What Really Happened on The Sopranos Final, A Reader Shares

I’m sure this is going to be a debate for a long time to come but we got an interesting theory in the e-mail from a reader and with permission thought we’d share. We still think the ending is too ambiguous to say Tony Soprano is or isn’t dead but we will give David Chase this, it sure has been fun speculating. Thanks to Victor D’Altorio for sending this in.


Last Sunday night, David Chase delivered a brilliant, knockout finale of The Sopranos that was so Tony Sopranounexpected and sly that seemingly most of America missed a key element while they waited for Tony to be riddled with bullets by Phil Leotardo’s guys.

In the next 60 seconds of his life, Tony Soprano will almost certainly get whacked, if all goes as planned. But what many Americans, who reportedly were offended in huge numbers by the “ambiguity” of the final episode, seem to have missed, is not whether or not Tony gets whacked, but by whom.

Tony was not, or more properly, will not get whacked by Phil Leotardo’s goons. He will be murdered by a hit man hired by his own traitorous goon, “Patsy” Parisi, who masterminded the perfect murder of Tony Soprano with the help of his studly son, who, conveniently, is engaged to Tony’s daughter, Meadow.

In the scene following Bobby Bacala’s funeral, with the whole clan gorging on baked ziti, Parisi motions his other son over and whispers some instructions, wearing a very serious face. Something is being plotted. In another key scene, Little Carmine mediates the conflict between Tony and Phil’s henchman and forces Phil’s boys to agree to take the target off Tony. Tony also wants their help locating Phil, but they refuse to go that far. This is not a red herring. Phil’s guys are no longer after Tony. They are grudgingly resigned to Phil’s murder. Phil went “too far.”

Back to Meadow. The perfect way to a don’s heart is through his daughter. (Don Corleone’s story in The Godfather opens on his daughter’s wedding day, when he can refuse no request.) Handsome, successful (in fact, perfect) young Parisi sat opposite his parents in Tony and Carmela’s living room in the final episode, and cooed in solicitous tones to Miss Meadow Soprano that she must learn not to “devalue” herself. The complex drama beneath the words and glances in this scene provide clues to the culmination of this genius plot to murder Tony Soprano, which has been subtly unfolding all season.

Early in the scene, Tony asks the Parisis, “Where’s your other son?” Patsy’s drunken wife, obviously embarrassed by the question, replies that they didn’t think he was invited, since wedding planning was the purpose of the get-together. A few moments later, Carmela suggests to Tony that Parisi’s glass needs a refill. Parisi starts to get up, and is admonished by Tony to stay seated in an ugly little exchange of looks between the men, which belies their camaraderie as future in-laws. Watch the look on Parisi’s face after Tony hands him the drink and turns away. It is the look of a murderer eager for impending satisfaction. He’s the Judas.

Tony and Carmela were not happy, remember, when Meadow started dating the Parisi boy. But as the season progressed, the boy won their hearts. He stood up and protected their daughter against a thug who made an obscene remark to her when they were together in a coffee shop several episodes back. The thug was likely paid by Parisi to insult her, so his son could look good defending her. And now Meadow’s Knight in Shining Armor is making career connections for her with his law firm – with an astronomical starting salary that made Tony and Carmela burst into genuinely joyous whoops and smiles. When was the last time anything made these two that happy? Plus, the Parisi boy treats their little girl like a queen, which is certainly not something any of her other suitors on the show have done.

And what better time to whack one’s boss without getting caught than when you know a rival don has drawn a target on his back? Perfect timing, since Tony and the audience are expecting Phil’s goons to do the job.

David Chase employed this same brilliant timing a few seasons ago when Janice murdered her husband just as Tony was putting a hit on him. We were all bracing for Richie Aprile’s assassination by Tony’s guys, and in one of the most shockingly effective surprises in Sopranos history, Janice had a fit of I’m Mad as Hell and I’m Not Gonna Take It Anymore and shot him first.

