally agree with this reviewer (Observer's Kathryn Flett).
There's more to life than books, you know, but not much more
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Who Shot Sam?
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This compulsive episode is , as always, driven by excellent use of music , as this SPOILER LADEN analysis tells -
http://www.film.com/tv/story/musiconthe ... r/14987952
(extract)
At a meeting, they decide to hit Phil first, and then Tony and Sil crack up Bobby with some slow-mo boxing moves. The whole scene is backed by Pietro Mascagni's "Intermezzo" from Cavalleria Rusticana, which was used as the title theme to Scorsese's Raging Bull, making for a goose-bump-inducing moment. The piece was also used in Godfather III, in the scene where Michael Corleone's daughter dies, a dangerous reference if intended. Writer Terry Winter cleared that up yesterday at Slate:
...the use of Cavalleria Rusticana is Raging Bull and Raging Bull only. Godfather III does not exist for me. It ceased to exist at 3:30 pm on Christmas Day, 1990, when I walked out of the first ever showing at the Kings Plaza Shopping Center Multiplex in Brooklyn, utterly heartbroken at what I had just witnessed.
http://www.film.com/tv/story/musiconthe ... r/14987952
(extract)
At a meeting, they decide to hit Phil first, and then Tony and Sil crack up Bobby with some slow-mo boxing moves. The whole scene is backed by Pietro Mascagni's "Intermezzo" from Cavalleria Rusticana, which was used as the title theme to Scorsese's Raging Bull, making for a goose-bump-inducing moment. The piece was also used in Godfather III, in the scene where Michael Corleone's daughter dies, a dangerous reference if intended. Writer Terry Winter cleared that up yesterday at Slate:
...the use of Cavalleria Rusticana is Raging Bull and Raging Bull only. Godfather III does not exist for me. It ceased to exist at 3:30 pm on Christmas Day, 1990, when I walked out of the first ever showing at the Kings Plaza Shopping Center Multiplex in Brooklyn, utterly heartbroken at what I had just witnessed.
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Who Shot Sam?
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What a cop out.-
Mr. Average
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Whack Jobs?
Mini (extremely mini) spoiler alert, but not worth worrying about, trust me.
David Chase evidently became infatuated with his own press. His feeble attempt at high art, to me, indicates that he decided to sacrifice the closure of a single thread for some artst fartsy ending that slaps the 8 year history across the face with a filthy dualist glove.
Too bad. The catharsis that the show generated is left in the can. He outsmarted himself and the cast. If I am Edie or James, I would be pissed because my character is now forever locked by David Chase arrogance.
The faithful audience deserved better. Blood and guts, mung and drool, shit and piss, apathy and bathos, life and death? Yes...
..all of the above. That is what the show is about.
Screw you, Chase.
NOTE to HBO: Next time you contract with Chase, define the parameters. Your audience deserves better.
David Chase evidently became infatuated with his own press. His feeble attempt at high art, to me, indicates that he decided to sacrifice the closure of a single thread for some artst fartsy ending that slaps the 8 year history across the face with a filthy dualist glove.
Too bad. The catharsis that the show generated is left in the can. He outsmarted himself and the cast. If I am Edie or James, I would be pissed because my character is now forever locked by David Chase arrogance.
The faithful audience deserved better. Blood and guts, mung and drool, shit and piss, apathy and bathos, life and death? Yes...
..all of the above. That is what the show is about.
Screw you, Chase.
NOTE to HBO: Next time you contract with Chase, define the parameters. Your audience deserves better.
"The smarter mysteries are hidden in the light" - Jean Giono (1895-1970)
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Who Shot Sam?
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SPOILER ALERT...
It was a great series that deserved a much better conclusion. Some have said that it's wrong to expect the program to have been wrapped up in a tidy little bow, and I'd agree with that. On the other hand, the last season set up all of these intriguing possibilities, and for almost none of them to have come to a resolution was immensely disappointing. Other aspects of the final episode struck me as forced - AJ's sudden career conversion, Tony's visit to Uncle Junior (why now?), the cat staring at the photo of Michael.
Seeing Phil Leotardo get his head crushed by the SUV was the only satisfying moment of an episode that was like the ultimate case of blue balls.
It was a great series that deserved a much better conclusion. Some have said that it's wrong to expect the program to have been wrapped up in a tidy little bow, and I'd agree with that. On the other hand, the last season set up all of these intriguing possibilities, and for almost none of them to have come to a resolution was immensely disappointing. Other aspects of the final episode struck me as forced - AJ's sudden career conversion, Tony's visit to Uncle Junior (why now?), the cat staring at the photo of Michael.
Seeing Phil Leotardo get his head crushed by the SUV was the only satisfying moment of an episode that was like the ultimate case of blue balls.
Mother, Moose-Hunter, Maverick
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Mr. Average
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I reflected on this last night. With Phil gone, Tony was rebuilding, coercing Paulie to take the 'job' that Paulie didn't care for. The cat/Christafur metaphor was to position Paulie as always nothing more than a cheap dime store hood...Christopher, by extension of Tony's affection of animals, was revered and protected by T even in death, which continued to enrage Paulie.
