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Kevyn posted:So what’s the appeal for guys like Sinatra Jr or David Lee Roth? They can afford to get into a high-stakes game at a fancy casino, why play in a lovely motel with violent criminals? Same reason Melfi treats Tony. The thrill of being near dangerous gangsters without any real danger.
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Apr 27, 2019 23:55
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Yeah this. Being "cool" or whatever.
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Apr 28, 2019 00:28
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Plus there is zero oversight/restrictions in place for their health. No "it's been X hours, you need to take a break" or anything like that. It's "pure" gambling for as long as they can go. That said, I dug how Tony makes a point of telling Matt and Sean not to give anybody alcohol unless they specifically ask for it. As Junior said, it's about getting the guys to feel privileged to be handing over their money, instead of feeling like they're being bilked. By contrast at Richie's game, you see a member of the crew trying to keep Artie's drink topped up so he doesn't realize he's constantly drinking, because it's small time.
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Apr 28, 2019 00:33
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Jerusalem posted:Plus there is zero oversight/restrictions in place for their health. No "it's been X hours, you need to take a break" or anything like that. It's "pure" gambling for as long as they can go. And it's high stakes, too. I think Tony mentioned something like they got 80K out of the game and that was just with the Chairboy of the Board and the prick doctor. Everybody else was in on it, save maybe Johnny Sac and I bet even he got a taste because New York. It's rich enough to feel rich and you get to pet the tigers at the zoo which nobody else does.
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Apr 28, 2019 00:39
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If might also be "cool" for the gangsters to have celebs like Lawrence Taylor and Sinatra hanging around Speaking of poker scenes, one of my all time favorite Sivio freak outs. https://www.youtube.com/watch?v=f-LYLRK2Y38 Even better because Tony sets it all up for his own amusement.
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Apr 28, 2019 00:55
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He's a real sick gently caress when he's gamblin', op.
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Apr 28, 2019 01:02
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crispix posted:He's a real sick gently caress when he's gamblin', op. ...so what did Sil think he said? 
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Apr 28, 2019 01:20
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I always thought the mob charged less of a rake / buy-in / whatever than a high-end casino too, because they know when somebody inevitably fucks up (ie. Davey) they can viciously go after them and take everything they own and make more money that way, whereas the casino has to nominally follow legal proceedings to get what they're owed was that in the sopranos or some other mob movie I watched?
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Apr 28, 2019 07:50
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BiggerBoat posted:Mobsters just keep lending these dudes enough money to hang themselves and keep them coming back until they bust them out and then, when the guy is bled dry, they come after his assets. See: Davey's sporting goods store and his kid's college fund. It’s great Tony is so pissed when he finds out about the 45 boxes of Ziti. He must have seen a thousand degenerate gamblers get in hock to him, he knows full well how these things always play out, and that the endgame is always to bust out the guy. At every stage he has a chance to cut Davey out of the action, he’s a mafia boss after all. He just can’t see the eventual consequences of his actions: he could rationalise that his buddy would only go somewhere else more dangerous for money or action, so it might as well be him cleaning him out, but he lets sentiment get in the way, and he lets himself be manipulated by someone close to him, even though it’s the very worst thing for both of them.