Parisi’s plan has worked like a charm. Nobody in Tony’s camp, including Tony, has had any idea that Parisi wants him dead. Nor, apparently, did the viewing audience. Tony feels relatively safe having dinner out because he knows Phil’s guys are no longer after him. And he’s correct – they aren’t. Parisi’s son knows exactly where Tony will be having dinner with the family on a few hours notice, because, as Meadow’s fiance, he has a direct line to the girl. Carmela informs Tony when she arrives for their fateful Last Supper that Meadow will be late because she is at a doctor appointment changing her method of birth control. The look on Tony’s face shows his discomfort, but also his acceptance of young Parisi as her lover.

Pundits and critics who have weighed in have primarily focused on the simplistic question of does Tony get whacked or doesn’t he? This is David Chase we’re talking about folks, remember? The creator of this amazingly original, dizzyingly complex series, who has given us one of the most exquisite viewing experiences of our lives and kept us hooked year after year. How can people possibly have underestimated him, and missed all the fun? The darned thing was a whodunit – and nobody noticed!

The rest of the fun, then (and there’s much more to come, now that we know Who Killed Tony Soprano), is in How It Happens. If all goes as plotted, Tony gets it right in the head. No question. And his wife, the supreme enabler of his violent, sociopathic life, gets to sit and watch – talk about the perfect karmic end of her story. And so do his deeply troubled son and seemingly bright, successful daughter. His son is already in the booth, and his daughter will be sitting next to her dad by the time the gunman emerges from the bathroom in a moment. She’s running, don’t forget.

So, the assassin comes out of the bathroom (just as Michael Corleone did before he murdered his father’s rival don and a police chief). He will extend his arm in classic style, plug Tony a few times in the head and the heart, drop the gun, and walk fast down the central corridor of the coffee shop. And the posse of boys loitering at the bakery case, his backups, will make sure he gets out cleanly. Simple. Classic.

But what if Meadow arrives just at the moment the gunman emerges from the bathroom (they’re both moving fast)? Now all bets are off. She could easily get shot for being in the wrong place at the wrong time, like the poor girl who got an unplanned whacking when Tony’s guys thought they were killing Phil and offed the wrong man.

Of course, they’d never purposely whack Meadow. There’s a code of honor about that. But the assassin will certainly do whatever is necessary to ensure Tony’s murder, and if Meadow is in the way, well, anything could happen. Would AJ leap up out of the booth to stop the killer’s escape? He’s seated on the outside, and could easily try to block the man’s path. Will Carmela watch the murder of her daughter, then her husband, and then her son? She and Tony are trapped in the inside seats against a low wall sporting a juke box riddled with classic American tunes.

And remember that other guy who came into the place who you thought might be the assassin at first? Redneck-looking guy in a plaid shirt, wearing a USA hat? Could he jump up and interfere with the assassin’s exit? Might he be carrying a gun? He sure looks like a member of the NRA.

If you play it out in the cinema of your mind’s eye, all the endlessly, violently balletic possibilities unfold, and it’s so much more perversely entertaining than just seeing Tony get shot. Our love of these characters has been admittedly perverse from the start. So Chase gives us the privilege of letting our imaginations take flight. But American viewers don’t like using their imaginations. Tie it up with a bow, and hand it to me.

Since the airing of the last episode, David Chase has been quoted as saying that if you watch the episode carefully, “It’s all there.” What on earth do people think he’s referring to? Some stale plot to kill Tony by Phil Leotardo that we’ve all known has been coming for weeks and weeks? Chase is a great artist. Among the very, very best this country has ever produced.

He’s not an entrepreneur, like most of the hacks who create television shows and movies in this country and are eager to pander to an audience that wants an easy-to-understand story, characters who wear hats that are clearly black or white, and lots of violence. (In other words, David Chase is not to television what George W. Bush is to politics.)

