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  • So, Sopranos

    Here's a good NYT story on Sopranos season. But be forewarned: It's got some stuff in here that tells you what happens this Sunday and later on.

    http://www.nytimes.com/2004/03/05/arts/tel...ion/05TVWK.html
    "There are only two ways to live your life. One is as though nothing is a miracle. The other is as though everything is a miracle."
    --Albert Einstein

  • #2
    AND YOU HAVE TO SUSCRIBE TO GET ON!!!


    can you copy & paste?


    plz? k thx.
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    • #3
      Here is what the spoiler said......

      Mafia man with lame Italian accent gets hacked off, bumps off another man dressed in black clothing.
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      • #4
        HERE IT IS: SPOILER ALERT!!!!


        ------------------------------------------------------------------------

        March 5, 2004
        TV WEEKEND | 'THE SOPRANOS'

        Bullies, Bears and Bullets: It's Round 5
        By ALESSANDRA STANLEY

        BO's new season of "The Sopranos" opens Sunday night with an extended, mournful tour of the exterior of the Soprano mini-mansion in New Jersey, lingering over dead leaves, abandoned patio furniture and other signs of neglect and loss.

        Fans of the series know that Tony Soprano was thrown out by Carmela at the end of last season and will not be shuffling out the front door in his bathrobe anymore. And just as the camera closes in on the morning newspaper rustling woefully at the end of the drive, a beat-up Mustang convertible careers up, crushing the paper beneath its wheels.

        The rude arrival of Meadow Soprano, honking impatiently to summon her younger brother, Anthony Jr., is a cuff to the head of any viewer sucked into taking the show's moody psychological layers too seriously.

        "The Sopranos" returns for a fifth season with all of its early verve and none of the torpor that weighed the show down last year. Its creator, David Chase, is cocky: the first episode posits a bear that wanders into the Sopranos' backyard, terrifying A. J. and Carmela. The furry intrusion signals that things are about to get wild in this ruptured family, that the breakup has unleashed forces beyond their control. But it also contrasts rather comically with the ducks that so lyrically flew away from the Sopranos' backyard pool in the first season, driving a bereft Tony into therapy.

        Most of all, the bear is a rather crude reminder to viewers: "The Sopranos" is no ordinary television show.

        But of course the pleasure of the series is that for all its subtleties and license with language, sex and violence, "The Sopranos" is a television drama, one that follows the basic formula even as it riffs. An intimate moment follows an action scene, a horrible act is leavened with comic relief. Devotees keep ramping up the comparisons to Shakespeare or Tolstoy. On "Star Trek," the interpersonal strains on the U.S.S. Enterprise were pushed aside whenever a new planet came into view; on "The Sopranos," the family melodrama never entirely eclipses the family business.

        The crime series mostly stands apart by virtue of its knowingness — the series laughs at itself before anyone can take it too seriously. In the third episode of the new season, Uncle Junior, now almost senile, stares at the bald, bespectacled Larry David on the HBO comedy "Curb Your Enthusiasm" and thinks he is seeing himself. "Why am I on there?" he hollers at the set in pained confusion.

        Tony and Carmela, separated but still sparring, are back at the center of the story, but new characters, many of them newly released convicts who were sent away during the 1980's crackdown on organized crime, bring new troubles to the family. Steve Buscemi ("Ghost World" ) plays a cousin, Tony Blundetto, who emerges from a long stretch in jail intent on going straight — as a massage therapist. Robert Loggia is Feech la Manna, a former boss who cannot wait to grab back his old turf. There is also a Mafiosa, a bookie in leather and plunging necklines, who, it turns out, is not tough enough. When she crosses a line, a rival goon ties her to a chair and shoots into her chest through a telephone book.

        Tony is distracted and disoriented by the prospect of divorce. ("You're not the only Catholic here," he shouts at Carmela. "I'm old school.") One night, leaving the bed of his mistress (he really is old school), he catches sight of an old Nick Nolte movie on television, "The Prince of Tides," which starred Barbra Streisand as the sexy, sympathetic psychiatrist he loves. ("Her questions were making me as dizzy as her perfume," Mr. Nolte says in a voiceover.)

        Tony sits down again to watch Mr. Nolte rage at Ms. Streisand in her office, his face lit by a small, delighted smile.