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Apr 28, 2019 08:51
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Season 2, Episode 7 - D-GirlAJ Soprano posted:There is no God Carmela Soprano's car drives down the road, too far over the lane to avoid a landscaping truck parked on the side of the road. A car coming the other way honks their horn and Carmela's car swerves far too broadly and scrapes the side of the truck before braking to a stop. AJ emerges from the driver's side, his friends also spilling out of the car as he looks nervous at the scrapes running all the way down the passenger side including the now danging side-mirror. "Holy poo poo" is all he can offer, which feels pretty appropriate for the trouble he's about to be in. New York City at night, Christopher and Adriana meet with his lawyer cousin Gregory in a club. Gregory has brought his girlfriend Amy with him, whom Christopher has mentioned on several occassions as working with Quentin Tarantino. Played by Alicia Witt who at the time was a fairly prominent actress on the rise, it immediately informs the viewer this is going to be somebody important. They all introduce each other, Amy immediately endearing herself to Adriana by complimenting her earrings. Stockbrokers from Morgan Stanley seated directly behind them are making a big noise as they drink, frequently jostling Amy who laughs it off. It turns out she's moved on from Tarantino ("Quentin's still a friend" she insists) and is now working for Jon Favreau as head of his development, and the movie they're going to be shooting in New York is the first script she has brought to him, which is a fairly big deal. Amy asks about Christopher's screenplay and Adriana slightly embarasses him by declaring it is the best she has ever read, while Amy is distracted by being jostled by the stockbrokers yet again. Adriana asks her how "he" is in person and she waxes lyrical about Favreau, and Adriana explains she actually meant Vince Vaughan, his co-star in Swingers, who she thinks is very cute. Amy says he's great too, and also a friend (she has lots of friends!) but quickly shifts back to Christopher's screenplay, reminding him that mob films are always hot and he should consider picking it back up. Adriana, slightly embarassed to be asked about her own role, nervously claims to be in the Food Service Industry, but Amy doesn't have time to react as she is knocked forward yet again by the obnoxious stockbrokers behind her. That's enough for Christopher, who makes a beeline for the offending broker and demands he stand up, then whispers something in his ear. The stockbroker, clearly terrified, insists to his co-workers that they head out to Tribeca Grill and they, puzzled, follow him out. Amy watches all of this with intense fascination, aroused or at the very least impressed by this brazen display of power.   Back at their apartment, Christopher affects disinterest in Amy and her life while Adriana raves about how down-to-earth but also glamorous she is. She knows Jon Favreau! Once again demonstrating true support for his art she reminds him that Favreau is also a writer and suggests he show the script. Christopher, who walked away from all that only a couple episodes earlier, dismisses the idea and explains that while he still loves movies, he's realized that all he actually wants is to be a player in the industry, not gently caress about with anything else involved. She remains supportive, why not be a player then? After all they've been invited to the set, he can go and "slip him the script", but he points out that he's trashed everything he wrote. She smiles coyly and he realizes she has saved a copy, and in spite of his protest he can't help but appreciate it when she tells him once again that she believes in him. He really, really doesn't deserve her. The next morning, Carmela hops into her car and starts is up... and the side-mirror falls off. Shortly after AJ is planted in a chair in the kitchen as his mother and father read him the riot act. AJ insists he did nothing wrong and points out that since he's soon to be Confirmed which will make him a man, why can't he drive? Tony takes savage pleasure in reminding this "man" that he wet his bed in camp last year (two years ago, AJ defends himself) and they had to come take him home. They're horrified when he mumbles that it might have been interesting if the girls he'd been driving around had been killed, even more so when he starts discussing nihilism, having recently learned about Nietzsche and Camusin school. When he proclaims there is no God they're outraged, but Meadow arrives and reminds them that AJ is getting the education that THEY wanted for him. Did they think education just meant you make more money (yes! But for Carmela probably also that it provides status)? AJ and Meadow hit their parents with philisophical points such as Madame De Stael's, Tony's best response is to grumpily tell Meadow to go to her room. When AJ complains about how boring the algebra homework Carmela insists he do is, Tony points out the only other option is suffering and AJ quickly gets the message and gets the