But it was this spoon-fed type, capital-letters resolution that most of the American public seemingly expected to see last Sunday night, regardless of what Chase has provided them throughout the series’ run. There have always been complaints when Chase has neglected to meet viewers’ basest expectations because of our lamentable habit of watching without an ability or willingness to see. Talk about casting pearls before swine.

Victor D’Altorio


16 Responses to “What Really Happened on The Sopranos Final, A Reader Shares”

  1. Dan Gerard Says:

    The reason this is an outstanding bit of television because of its ambiguity.

    You, the viewer, get to write your own ending.

    To paraphrase Tony from the first season in his business you either end up dead or in the can.

    Those are the choices for Tony.

    This was the story about a man who made choices in his life. You watched week after week, season after season because you enjoyed it.

    This was a Soprano’s story, and a good story at that.

    Dysfunctional? Yes absolutely.

    Show me the family that isn’t dysfunctional to some degree. I am not saying that all families are to the level of the Sopranos, but everyone has issues.

    Regardless of his dysfunction, at various times you rooted for Tony.

    Is Tony a loving father? Yes in his own way. He never wrote AJ off, not like Christopher, yet writing AJ off would have been the easiest thing for him to do. Go into the Army kid. Write me and tell me what it is like when they are trying to blow you up in Iraq.

    Instead he does whatever he needs to do to keep his kid from making a bad decision. Do I agree with it? No, there were better ways to handle this problem, but it shows me he loves his kid and doesn’t want to see harm come to him.

    Tony is brutal? Sure, but we aren’t talking about selling encyclopedias. He is in a business where money and guns go together.

    With this combination there will always be violence.

    Remember, in the final scenes, that as you watch the drama unfold for Tony you get a glimpse into the tension his world is filled with.

    In between knowing looks between him and his wife, holding the hand of his son, he has the furtive glances of a weary man.

    Who is it today, that guy at the counter? The guy in the booth? Those hard hitters standing at the jukebox?

    Every time that door opens he looks up. Is it AJ? Meadow? Does this person look out of place?

    While the chance of getting killed was an unspoken issue for the 8 years it was on TV, this is every day for Tony.

    Hence the world weary look that has become evident in Tony’s appearance.

    He will spend eternity, with few opportunities to truly rest. Even in his own home, he is only safe until the Feds knock with a warrant for his arrest.

    Complain about Carmela? She came to the realization a long time ago that all she wants is her money on the table. There isn’t anything wrong with that.

    Does a venture capitalist’s wife ask him about what companies he carved up?

    Please spare me the ‘that is not a valid comparison argument.’ We all make choices in life. I give Carmela more credit for her loyalty than anything else.

    There is no easy out for Tony. Write your own ending. Tony gets hit in Holsteins. Tony takes out Carlo before he goes to the grand jury. Tony gets convicted and gets sentenced to 25 to life. Tony flips and goes into witness protection. Whatever. It doesn’t make a difference because Tony made choices in his life.

    You felt the tension as you watched the clock tick down.

    Tony doesn’t have to die, because after all, this is a story, David Chases story. Without a body you got nothing. The clues everyone talks about add up to nothing without a definitive end.

    Tony on the other hand will always have to look over his shoulder and that is the life he chose.

    No matter what happens, life will go on. Go to black…David Chase is brilliant.

  2. MikkelA Says:

    Brilliant theory, and I agree completely. It may be that Chase is just having a laugh, and there is no real definitive anwser to what happens – or that life just goes on. But I don’t think so. We know, that _something_ additional to what was shown was filmed (at least according to Members-Only-Guy), and that great care was taken in composing the last scene, and that HBO people thinks that some theories are better than others

    A few things also worth noting. HBO execs acknowledge that some people have come closer than others. So, something clearly happens, and David Chase has already mentioned that “Anybody who wants to watch it, it’s all there“.