        Soon, he begins courting his former therapist, Dr. Jennifer Melfi, sending her a huge bouquet of roses and a box of Tide detergent. (The card reads: "Thinking of you. Your Prince of Tide.") She rebuffs him, despite what she describes as their "mutual sympathy." The reasons she gives Tony, that he is untruthful, disrespectful of women, a bully who imposes his will by force and does terrible things, echoes the audience's ambivalence: Tony is appealing, seductive, but ultimately repellent. At her first harsh word, he storms out, hurling epithets that can be used only on cable.

        But it's the hairline antipathies, carefully drawn and brilliantly acted, that distinguish the series. Viewers watched Meadow and Anthony Jr. as they were being badly brought up and can now enjoy the fruits of all that spoiling — A. J.'s sullen hostility to his mother is a chilling N.J. version of "The O.C." And Carmela, a pampered Mafia wife, never loses her prosaic housewife's thrift. "New drums, just like that?" she hisses at Tony, angry that he is trying to buy his son's loyalty. "You don't even look in the classifieds?"

        Everyone's loyalty is questionable, but no one is more torn than Adriana, the fiancée of Tony's nephew Christopher. She was turned into an informant by the F.B.I. last season. One of the show's most memorable moments came when Adriana was pressed into service at F.B.I. headquarters — she was so terrified she vomited all over the conference table. This season her guilt is so painful that at a cozy wine party with Carmela and other mob wives, she begins to blurt out a full confession. The tableau of the women's faces, frozen between sisterly concern and feral wariness, holds her back but exposes everything about the tribal rules.

        Ever since "The Sopranos" began, its creators have been under siege from Italian-American groups, which have complained that the series perpetuates Cosa Nostra stereotypes. Last year Mr. Chase seemed to buckle a little under the pressure, devoting an entire, ill-conceived episode to the issue of oversensitivity, pitting the locals against American Indians who threatened to disrupt a Columbus Day parade because they viewed Columbus as a slave-trading imperialist.

        Mr. Chase appears to have bounced back. Episode 4 reaches beyond the ghetto of Italian-Americans to a louche Jewish milieu — the lavish wedding of the daughter of a crooked accountant who is a poker buddy and "friend" of Tony. While the revelers celebrate, thugs steal the guests' fancy foreign cars. They race out to the near-empty lot and as a doctor examines the smashed head of a prone valet parker, other guests ignore the battered victim and keen over their lost cars. "They got the SL," one of them shouts at his host. "Do you know how long my brother was on the waiting list for that thing?" (The brother, a cameo role played by Leon Wieseltier, literary editor of The New Republic, indicates that it was a year, using one of the show's favorite obscenities.)

        Mr. Chase also seemed a bit inhibited by criticism of the show's violence. The new season promises a full range of planned heists, revenge killings and routine extortion. But it is the random brutality — the Scorsese way — that is most telling.

        In the first episode of the season, Paulie Walnuts and Christopher are in a restaurant parking lot, almost at blows over who should have picked up the tab. (In mob etiquette, the youngest pay for their elders, as a "sign of respect.") When the waiter comes out to complain about his paltry tip, Christopher throws a brick at the back of his head and triggers what looks like an epileptic fit. Paulie whips out a gun and shoots the waiter dead — an impulse killing that later brings about a tender reconciliation.

        "I'm sorry, Paulie," Christopher mumbles into his car phone. Paulie replies, "I apologize, too, kid." Audience complicity is at the root of "The Sopranos." Either despite the vicious, senseless murder or because of it, viewers cannot help misting up a little as the two thugs make up.
        "There are only two ways to live your life. One is as though nothing is a miracle. The other is as though everything is a miracle."
        --Albert Einstein

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        • #5
          Christ. I can't wait. I fucking love this show.

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          • #6
            It means that all of my wife's friends come over for dinner about 4pm, I get them drunk, and we all watch the show.

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            • #7
              So, I can't wait for this to start again.
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              -Barry Goldwater

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              • #8
                I am waiting on my DVD's still
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                • #9
                  So, when does it return?
                  If you believe in something sacrifice a hobo to it or don't bother.

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                  • #10
                    April

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                    • #11
                      Originally posted by Hollywood
                      April
                      Any particular day?
                      If you believe in something sacrifice a hobo to it or don't bother.

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