gently caress out of there. FBI Agent Skip Lipari visits Pussy at his home early in the morning, a bug up his rear end as he shows Pussy a newspaper headline about the bombing death of Waldemar Wyczchuk, a mobster who Skip knows for a fact Pussy recently had a mean with in Atlantic City. Skip is here to see what Pussy knows about this, admitting he isn't necessarily trying to pin this on Tony or anybody in the crew, they just want info. Pussy picks up pretty fast that Skip is getting pressure from somebody higher up the foodchain than him, as he demands info on a proposed loansharking merger with Philadelphia. Pussy points out Angie down below his balcony (overlooking a cemetary) taking out the trash as a reminder to be careful what is said. Pussy defends himself, he's doing everything he can to help them, but the only info he can offer is an utterly useless tidbit that Tony once bought a pool table from Wyczchuk. Part of that pressure on Skip may be exactly because the info they're getting from Pussy is largely the same quality as this. In therapy, Tony discusses AJ's recent philosophical bent with some concern. Though he, quite rightly, made a big deal about AJ stealing the car he admits here that this isn't actually bugging him at all, if anything he sees it as standard "boys will be boys" stuff. But questioning the existence of God? Believing existence itself is absurd? THAT is worrying him. Melfi assures him that adolescent angst is completely normal, but he laughs off the idea that he went through it himself since his mother and father wouldn't have stood for it. That immediately opens him up to Melfi asking how his mother is doing, and he shuts that down immediately with his standard,"She's dead to me" response. But that itself Melfi finds significant to the issues with AJ. There's no way he can't have noticed the strained atmosphere caused by the split between Tony and Livia, the fact that Tony has declared her dead to him, all this happening without any explanation given. She explains existentialism to him ("loving Internet" complains Tony) via the lens of World War II (a subject that interests Tony, so he pays attention) and the horrors that people faced giving rise to a new philisophical outlook on existence. She tries to press him to talk about Livia's part in the attempt on his life but he shuts it down, unable to see the hypocrisy of declaring he teaches AJ to love and respect Carmela while at the same time cutting all ties with Livia. She tries her best, pointing out that AJ's reaction is a common one and listing symptoms that clearly apply just as equally to Tony: intense dread, a dull aching anger, the sense that the only absolute truth is death. He quips,"I think the kid's onto something" but the humor doesn't hide the reality, part of why Tony is so upset at AJ is because he thinks and feels the same way.   Amy takes Christopher to the film set, a location shoot in New York where Favreau is producing Female Suspects, a lesbian spy film by director Michele Foreman whose first indy film - a lesbian, romantic screwball comedy - won an Audience Award at Sundance. Christopher stares in awe as a take is filmed, lasting only a few seconds but enough to wrap him up in the magic. He gasps as he recognizes Sandra Bernhard and Janeane Garofalo as the actors, even if he only remembers the movies they were from and not their actual names. Amy calls over Jon Favreau, who mistakes Christopher for a magazine writer here to do a puff piece before he notices Amy's pantomimed Italian finger gestures and grasps this is the mob-connected cousin of her boyfriend she has told him about. He's suddenly all over Christopher, wowed by him as much as Christopher is wowed by him (according to him Swingers is now a great flick, despite his mocking it to Adriana earlier). Favreau explains the final scene they're shooting now, but as they watch Janeane complains that Sandra's character's final word to her shouldn't be bitch, it isn't particularly interesting. Christopher, who was once again enraptured to see the magic happening before his eyes, listens with great interest as the actors, director, Jon Favreau and even Amy discuss what would make the best line or replacement action. Finally he chimes in himself, maybe she should say,"Pucchiacca", expecially since her character is from Brooklyn. Everybody freezes, and Janeane agrees that it certainly sounds more interesting. The director, desperate not to lose light, quickly agrees and they set up to film the scene again. Favreau asks Christopher what the word means, and deadpan he replies back simply,"oval office." Favreau likes that, and even lets Christopher come over to the monitor and put on the headphones as the scene plays out, watched with delight by Amy. Tony drives with AJ, demanding to know what is going on with him, warning him that his "No God" stuff upset Carmela. AJ attempts to explain, he didn't mean there is no God, just that God is dead is all! He tries to use this as an excuse for not getting confirmed but Tony tells him there is no getting out of that, and gives him a minor whack when he complains this "sucks my