    Also. As some have pointed out, not only oranges = death, but white shoes is also a pretty blatant indicator of the same thing, and a frequently discussed such. In the last scene with Paulie, Tony once again implores him to take over the Cifaretto-crew, and Paulie rejects, noticing that every other leder of that crew has met an untimely death. Paulie finally relents, but only after Tony threatens to give the crew to Patsy. So, Patsy is apprantly now third in line after the ranks has been decimated in the war with NY. The scene also shows that there really isn’t much love lost between Patsy and Paulie. Then we see the wide-shot of Paulie improving his tan alongside the cat, and he’s quite obviously wearing white shoes.

    So, just for the fun of it, let’s assume that Tony is whacked. And that Paulie is whacked too. That would leave Patsy in charge, as he is the last of the old guard standing. The killings could be blamed on N.Y., and chances are no one from NJ would really be interested in igniting a new war on that basis – respect for Tony was abysmal in the end anyway (check out the crews reaction when he rejects going to visit Sil in the safehouse…) it would be taken as a tit-for-tat (NJ took out NYs boss, so they take out NJs boss and his second-in-command in reprisal to save face – end of war/story). Patsy has his own sons, one of whom is rising fast through the ranks, and the daughter of the former boss as his future daughter-in-law in addition to being to only one from the original crew still standing.

    And also, of course, Tony had Patsy’s twin brother killed for being a loudmouth, something was an enormous personal tragedy to Patsy, who drunk and grief-stricken in a past episode walked up to Tony’s house armed and with the obvious intention of killing him in revenge. He chickened out, and settled for peeing in Tony’s pool.

    But who knows, maybe Patsy got his revenge in the end…

  3. jerseycool Says:

    Thanks Mikkela,

    I think the speculation on the final is great but I still hold to my argument that it can only be speculation. There’s a difference between speculation and closure. I was reminded of that this week while watching the AFI’s revised list of great films.

    You can speculate all you want about what the meaning of “Rosebud” is at the end of Citizen Kane, you can speculate all you want about what happened to Rhett Butler after he left Scarlet and you can speculate all you want about what happened to Rick after Ingrid Bergman takes off at the end of Casablanca.

    The difference is that you don’t have to guess how all those great stories ended. There’s hints that Patsi whacked Tony but there’s also a good deal of evidence that he got back in his car and drove home.

    I think it was a cheap, showy trick and pretty poor storytelling.

    It’s as if Gone with the Wind ended as Rhett walked down the staircase.

  4. MikkelA Says:

    I don’t really know about closure… I mean, it’s kind of an arbitrary thing, isn’t it? I mean, sure there was some kind of closure in Casablanca or even Kane in the way you choose to define it, but then again it’s not hardly a criteria for groundbreaking stuff that it resembles something earlier or sticks rigidly to the conventions of the genre – one could perhaps even argue for it to be the other way around. You are of course correct that we can never know exactly what happens to Tony. Perhaps he did indeed live a nervous life after the final cut, but then perhaps he didn’t. In any case, brutal as the ending was, even then all the major plotlines are actually resolved (Junior, Phil, Melfi etc.). The problem is, that we all expected an answer to a question we posed ourselves, which is whether Tony lives or dies, and we didn’t get a – definitive – such.

    In my mind the ending makes real good sense, not in some artsy-fartsy English-major kinda way, but loyal to the way Chase has written the series all the way through. The first scene of the pilot was from Tony’s POW, a statue in Melfi’s office. The last scene was also from Tony’s point of view, as I think Chase chose to represent what being shot in the head feels like. Like nothing. Chase has consistently been evading audience expectations and in that way angered quite a few expecting definitive resolution to plotlines (The Russian, Melfi’s rape, etc.), and not because I think this was a goal by itself, but because The Sopranos in some ways was mismatched for quite a bit of it’s audience, which seems to have enjoyed primarily the action-related stuff, and preferred to ignore the more complex psychological and metaphysical issues which have been so pervasive throughout the series. This is not to say that the people who didn’t spend countless hours contemplating the possible metaphysical implications of the lighthouse in Costa Mesa or whatever, are stupid (on the contrary perhaps, after all it”s only TV — I just happen to be a geek who enjoys such stuff…), but rather that David Chase made a series according to his own tastes and really didn’t care much for audience expectations anyway. Perhaps he should have, but if he had, it’d be an entirely different show.

