the sopranos ending

Also, how do you think the ending of The Sopranos compares with other popular shows like Dexter and Breaking Bad? There’s mystery. They’ve interpreted that scene that way. Dating is rough when you're involved with the mob. Images of death — or a Hell frozen over from overcrowding and neglect by management — abound throughout the series finale, as the show’s usual fascination with the extremes of weather in the Garden State gets amped up to an almost supernatural degree. But when the credits did come up, that’s when the debates began: Wow. Because it would’ve meant that he did the most obvious thing and then tried to hide it by making it seem as if he was creating an ambiguous or art-house type of ending. By fading to black, Chase invites us to consider not whether or not Tony died, but bigger questions and ideas about life and death. Tony drives back into the Lincoln tunnel, he goes for a meeting with Phil Leotardo, and he’s killed. What is this ending saying? What could've been the beginning of a bad joke instead grew into one of the most acclaimed television series of all time. (For that matter, Members Only Guy could be the loved one of a Soprano victim himself.) The idea of presenting the ending as a thing that can be mastered and explained is philosophically the opposite of everything that led us to that point. But there's more to what went down than just that closing moment. You’re always looking over your shoulder and at some point, whether it happened that night or not, when you live that life, one day, somebody’s going to walk out of a men’s room and that’s it for you. Now, there’s going to be some speculation in this piece, but also some evidence from David Chase and other writers from the show. Were they all perfect endings? "He's sown a life of murder, mayhem and treachery. The shady guy gets up, walks past Tony’s table to go to the bathroom (and if you ever saw The Godfather, you know that’s not good). And the single most obvious thing to do in a gangster movie is to kill the main character — out of reflex, or because the storytellers want to express that crime doesn’t pay. I think the ending is sadder and more powerful if you think, “All those people he killed, all those people he loved that died, all the stuff he’s been through personally, including getting shot and being in a coma — none of that really made much of a dent in this guy’s thick skull.”. Sure, maybe Tony Soprano made it out of the show alive ... but it's possible that Tony had his brains blown out in that diner. We can all go home now. By telling other people what we think happened, we are revealing ourselves. Think about the randomness of him seeing the FBI agents coming over the hill and escaping even as they arrest Johnny. Except the longer you and I talked about it, both on our own and with Chase, the less substantial that idea felt, too, until by the end, I wasn’t entirely sure that even Chase knows if the guy’s dead or alive. Then, just as his daughter seems to be walking in the restaurant, Tony looks up, and the screen cuts to black. It’s also easy to see that Chase is of two minds on the last scene. And does that matter? During the interview ,Chase referred to the final scene as the “death scene” and the “fatal scene”. I thought about Tony’s entrance into Holsten’s in the context of the earlier scenes where he visits Janice and then Junior. Maybe the wiseguy who has turned into a cat — Schrödinger’s cat, to be precise — isn’t Christopher, but Tony? This little line strongly suggests that in Tony's last moments, he didn't hear the bullet the laid him low or even realize he was about to die. *Sorry, there was a problem signing you up. That final scene is something he felt was correct, and that came out of his desire to subvert or amend the traditions of the gangster film, while perhaps coming to terms with the fact that he was unable to escape them. So does AJ, who luckily fails to kill himself — Tony happening to come home at that moment is a Tony caliber stroke of good luck — and in this very episode, the kid survives a truck explosion. In the 20 years since its debut on HBO, and the 12 years since the series finale aired, the mythology surrounding The Sopranos has only grown. Getting a quick shot to the head, or having to live the rest of your life knowing that somebody out there wants to kill not only you, but possibly even your entire family? Paulie, long the most useless captain on the payroll, is the only major ally he has left. Alan: Tony’s situation as he enters Holsten’s is complex however you look at it. Alan: It’s hard to play dumb about what we discussed with Chase, but the great thing — or the maddening thing, depending on your point of view — is that even with all he ultimately told us, there’s still no definitive answer to the dead/alive question. Personally, I prefer to think that Tony didn’t die that night. Because it’s taking the question of whether Tony lived or died off the table. Ultimately, if you didn’t like the ending of The Sopranos, you’re not a real fan of The Sopranos. The final season of The Sopranos wasn't just about gangsters, as we also got a lot of FBI Agent Dwight Harris (Matt Servitto). Silvio and Patsy Parisi (Dan Grimaldi) are driving away from the Bada Bing when two men open fire. I’m reminded of that moment in “D-Girl” where Dr. Melfi summarizes existentialism for Tony. Did we as viewers? There’s a reason The Twilight Zone keeps coming up, whether in conversation or on the safe house TV in the finale. Now we get to experience it ourselves. Convinced that he's been using her, Melfi cuts Tony off during a tense final session. Matt: All right, let me back up for a second and say that at no point during my now ten-plus years of arguing about the meaning of this scene have I said that “Tony died” is an inconceivable or unacceptable interpretation. It’s become increasingly clear to me as we’ve worked our way through the entire series again, with over 10 years of perspective on that finale and nearly 20 years of living with the show in some form, that Chase is an intuitive writer, somebody who’s not trying to send messages or create puzzles for people to solve, but is just trying to make people feel and think and question themselves. But the very fact that Chase devotes so much time to what seems like nothing makes the whole scene all the more nerve-racking. The final scene was a masterstroke – don’t mess with greatness, Tue 15 Jan 2019 04.00 EST Is that really what Chase would do with the last episode of The Sopranos? That bell, to me, is a tolling bell, as in “Bring out your dead.” It rings every time somebody goes through that door. decides he wants to join the army and go to Afghanistan. Tony died. And it throws all … Do the Feds show up a week later to arrest him, Carlo having finally given them the missing piece of their RICO prosecution? Maybe the ending is moralistic, but not in the way that some of the people who need Tony to be dead might frame it. No, but they are what the people who created the shows we loved chose them to be, and constantly rehashing and complaining about them is one of the worst excesses of bad fandom. And I love that the ending is that ambiguous. And the music is continuous throughout. Matt: You mean does it matter if Chase knows what happened? Some more people enter, rubbing their hands as they ogle what looks like some tasty cake. More recently, I found myself swaying over to Team Tony Dies, not only because of the death imagery throughout the season — including the way so many episodes open, as this one does, with Tony waking up from a deep slumber — but because some of my initial, long-hardened impressions of the scene didn’t hold up under further scrutiny. So it felt better to go with “Tony died.” It was An Answer, in a way that “Tony lives” never entirely felt like one to me, and when Chase wrote that article about the scene for DGA Quarterly, and talked about the fragility of our mortal existence, I was able to smile and say, “Aha! The sixth and final season of The Sopranos was an interesting one. The Sopranos' series finale remains infamous for its controversial decision to abruptly cut to black, but why did it happen? It seems the second most powerful man in the DiMeo family will live out his final days in a hospital bed, putting a slow end to one of the most compelling supporting characters on the show. Things get a little more interesting when Meadow reveals where she wants to take her law career in the future. Or more accurately, you never really understood Chase’s creation in the first place. In 1999, an HBO original series called The Sopranos began with a gangster walking into a psychiatrist's office. The show absolutely dabbled in the supernatural throughout, from Paulie being haunted by Mikey Palmice, to Tony dreaming something that Tony B was actually doing, to whatever and wherever Kevin Finnerty was. Because, while you’re right to point out how Chase and company have very deliberately put us in a death-obsessed frame of mind during this final run, during the preceding seasons he showed us time and time again that he was never interested in doing the obvious thing. Patsy starts shooting back and manages to escape, but Silvio is hit several times, and his wounds land him in an intensive care unit. And the matter of whether Ralphie was responsible for the fire. I understand what the scene was about — and, more importantly, I know how it made me feel the first time I watched it, every time since, and through all these conversations I’ve had with you and the rest of the Sopranos-loving world about it over the last decade. He sat down with his family, put Journey on a jukebox and chomped on some onion rings. The Sopranos centered around the life of Tony Soprano (James Gandolfini), an Italian-American mobster from New Jersey who attempts to balance his family life with being the mafia's leader. puts it, he feels free now that his car gone, reasoning that he'll reduce dependence on foreign oil by not driving. That said, Harris has also noted Tony's help with his terrorism investigations, so the fed could provide some valuable leverage and vouch for Tony's character if prison time ever enters the discussion. Would you respect David Lynch’s Twin Peaks more if he revealed that Dale Cooper is definitely trapped in an endless loop of pain and apple pies? So, there was a death scene. As it should do. No… Wait. Even his lawyer, Neil Mink (David Margulies), thinks Carlo has turned state's witness, and that it will likely mean indictments for Tony in the form of a gun charge, an interstate fraud charge, and possibly even one for homicide. It's good, and it works as part of the build-up to the ending, but it's also in keeping with much of what you'd expect from The Sopranos. And sadly, that's when Silvio (played by Steven Van Zandt) is introduced to a couple of bullets. In fact, it’s the most obvious interpretation, given that Tony’s pissed a lot of people off over the years, and in the overwhelming majority of gangster stories, the main guy dies at the end. Well, in that same interview, Sopranos writer, and Boardwalk Empire creator, Terence Winter, had this to say: My interpretation was that, when you’re Tony Soprano, even going out for ice cream with your family is fraught with paranoia. Because that’s the thing about ambiguous endings—either people are going to love them, or they’re going to feel they wasted their time watching a show because they wanted a definitive conclusion. Matt: Just like the Holsten’s scene.

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