nut." Frustrated, AJ hits the mirror and Tony yells a warning at him. But even so, the thought is clearly racing through his head, his deepest fear obviously coming true: AJ is just like him, the anger, the sense of dread, the lashing out. He's his father's son. Chris brings Favreau and Amy to a pizza parlor in Cliffside Park, New Jersey across the street from a building that used to house the restaurant where Willie Moretti was murdered. Favreau is just as fascinated with this story as Christopher was with watching a film actually being made. Christopher is here an authority, a fount of knowledge regarding the mob which the eager tourist Favreau laps up. Christopher, more comfortable in his element, explains to a surprised Favreau that his biggest issue with Swingers was that the leads were kind of pussies in spite of modelling themselves on Frank Sinatra and Dean Martin. Carefully, Favreau attempts to explain this was actually kinda the whole point of the film but Amy, sensing this is awkward ground, speaks up to ask about Christopher's script. He's brought it, but is reluctant to show it, now he's out of his element and less forthright. Favreau attempts to set him at ease, explaining that Christopher's script is set in a world that he would like to do his next project in. He wants to do a film on Joe Gallo, something far better than the already existing film Christopher mentions. Favreau is enthusiastic, explaining that he wants to showcase Gallo as somebody who wanted to better himself, and becomes mildly offended when Christopher suggests Vince Vaughan would be better suited for the title role than Favreau himself. Spotting another customer, Christopher exclaims with surprise to see that the "freak" is still alive, pointing out a homeless looking female burn-victim. After the barest amount of coaxing from Favreau and Amy tells a story of a Wiseguy friend of his who got a blowjob from a girl he met in a club, only to discover she was actually a man. Amy, whose entire world is filtered through the film industry, thinks he's talking about The Crying Game and looks shocked when Favreau reminds her this is a true story. They're both horrified when the funny story takes a savagely violent turn, the man in question having poured acid over the trans-woman in "revenge". But this is the type of thing they wanted from Christopher, and they're careful not to upset him or betray their revulsion (mixed with genuine fascination). He can casually talk poo poo about Swingers from a point of ignorance, he can dismiss Favreau's passion, but that's all okay if they can use him to get an inside look into his world to aid the verisimilitude of the one they want to create.   Pussy is reading the Waste News newspaper outside his bodyshop when Tony arrives with AJ and shows him the damage done to the car. Pussy warns AJ he needs to learn the value of things, this is after all "his own" property that he has broken. He then undercuts the message immediately by handing him some cash to go buy himself a soda. After he's gone, Tony explains the issues he is having: AJ is now a moody gently caress. Pussy jokes like father, like son, which Tony doesn't appreciate since it hits so close to home. Tony wants Pussy to do something, he is AJ's confirmation sponsor after all, even if Pussy warns him from experience that kids around this age tend to get broody. Tony gives Pussy permission to use a belt on AJ if required (Carmela doesn't permit him to do it himself), pointing out his terrible grades in school. When AJ returns, Pussy asks how he is doing in school to see if he'll lie, but AJ sees no issue in openly revealing how terribly he is doing. Christopher returns home where Adriana is watching television, and she is distraught when she learns he has been on set with Jon Favreau and then took him and Amy on a tour of New Jersey. She storms out of the room, confusing Christopher who shouts after her that Vince Vaughan wasn't even there! Pussy takes AJ along with his own son Matt to the batting cages, where he attempts to talk some sense into AJ. Sometimes you have to do things you don't want to do, but you do because it's expected of you or it is tradition. AJ comments that baseball isn't part of his tradition but Pussy corrects him, telling him about Tony's athletic days. Since AJ feels he is without purpose, then he can choose "doing what's right" as his purpose. Matt, who is closer to AJ's age and understands what he is going through, attempts a different tack. He mocks Nietzche as a lunatic, proclaims Sartre was a fraud who stole everything from Husserl and Heidegger. He puts AJ into the batting cage and has him take some swings, telling him to research Kierkegaard, a philosopher who espoused that every duty is duty to God. AJ hits back with a quote from Master P, amusing Matt who comments that rap has sold out and is all about marketing now. Even he doesn't quite grasp it though, AJ isn't so much on a philosophical bent as he has reached an age where he's kicking back against authority because he doesn't want to do things he finds boring, and Nietzche and Camus are just a convenient outlet. Christopher