  5. Nick Says:

    I like your theory…but there are alot of details that I dont agree with. Patsi was in on it…but the NY crew masterminded it and carried out the murder.

    They had Tony kill Phil so they couldnt be judged by it. Then they continued to kill Tony, using Phil’s death as an excuse. This makes things go down better with the other crime families and the “commission”.

    Carmin who choked out at the sit-down, “I wish things didnt have to be this way”, is now the NY crime boss.

    Patsi’s son isn’t IN the mob. His father is. Patsi USED his son and his relationship with meadow for information to get what he wants. Revenge on Tony for killing his brother and Tony out of the way to get the top seat in NJ.

    Anything that happens after the killing is left for the imagination. The black guys and the truck driver are distractions…not part of the setup…in my opinion.

    Unless it’s on the DVD extras, we’ll never know and you can make it what you want. I enjoy that fact.


    Remember when Sil was in the restaurant with the NY capo wher ethe NY guy got killed? Blood sprayed in slow-mo in Sils face? That was a brilliant scene.

    I’d would have preferred Chased had saved that scene for the end with blood spraying in Carmella’s face in slo-mo. Seeing her reaction, AJ’s reaction and the expression on Meadow’s face as she walked in. But you never see the killer. And never see Tony get shot nor the aftermath. It just cuts to black from there.

    Because of the way the blood sprays…you know it came from behind…from the Members Only guy emerging from the bathroom. But you never see it nor hear it. That would have been an acceptable ending if he had to show the killing. And he still could have gotten his ongoing “Who done it?” out of it.

    Must stop typing…. 😀

  6. MikkelA Says:

    I don’t think Patsy – if he did it – (and if it happened at all…) was in cahoots with NY. There are no clues to suggest such a thing, and furthermore NY tried to whack him in the second-to-last episode. Sure, Sil was obviously the primary target but if Patsy was NY’s guy, he’d probably be able to give them intel on Sil’s whereabouts on an occasion where he wouldn’t be in the line of fire himself…

    I’m quite in agreement on you with the thing about his son, though. I don’t think Patrick would divulge the location of his fiances dinner knowing that this would lead to Tony’s death. Though he’s been described as “moody” in one of the first episodes of the spring by Patsy (at a conversation at the Bing after AJ attempted suicide), he doesn’t really seem like an aspiring mobster at all. It it happened that way, he was indeed just being used.

  7. Chris Says:

    I am glad someone else saw what I saw when it happened. They switched places to eat at the last moment. Only they knew; the immediate family and Meadow’s fiance. Well duh, obviously the information went to Patsie via his son and the hit was on. I was wondering if I was the only one to figure that out. Thank God I wasn’t; someone else is as smart as I….

  8. joe bruce Says:

    You are all forgetting one other person who knew they were going to Holstein’s: AJ’s girlfriend Rhiannon(?) was sitting with him on the couch when the decision about the restaurant was made. Also remember that in the previous- penultimate- episode, the girlfriend leaves the safe house and Tony is disconcerted that she was there with AJ. But he then says, “Who’s she gonna tell?”

  9. cis429 Says:

    I agree with the Patsy theory, but all this other stuff like the NRA-guy is reading too much into it (I think). Those characters were there to convey a sense of relaxation for Tony, which allowed him to be careless and put himself in that spot. I don’t like to sit with my back to people and I’m not a mob boss….

