Kate: Aw, bye-bye Chris-to-fah. Even though I knew it was coming, both in the arc of the entire series (a black bird at your window while getting made; never a good thing- look how Eugene turned out?) and also in terms of the episode ( how many times does one have to show a dark turning road driven by a hopped up (or skittish because he is a rat?) driver before you know something bad is going to happen? Apparently it’s 6).
And to kill a major character off at the beginning of the episode- that’s revolutionary for the Sopranos. I was floored.
Chrissy’s cause of death: he choked on (by) his own blood. Although it’s rather ‘in your face” (the blood thing) I kind of like that he died literally by the hands of Tony by the sim
ple act of pinching his nose. Although the scene was hard to watch, I had to admit that I shared some of Tony’s relief that it was finally over. The scene I had dreaded was come and gone. Christopher Moltisanti – RIP.In a drug induced dream-like Peyote madness sequence (do you think that’s all the dream-ness Chase needs to feel satisfied, or do you think another one will come along before the season’s end?) Tony’s luck returns. It immediately reminded me of the dream sequence in season 5 where everyone is telling Tony that he isn’t prepared, and that he hasn’t taken care of ‘that thing” ( that thing being killing Tony B) and really I think that’s when Tony’s luck started to run out (not in the gambling episode…) . After that episode nothing went right for Tony- he had to kill Tony B far too late, Vito death (= money troubles), The Shooting, Adriana’s death (Christopher’s divergence), the death of Johnny Sack, and finally (perhaps the most importantly) making an enemy of Phil, a nasty bastard, that just might be part of Tony’s eventual downfall.
This time Tony righted what he had down wrong in Season 5- he killed Christopher before Christopher became a problem. Christopher was bound to destroy Tony in some way whether with the Feds, drugs, or his emotional rampages. Tony was prepared. Tony took care of ‘that thing” and, perhaps, Tony has finally learned from past mistakes?
Also, the roulette table IS just like the Solar System, no?
Spencer: Well aren't you taking a practical view of things? I think the practical reasons for Tony to off Chrissy were all there - as you point out, Chrissy was a ticking time bomb for Tony (and himself), and he acted before things got to Tony B/Pussy proportions before things got out of hand.
But damn, if Tony is actually "learning" as you put it, I'm not sure we like the results. This was the coldest of many cold episodes for me, in the sense that Chase is no longer holding punches with these characters - not only are they downright evil, but they aren't too sympathetic anymore are they? Tony's struggle with fidelity, his family problems, even some of his work problems (it's hard being the boss, not that I would know); all was relatable, if in a different realm. I think it's a little harder for viewers to relate to killing your surrogate son by holding his nose closed, then taking a private jet to vegas, screwing a stripper ex-girlfriend of the guy you just killed, and then doing peyote.
Of course, these characters were always evil and despicable, but for now, Chase isn't infusing them with the humor and moments of emotion that made them so appealing to us for all these years. It reminds me a little bit of the way Seinfeld ended - basically with a big FU to the viewers, asking "and THESE were the people you spent so many hours watching??" Here, I think the revelation has a bit more weight, just the way that the first 2 hours of fun and good times in "GoodFellas" is brought to a crushing moral halt in the last 1/2 hour. But it sure hasn't been as much fun watching how truly evil these characters are.
While the death in the first ten minutes thing certainly caught me off guard, it does bother me that the Sopranos is so damn reactive. I appreciate being aware of your audience and occasionally having fun with their expectations (Lost's characters often spew audience criticisms i.e. "I...want...answers" in a knowing nod to their fanbase) but ultimately what's left on screen is the thing that lasts, and I think the best art comes from intending to make the best art, not by going out of your way to screw with your audience. Chrissy's death had been something predicted by Sopranos fans probably since Season 1, so, no, it wouldn't have been as shocking to place this episode's first ten minutes at the end of last week's episode, but it would have carried a greater emotional punch, and I think would have been more respectful to the character's development and story. Chase has always been one to play with audience expectations and then surprise them - he relishes it - but I really wish he'd focus on just making the best show he can.
I, like many others, did enjoy the actual scene leading up to his death, with the suitable lyrics to comfortably numb (the child is lost, the dream is gone), added to the fact that comfortably numb is essentially a song about pink floyd getting really, really high. The moment before the crash with Tony looking at Chris, realizing what is happening, was quite nice.
Of course the irony is that Tony acts exactly like Chris immediately after killing him. Tony kills Chris right as he's offering the wisdom that Tony imparted only a few months earlier - every day is a gift, life's too short etc. Tony's murder of Chris and his bend in Vegas can be seen as the culmination of his rejection of the possibility of change that seemed so obvious following his shooting. Rather, he has fully embraced the cold/practical/methodical Tony.
A few things to spur further debate - what do you make of the "I Get It" and the return of the Season 6A Beacon? Did AJ's final scene in this episode suggest that he is actually rejecting the gangster lifestyle or is he merely expressing the same depression that plagued his father and drove him further into the mob world?
Kate:I'm not sure if I agree with you when you say that Tony has fully embraced the cold/practical/methodical "Tony" (one of the "Two Tonys" if you will). Remember, Chase says that almost everything that comes out of the mouths of his characters is a lie; I believe that Tony's escape to Las Vegas (the city of sin?) and the drugs, and the gomah (sp?) was in some way him trying to keep this comfortably numb feeling that can't possibly last. I don't think he was simply partying because he didn't give a shit.
However, you are completely correct in saying that this was one of the coldest episodes in Sopranos history. This is the second time when Tony has had to make a decision against his family for the sake of The Family (the first being Tony B), but this time, he did it with more ease, with less questioning (that the audience was privy to) and it stung. You are also correct in saying there was no "Tony is sometimes just a regular guy' relief. It was the complete opposite of "College" where we have the duality of Tony being a Murderer and a father. In "Heidi and Kennedy" Tony isn't even just a murderer, he is acting like a sociopath. There was no Big Pussy regret, no Pie O My heart, and seemingly, no remorse.
In my previous post, I said killing Chris was the 'right' decision, and I've read that statement from lots of reviewers, bloggers, and fans; I think Chase is forcing us to look at the logical monster that lies in everyone rather than JUST fucking with the audience.
However, he is doing that too; I'm (as always) going to refrain to comment because although there is only 3 episodes left, I have faith Mr. Chase is not going to reveal his master plan completely until the very last moment.
(He's got me wrapped around his finger…)
A.J.-Is he a big red herring or the key to the next chapter in the Sopranos? I could go either way, and depending on how it was handled, I would be satisfied with either way. On one hand, I've never really bought A.J. as the mobster type. He seemed so different from Tony, and vastly different from the young Tony that we see in flashbacks. However, on the other hand, there have been clues: the selfishness (and Carmella constantly saying things to explain his behavior to Tony by saying, "and where do you think he GOT THAT FROM?"), the panic attacks, and his carelessness with humans (remember that time that Carmella tripped on the stairs and he just kept right on going? Shudder.)
Would a future mobster would cry "MOMMY" when he saw a bear in the yard? I don't think so. Especially since we know that Tony Sr. stood tall when he saw his father cut off someone's finger. And he was only 12.
Also- Isn't The Sopranos about the mob being dead?
In response to your question of "I get it", there's a funny story there. All Monday after the Sopranos I was drawing this wonderful theory in my head about Tony's own need to 'rat' based on his Melfi confession dream and him yelling out "I DID IT!" to the great canyon when he was peyote trippin'. Then I read a few things and realized that he DIDN'T say that and my theory was crushed.
I …have…no…idea…what…Tony…'got'. I was lost on that. It's hard to admit but I can't even speculate.
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