goes to the lobby of Favreau's hotel, explaining that "Jerry from Newark" is here to see Jon. They have an appointment, but he's actually put himself down as a do not disturb, meaning the hotel can't call up to him for any reason outside of an emergency. Rather than leave a message, he asks if Amy is in, and heads up to her room where he finds her in nothing but a bathrobe, clearly not long up herself. It seems shooting went till 5:30 in the morning which is why Jon is ensconced in his room, but she invites him in happily enough. She offers him coffee but he says he has to go to take care of some business... then settles himself down in a chair and makes himself comfortable. He's surprised and a little disappointed to learn that Favreau hasn't read his script yet, in fact he doesn't even have it, she does. She explains this is nothing personal, Billy Bob Thornton (another "friend" she feels like she is on a first-name basis with?) wrote a script specifically for Jon and Amy was still the first to read it. That's part of her job, to read these things first (Christopher tucks away that little bit of info to merge with other bits of movie trivia he is aware of). She quickly tucks away a pair of panties she'd left on the floor, answering a phone call from Gregory and telling him Christopher is there ("Go gently caress yourself" is his cousin's loving message back). They make plans to meet in Union Square Cafe and she hangs up, and Christopher asks what she thought of the script. Being extremely diplomatic, she explains it has real heart and raw emotion, which are nice words for,"Oh my God this loving script sucks". She does encourage him to finish it, and he admits he had third act problems, and she carefully explains his issues are actually in the second act. Enthusiastically he explains the meaning behind pieces of dialogue, revealing awful planned "twists" in the third act as she sits and tries her best to be nice to him. She explains that his inciting incident is 9 pages too late, that the "plot point" of Rocco banging two Asian strippers has nothing at stake. Sitting close to him, her bathrobe slipping as she readjusts it, her hair falling across her eyes as she plays with it, she leans against Christopher as she talks about the need for characters t be in jeopardy, and attempts to explain a 7-part hierarchy of human needs before they just start making out. Quickly she's on top of him and he's inside of her, as she takes the thrill/danger of being in his presence to a physical level that Favreau and Melfi never could.   In another bedroom far removed from luxury and passion, Livia Soprano lies miserable and alone, her lunch untouched, her energy absent. AJ steps through the door and says a greeting and her eyes widen in surprise, but as her back is to him she immediately makes a calculation and shuts her eyes, pretending to be asleep as he approaches. Pretending to have just woken and not knowing who it is, she sarcastically remarks that she didn't know she had a grandson, complaining when he says he misses her that he should since he never comes to see her. She declares that he's lying when he says he is busy, twisting around to point and proclaim that obviously Tony has forbidden him to come and see her. AJ assures her this isn't the case, he just forbids talking about her in the house. "He can go poo poo in his hat" she complains, her energy already returning to her as she gets fired up by the chance to complain and lay down guilt trips. She asks what he has done that is bad after he admits Tony is mad at him right now, and he explains Pussy sent him down here to ask her for advice since she's old and has wisdom. Livia chuckles derisively about Pussy's mother and asks him to be more specific, what did he do? He explains he took Carmela's car and wrecked it and she finds herself on the same page as Tony and Carmela, saying he should be ashamed. She asks if he wore a safety belt and when he assures her did, she livens up even more as she tells a story she recently read in the newspaper about teenagers on a joyride who were burnt to death, trapped in their seatbelts. He asks what the meaning in life is, what is the purpose, why is everything meaningless? Sitting up, she points out that whoever said anybody got to have a purpose. She lays out a bleakly nihilistic viewpoint of her own, that you can't trust or rely on anybody and in the end you die in your own arms. What makes him think he is or should be any different. In the course of a minute she has gone from lying listless in her bed to sitting up, happily eating her lunch as she revels in the misfortune and pain of others. It's a remarkable transformation.   