    I recently watched the entire series from start to finish (over a couple months). I always believed Tony was killed, there was simply too much foreshadowing indicating so and if he wasn’t killed David Chase would have been flat-out deceitful (and why would he?)

    So it was Patsy, certainly partly for killing his brother, but there is another major reason. Patsy’s son’s friend (Carlo’s son, the other Jason) was arrested for selling ecstasy, with which Patsy’s son was a partner. Carlo flipped, likely to save his son, and Patsy could assume Tony was concerned he’d do the same and take measures to stop it (in fact there is clearly tension between them already). Killing Tony would either remove that threat or at least reduce or eliminate the pressure the Feds would put on everyone to testify against Tony. With Tony, Chris, Sil and Bobby dead or dying, there is no “management” left of the Sopranos family for the FBI to build a major RICO case against. Paulie isn’t a big catch, since he was mostly a button man with nobody left to dime out at that point.

    I always loved the scene, and rolled my eyes when people said things like “they’re leaving room for a movie”. Come on people, it was ingeniously ambiguous. Perfect ending.

  10. kris Says:

    i agree with the patsy thing totally .. but i think paulie was in on it too, because remember he wasnt to pleased with tony either. At the begining of season 6 pt 2 silvio says, he had to kill burt because guys were getting swayed toward new management. We all kno paulies a sneaky guy anyway from the convos with him n jonny sac in season 4. Plus he was with tony at the sitdown with lil carmine as well. I think that paulie and patsy conspired together the whole season ..It all clicked to me when he said to patsy in the washroom “its all yours ” then flushed the toilet. (when they set up the hit on Phil). It also brings me to the part where tony asked Paulie if he wants to take over ralphs crew he passed on it, but when he said he’d put patsy in there he agreed. As if to say ” fuk it, your dead anyway”

  11. kris Says:

    I think Paulie wanted boss from the time he got outta jail .. the convos with jonny sak, then he lied about it in the last couple episodes of season 6 pt2. He conspired with patsy because he had a ligitimate beef, plus he worked for paulie. Paulie tried to stay as close as possible to tony for two reasons, one : he was in bed with NY the whole time (if u didnt notice ). two: he knew tony was gona die (watch closely the sit down with butchie and lil carmine, everybody knows Tony’s dead but Tony, even paulie).
    changing of the guard .. that’s what that was ..lol (do the 3 top guys n do business with whoevers left)

    That sit down basically gave paulie the green light to do what he gotta do. Once he got the ok, he put patsy on it HENCE: the man in Member’s Only Jacket (who was in the same cifferetto crew through gene who was in the members only crew).

  12. kris Says:

    I assume Paulie became boss, and patsy his consigly.

    I think that’s what david chase was trying to say when he say ” it’s all there”… cause it is.

    it all goes down in the last two episodes, but ther’s a constant pattern thruout all 7 seasons

    david chase pulled u right back into reality by reminding u that the show is from tony’s prespective. Tony wouldn’t know that his crew is settin him up, so therfore they dnt deliberately show u that. U had to put it together yourself.

    personally i love the ending .. i didnt get it at first but i watched frm season 1 to 7 and became totally hooked to sopranos.

    Now that i watched every episode at least twice lol .. i can say i respect the ending.
    That’s the way it goes as a gangster ..u never kno who’s goin to kill u or when.
    When people die in real life nobody can tell u right away wat happened, not even detectives.
    they gotta investigate and do the research … and that’s wat he wanted his audience to do. he wanted to make sure u watched everything. if u didnt u jus won’t understand the ending.