So the fact that T and fam go into a public shooting gallery to dine put every faithful viewer on edge. Bastard Chase even 'leaked' the final scene environment (called it an ice cream shop but a diner..although one table had ice cream or chocolate milk or a shake on it) with obvious implications.
Tony is comfortable, rebuilding. He feels safe. We don't feel safe for him, Carm, PJ or Meadow. Our angst is palpable as we don't know what we want to happen but we know something MUST happen. So T gets the last laugh, as he remians in total control...not the buffoon that Phil wanted his family to believe.
And we, who watched the dismantling, mentally, physically, spiritually, of the Soprano family and friends expected the trend to continue to a logical endpoint. We cared. Tony didn't. He knew he was safe in that public assassination chamber called a diner. He knew his family was safe.
We were the ones who thought he was in harms way, but considering the upstream story, all was in order, all taken care of. Safe from Harm. And remember when Phil referred to taking out Tone as a "decapitation"?, it was an ironic twist that he lost his melon under the wheels of an SUV. Ewwwwwwwwwwwwwwwwww.......
Back to binness.
Badda Bing.
"You know, the greatest trick the devil ever pulled was convincing the world that he didn't exist." - Kaiser Soze
So when you wake up this morning, no need to got yourself a gun. It's over and the fat lady has indeed sung.
So the fact that T and fam go into a public shooting gallery to dine put every faithful viewer on edge. Bastard Chase even 'leaked' the final scene environment (called it an ice cream shop but a diner..although one table had ice cream or chocolate milk or a shake on it) with obvious implications.
Tony is comfortable, rebuilding. He feels safe. We don't feel safe for him, Carm, PJ or Meadow. Our angst is palpable as we don't know what we want to happen but we know something MUST happen. So T gets the last laugh, as he remians in total control...not the buffoon that Phil wanted his family to believe.
And we, who watched the dismantling, mentally, physically, spiritually, of the Soprano family and friends expected the trend to continue to a logical endpoint. We cared. Tony didn't. He knew he was safe in that public assassination chamber called a diner. He knew his family was safe.
We were the ones who thought he was in harms way, but considering the upstream story, all was in order, all taken care of. Safe from Harm. And remember when Phil referred to taking out Tone as a "decapitation"?, it was an ironic twist that he lost his melon under the wheels of an SUV. Ewwwwwwwwwwwwwwwwww.......
Back to binness.
Badda Bing.
"You know, the greatest trick the devil ever pulled was convincing the world that he didn't exist." - Kaiser Soze
So when you wake up this morning, no need to got yourself a gun. It's over and the fat lady has indeed sung.
"The smarter mysteries are hidden in the light" - Jean Giono (1895-1970)
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Otis Westinghouse
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Who Shot Sam?
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Mr. Average
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Mechanical Grace
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Believe it or not I've actually not seen a full episode of Sopranos (purposely, cause I want to watch the whole shebang from the beginning). I heard about the finale though (impossible not to have) and people were saying something about a movie.
How does Livingston figure? Is that where Tony and family live? Odd choice.
How does Livingston figure? Is that where Tony and family live? Odd choice.
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Who Shot Sam?
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I think so - in a big ugly McMansion.Mechanical Grace wrote:Believe it or not I've actually not seen a full episode of Sopranos (purposely, cause I want to watch the whole shebang from the beginning). I heard about the finale though (impossible not to have) and people were saying something about a movie.
How does Livingston figure? Is that where Tony and family live? Odd choice.
Mother, Moose-Hunter, Maverick
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Mechanical Grace
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Actually Livingston makes sense... I was thinking it was further west than it really is; I grew up 20 miles or so to the northeast of there. Perfect proximity to the Short Hills Mall... and the Meadowlands.
I see, also, that it's in the heart of Roth country (Newark, "the Oranges") which Otis will want to know.
I see, also, that it's in the heart of Roth country (Newark, "the Oranges") which Otis will want to know.
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Otis Westinghouse
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Yes, I want to know. Thank you. American Pastoral gives an amazing sense of NJ - the decay of Newark, the generational move from its downtown to more rural settings like Rimrock, where the main protagonists live. I feel like I've been there.
To be honest, I didn't quite get if the Livingston bit was funny because the Mexican had this association through thinking it was filmed there, or because it is set there. The New Jerseyite made ref to the family home being in another town a few miles from Livingston.
To be honest, I didn't quite get if the Livingston bit was funny because the Mexican had this association through thinking it was filmed there, or because it is set there. The New Jerseyite made ref to the family home being in another town a few miles from Livingston.
There's more to life than books, you know, but not much more
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Otis Westinghouse
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Funnily enough, shortly after posting this, 'Can't Go Back To Jersey' popped up on the current The Word sampler. By G Love featuring Special Sauce. Nice one! That's how I've always felt about my Jersey, in terms of living, anyway. Will be there next month on hol - great from that point of view.
There's more to life than books, you know, but not much more
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mood swung
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