Christopher finally gets his meeting Jon Favreau a night after getting the consolation prize of banging Amy. He openly snorts a line of coke in front of Jon, who reacts with a mixture of amusement and unease. Christopher, high off the coke as well as sex with Amy, tells him about his acting class and points out this was another thing that blew about Swingers, the acting! Favreau, who not only wrote the film but starred in it, takes this with as good grace as possible, and when Christopher notes Tom Hanks in Saving Private Ryan was superb, notes quietly that maybe it's not entirely fair to compare the two. Changing the subject, Jon timidly asks if he is... strapped... and Chris bursts out laughing and casually removes an ankle holster and tosses it to him. Favreau freaks out, laughing nervously as he catches it and holds it awkwardly. Tentatively, he tries to ask if Christopher has even killed anybody but can't quite bring himself to do it. Chris, who knows EXACTLY what he means, goads him and tells him to ask the question, joking and prodding at him as Jon attempts to change the subject. He shadow-punches him, lightly slaps him int he face and then throws him in a headlock while grabbing at the gun in his hand and mockingly quoting Swingers as he calls him Money. Jon screams at him to stop and finally pulls clear, putting the gun down and whining that he's got dialogue tomorrow so this wasn't cool. Chris, not completely oblivious to how terrified Favreau is but not quite grasping how deep it goes, asks what he thought of the script. Like Amy, Jon attempts to offer constructive criticism of the schlocky piece of trash, saying the lead is a contradictory character..... then sees Christopher's face fall and immediately declares WHICH IS GOOD! It's just that, you know... in all scripts really it pays to show more of the actual author in it. Christopher, high as a kite, isn't really listening, as he ponders whether to leave the taps on his lead's shoes as a trademark but then how to get around being heard on the roof when he goes after Rocco? SOFT TAR! That's the answer! The roof is soft tar. Jon is just relieved Christopher is still in a good mood and agrees that yes, soft tar is the direction he was going when stressing the need for Christopher to put more of his own life in. Christopher quickly writes down soft tar on this note, then sits waiting expectantly for Favreau to offer him more advice. Jon sits and stares nervously, then finally mumbles out that maybe, you know... the dad goes blind earlier and uhhh, he smells the soft tar on the lead's shoes which makes him realize he was behind the hit on Rocco? Christopher is over the moon at this, grabbing the gun from Jon (who hilariously was cleaning his fingerprints off of it) and points it at him, declaring that now his lead will have to kill his own father! He jabs the gun at the despairing Jon's head as he screams,"BLAM! BLAM!" as the thoughts bounce around in his head, thrilling to being part of a collaborative creative process with a genuine Hollywood writer/director/actor.  You have to give Jon Favreau credit, he plays a beautifully realized fictional version of himself as a pathetic schlub. Tony and Carmela have dinner with Adriana and Christopher, though the latter is not yet present. He arrives, late as always, just after Adriana has talked about shopping for a bridesmaid dress for a friend's wedding. She explains what she's ordered as a meal but he's uninterested, pushing his plate away. Flushed from the exhilaration (and cocaine) of his meeting, he's far from excited to be here now eating dinner with them. When the conversation turns to the wedding and Carmela and Tony both enthusiastically endorse Christopher and Adriana getting married, his silence speaks volumes. Adriana's face falls and she and Carmela start discussing the catering instead, getting into gossip about a rival company firing their produce guy. This inane, unexciting, non-Hollywood line of discussion frustrates Christopher to breaking point, and he snaps he's tired of talking about food. "When you're married you'll understand the importance of fresh produce!" snaps Tony, and Christopher pours his fine out into his plate and storms away from the table, leaving Adriana humiliated and lip trembling. Carmela tries to comfort her but Adriana snaps too, saying gently caress him, especially after she worked so hard to help make his screenplay a reality. Tony hears that and alarm bells start ringing. Pussy is summoned to another sudden meeting with his FBI handler Skip, who is joined by Agent Grasso as they attempt to double-team him, demanding updates on Wyczchuk. Pussy is unconcerned with their demands until he's told he will be wearing a wire at AJ's confirmation, which sends him into a rage, wear a wire in God's house? They don't care about the service, but they want sound for the party at Tony's afterwards. As he roars at them, it's a chaotic soundscape in spite of their seemingly being located at a gas station. The sound of traffic, a train and even a helicopter are all intended to show the walls closing in on Pussy. Christopher returns to the hotel, forced to dump his cigarette after another warning from the hotel staff. He spots Amy coming in dressed elegantly from "the big Chloé party" she has just left. She sat across from Alphonse D'Amato, who apparently she isn't yet on first name terms with. Popping off her heels, Christopher suggests they pop down to Umberto's and she agrees, saying she'll just change quickly. In the lift, he looks at her heels (Manolo Blahniks) and comments appreciatively, asking