  13. 72shovelhead Says:

    The was The Sopranos not the Parisi’s, I already typed my reasoning and dur to log in issues I lost all that I typed, if there is a respose I will do it agian, but in short, Jr. Soprano got strike three finally against Tony.
    Tony called it in season 6 ep. 5
    Parisi’s called his son at the gathering because Jason Cervasi got busted for selling x, hense Jason looking at Patsi’s son as he left the table.
    Uncle Pat was supposed to be living in retirement in Fla, why was he always in NJ toward the end, being around what we were meant to this was a Broke and crazy Junior Soprano. David Chase and the writers were to creative for a Patsi doin in Soprano.
    Plus Patsi was a nobody on the food chain, his family would have been wiped out if he hit a Boss

  14. 72shovelhead Says:

    Sorry for last post spelling and missing letters in some words, if there is a response, I will retype the original that I lost do to log in issues with Word Press..Again if anyone did Tony in , it was Jr and uncle Pat, either with or without Janice!

    Now maybe a final show of made in America with the details would be cool!

  15. Thom Says:

    very interesting theory. what adds even more weight: you will recall early on – Season 1 or 2 I think- Tony whacks Patsy’s twin brother. Patsy always suspected Tony and therefore had real motive for revenge.

  16. Tony FuckGoogle Says:

    I don’t even know where to begin…no offense, but the theories on this page are entirely shit. It’s like none of you even watched the series, or all of you are sheltered, ivy league students or something.
    In what bizzaro world would it ever make sense to cancel a hit, complete with built in scapegoats and reasoning, to take a flyer on hitting the one man who doesn’t die easily? Surely the masterminds would just let NY continue on their path to killing Tony, right? I mean, why go to that great a length when there are already people actively pursuing the hit?
    Furthermore, if it was like one commenter suggested and everyone at the last sit down knew Tony was dead except Tony, why on EARTH would they allow him to walk out of that warehouse alive? He obviously would’ve been killed there, and since everyone else in attendance are supposedly involved in a plan to kill him, what better time or place than right there, right then?
    David Chase has said multiple times that he didn’t like killing people on the show, it made him feel like a mobster himself. Google it.
    Parisi was a coward. He didn’t know Tony had his brother killed, he only suspected it. During the worst of that period, the most he could muster was a bottle of liquid courage and a piss in Tony’s pool. Those kinds of girlymen don’t suddenly become cold blooded masterminds capable of a plot like the one suggested above.

    Now, before people start singing about how brilliant Mr. Chase is for the writing on this show, consider that a lot of the writing was below par, and some of it was horrible. I won’t go into too much detail on that, but for those of you with short memories, go back and watch any of the episodes with Carmella and Fritos the penis haired italian killer (who came thousands of miles for his ‘family’ only to fall head over heels for her…like that’s even possible, and contemplate disgracing his entire bloodline past, present and future for her love) or the wallpaper guy they forced us to sit through…or even the school guy for Christ’s sake. Then go watch the Vito debacle et al, and tell me how one word of that was good writing. Before anyone calls me homophobic, that’s not the part that bothered me. They could’ve sold a gay mobster and it could’ve worked, but they didn’t and it didn’t.
    Those are just a couple of examples, but anyone being honest with themselves wold have to admit that there were plenty (PUH-LENTYYY) of poorly written episodes and plot lines that didn’t link to anything or anyone besides writers who were at times out of ideas on one of the biggest shows of all time. It happens.

    In the end, everything was settled. Phil was dead. Lots of lives were lost on both sides. After something like that, there is virtually no way they would further unhinge this thing they had by killing Tony. Wars are bad for business. They stop earners from earning and they bring swift attention from the feds. So trust me, that didn’t happen. But if it was going to happen, that warehouse with the last sit down was the only way it could’ve happened so that he could just vanish, leaving the new bosses with plausible deniability and leaving the rest of the world in the dark. Which is more how they do things.
    I know, I know: “but…but…members only guy, he said…” Blah blah blah. That part was written so that it would leave a cliffhanger, was Tony killed or wasn’t he? It ended up on the floor of the editing room instead of the screen in your living room because in the end it made it seem for sure that Tony was killed. That wasn’t what they wanted for the ending, they wanted it to seem more up in the air.

    I could go on for hours, but I won’t.

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