'The Sopranos' goes dark! It's always been dark. It's about the bloody mafia for God's sake. Has anyone ever considered how unwise it is to make heroes of scum? Is it really true that the mafia funded the 'Godfather' movie? If so it explains a lot. The Kennedys were right about the mafia but being murdered made fixing the problem a little bit difficult. American society has gone steadily downhill ever since and it's no coincidence. Look at the criminality and corruption that's endemic to the 'justice'system and the political system and what goes on in the White House and the intelligence services. Where do you think it comes from? Those who are merciful to the cruel will end by being cruel to the merciful. The Old Testament. Absolutely on the money for once.

funny you mention the Kennedys, i've been thinking all day about Janice saying to Uncle June:

"Bobby was killed"

"at the Ambassador?"

Did anybody read my last post maybe ten posts back? I just can't understand how anybody can think the ending is open-ended or worse yet some kind of finger to the audience. I mean it's all right there. Please go back and read my post. I think my analysis is pretty solid. I would love a counter opinion to it though. Much oblige.

Penway

Like so many others, I clearly recall the past reference with Bobby discussing how you never see it coming. Perhaps if Tony wasn't so pre-occupied watching the diner door waiting for his beloved princess to arrive he would have realized the following... The man in the dinner who passed by him & briefly locked eyes on was Phil Leotardo's nephew (go back to first show of this season, and there he is). Appearing to head to the bathroom, but in actuality coming behind Tony to put one

in the back of his head. Music through out this episode until that moment.

Now perhaps Paulie was in Phil's back pocket, that's why he was not on the list to get wacked, or maybe he had enough of Tony's insults and made his whereabouts at the diner. All I know is it was a Great episode.

Penway/Grisscoat:

Who died and made you David Chase? The beauty of any decent art is that it's open to interpretation.

*Nigel Tufnel ("It's like, how much more black could this be? And the answer is none. None more black.")

The whole series was just the dreams of a yellow tabby...

...now where did I put that snow globe?

I don't know Krup, probably the same person who died and made you the arbiter of the rules of art.

Penway

I think the folks that are expecting a movie are deluding themselves. Forget exhaustion with the characters on the part of Gandolfini and Chase - that could change. But the show's over. What could they do in a movie that they couldn't do on HBO? What would be the point? There were no limits to content or style in the show's existing format. If Chase had any more to say about the Sopranos, he would have made one or two more episodes. Or another season. The ending was dark and nasty, but beautiful in a way that becomes apparent on reflection. I'll admit, many of the comments here have helped me appreciate.

Not everything was resolved, and much is ambiguous, but it wasn't open ended to the point of Rorschach abstraction, Chase did make statements. Meadow and AJ have wrestled with their own consciences and emerged as grotesque self-justifying parodies of their parents. We were given hope, and it was taken away, made to look foolish. It's been a damn cynical show, but warm-hearted enough, on occasion, to string us along. Uncle Junior's last scene seemed to be the real climax, a bleak, sucking void. But it's not entirely meaningless.

How can you bring a show like the Sopranos to any kind of summation? You can't. But you can use the opportunity of a final episode to comment on the state of the national psyche, using the cast as analogues. I think Heather was on the right track with her reaction. The last episode was primarily about America, the America of today - the "fucked up world" Meadow accurately perceives (but what ya gonna do?). We're left with the inevitabilities of paranoia and escapism. After the shock of the blackout, I'm finding it more and more satisfying, the more I think about it.

Here's what I wrote:

"Yeah, you're right - I used to have HBO and watched this show for its first three SEASONS, and only rented/borrowed tapes/DVDs since then."

That's works out to 50% of the shows, until the cable tv mob decided that I needed to get a bigger, more expensive package.

I know about the timeline and beginning salaries for top-notch lawyer talent - but she's a flake, and just starting law school, so who knows if she'll even follow through and how well she'll do in school. It's just some number she's tossing to her parents to make them feel better.

Meadow should've realized that her Dad was involved in a nasty, bad-ass business when he tried to give her that SUV at her high school graduation - remember where it came from???? Singing solo instead of with your partner because his life was ruined by his/your Dad - wouldn't you be wondering about all the weird business partners at your family parties? I wouldn't want her to be my lawyer - maybe she'll be a good realtor....

Submitted for your approval: When it comes to the ginger-colored mystery cat in the finale, we need look no further than Mr. T.S. Eliot -- The Wasteland, Murder in the Cathedral, Burnt Norton, Slightly Singed Norton, *Old Possum's Book of Practical Cats*; I'm surprised I have to point this out.

Macavity, Macavity, there's no one like Macavity,

There never was a Cat of such deceitfulness and suavity.

He always has an alibi, and one or two to spare:

At whatever time the deed took place - MACAVITY WASN'T THERE!

And they say that all the Cats whose wicked deeds are widely known

(I might mention Mungojerrie, I might mention Griddlebone)

Are nothing more than agents for the Cat who all the time

Just controls their operations: the Napoleon of Crime!

Remember how Paulie had the portrait of Tony and the horse touched up? Thus endeth the lesson.