to see them. Flirtatious, she tries to keep them away from him as he draws in closer, and they begin making out. The next morning they lay on the floor, having apparently spent a very energetic night in bed. He asks for more information about her, which amuses her, but she gives him her story. Her father is a neuro-surgeon at Cedars-Sinai, she attended Yale University where she did a year of Pre-Med as a Freshman. Now it is her turn though, and she asks him about the first thing she found attractive about him: what did he say to the douchebag that kept jostling her at that club? He laughs that off and finally jokes that he told him to be a good boy and he'd let Amy blow him afterwards. She giggles, and then asks if he's ever been with a Jewish girl before, not believing him when he claims he has until he admits the time he is talking about was a couple days ago with her. He then fucks up unfortunately by asking if she's even been with another "skinny Guinea", realizing too late that this is just going to remind her of his cousin Gregory. She wraps herself in a sheet and retreats into the bathroom, insisting she's not a terrible person. Left behind, he spots a script for Favreau's Joe Gallo movie, co-written by Amrit Nal, and pops it open and starts reading. He's enthralled by the writing, reading it out loud to Amy in the bathroom who calls back nobody but her is supposed to read that script. He pays her no mind though, impressed at how the script forms the images in his mind. But as he leafs through, he spots something disturbingly familiar: his story about the "she-male and the acid" is in there. He demands Amy come out, how could Jon put this in his script? Doesn't he know what will happen to Christopher if Joey Cippolini finds out who Jon heard it from? She steps out, smugly assuring him it's not at all the same story, the guy isn't called Cippolini and the blowjob happens at the Statue of Liberty rather than a swingset at a kid's park! Betraying a complete lack of awareness of just how seriously this poo poo is taken in the Mob despite their insistence that they wanted to know what it was really like, she accuses him of overreacting. Pulling on pants, he storms down the corridor to hammer on Favreau's door, but a passing member of staff informs them he already checked out. Fully dressed, Christopher storms down to the set where a gigantic member of security refuses to let him on set without a pass. He spots Janeane Garofalo and demands to know where Jon is, and she tells him he's already returned to Los Angeles... also does he have any more of that "pucchiacca" stuff she could use!?! At Pussy's, an irritated Angie demands he leave the bathroom so she can get in and do her make-up, AJ's confirmation starts in an hour. He yells at her that he's shaving and doesn't want her in there with him, tossing her make-up mirror out the door. Furious, she rushes to the bedside table to find the key, while in the bathroom Pussy anxious shaves his chest hair so he can attach the wire the FBI has demanded he wear. When Angie tries to unlock the door he roars at her to stay out, shoving the radio mic into the hamper. She opens the door and tosses the mirror, and with a scream he lunges after her roaring that he will kill her. He knocks her down and throws back a fist to punch her as she wails in terror, and Matt rushes into the room and pulls him off, demanding to know what the gently caress is wrong with him. Pussy, blood forming through his undershirt from his rough shave, buries his head in one meaty hand. For he and Angie both, it is an explosion of rage born out of desperation and anxiety, both their lives are a living hell.   Amy reads Variety in an office while waiting on a meeting. She comments to the receptionist that Robert Rodriguez has signed on to do a remake of Viva Zapata! with Harvey and Bob (first names again!). Christopher comes storming in, having somehow tracked her down, demanding to know why she hasn't returned his calls. Shocked, she tries to pull him aside and calm him down but he's venting, raging that she is a stupid bitch and she can't use his story in the movie or he'll get clipped. Still not grasping the significance of his situation, she asks whether he has "touched base" with Jon and he complains that Jon's jerk-off assistant told him to get in touch with her. She tries to fob off responsibility there too, while Christopher shouts at the reception to gently caress off when he asks who he is here to see and if he has an appointment. She assures him that she's flying into L.A today and they'll "touch base", a brush-off which he understands all too well. He grabs her arm as she tries to leave, asking if she was really going to leave New York without letting him know? Nervously assuming he means due to their physical relationship, she's surprised if a little relieved when he says he was thinking about his script. Going off a script of her own, she gives him a pat answer about how the failure of Mickey Blue Eyes' first weekend box-office, there's now a "wait and see" attitude on Mafia projects so they'll have to pass. Outraged, he has no time for her empty assurance they'll be happy to look at anything else he writes. Summoned to her meeting, she decides to end things on her terms and takes a moment to note that they were wrong to get involved, before turning to make her triumphant character exit. Except Christopher throws an additional line into the mix, quietly noting that he genuinely, really liked her. Unable to parse anything except through a media lens, she comments it is getting a bit too William Inge here and tries to make her triumphant exit again... until he grabs out that filed away bit of info she gave him about reading scripts for Jon and snarls that she's nothing but a loving D-Girl. This is a step too far, this breaks her facade of professionalism and makes her completely lose her cool. For Amy, this has probably been an endless source of frustration, of snide remarks or misunderstandings. She is Favreau's Head of Development, a Vice President in his production company. She counts various Hollywood stars as "a friend", which is probably a wild overstatement of a pleasant working relationship but something she clearly puts great stock in, insisting on calling them by their first names to others to indicate the depth of the relationship. She views everything through the media, through scripts and playwrights, films and directors, actors and character-arcs. To have her accomplishments reduced down to "D-Girl" by anybody is bad enough, especially if there may be an element of doubt in her own mind that she may actually be nothing more than a glorified D-Girl. To have that vocalized by a lovely little associate of a glorified crew in the Mafia (not even New York Mafia, New Jersey Mafia!), well gently caress that. She whirls and declares,"I'm a Vice President... you loving rear end in a top hat!" and storms away. It's not exactly the powerful character moment she envisioned in her head, but it's probably a pretty drat cathartic one. The Confirmation complete, the Soprano house is filled with people as Tony and Carmela welcome their guests, including the now dressed up and happy Bonpensiero family who you'd never suspect had a problem in the world. They're all thrilled at how well AJ did, though Angie is quick to excuse herself to the kitchen to join Carmela and get away from Pussy. Richie and Janice arrive, Tony insisting that Richie go get a drink so he doesn't have to spend any more time with him than absolutely necessary. Richie can't help but make a comment about the size of Tony's house as he goes though. Finally left alone with Tony, Pussy takes the opportunity to ask about Wyczchuk but misses his shot when Carmela asks Tony to go grab some ice from the garage. Tony heads downstairs where he discovers AJ sitting with some other kids smoking pot. He tells the other two kids to get out of there, and Carmela comes down to ask for more cokes and gets a whiff of the marijuana. She's horrified, he does this on the day of his own confirmation!?! They ignore his protests and claims that even Grandma says life is pointless, sending him upstairs demanding he be a good Catholic for at least 15 loving minutes. He goes upstairs, but quickly retreats to his room watched by Pussy. Tony and Carmela step up from the garage and Tony whispers to Pussy what happens, and he agrees to go and talk to him. Arriving at AJ's bedroom, he tells him as his sponsor he has to talk to him and AJ has to listen. Sitting on the bed, he explains that his parents aren't dictators or disciplinarians, but human beings just like any of them. He's known Tony since when he was younger than AJ is now, and tells a heartwarming story about when he was 16 and his sister Nucci has spinal meningitis. When she was in hospital, Tony would come with Pussy every day to sit with her. He'd talk, he'd listen, he'd look at her paintings, and he would sit with her when Pussy had to leave to get food or use the toilet. In fact he was there when she died, while Pussy was in line at the cafeteria waiting for a burger, a comfort to him since he knows his sister wasn't alone when she went. AJ is impressed by this story, but says this is what bothers him: his dad was apparently this great guy... back then. But now he's just some rear end in a top hat. Pussy is clearly upset by this, making AJ look at him and reminding him that Tony would gladly take a bullet for him. Tony Soprano is a stand-up guy, he knows what kind of a man he is, and he doesn't what AJ to forget it. In the FBI van, Skip is listening to all of this and if he has any sense, he'll understand that Pussy recent rage about being overlooked in favor of Paulie and Furio is subsiding, replaced by guilt and self-loathing for betraying his oldest friend. Pussy sends AJ down to enjoy his party, to enjoy his youth and his health and everything else he has while he still has it. He makes AJ hug him before sending him down, having done an actual good job as sponsor. Meanwhile a different kind of pep-talk is happening, as Christopher arrives at the house and Tony demands to know where he has been and why he wasn't at the confirmation. He cracks a bad joke about not wanting the Church to cave in on everybody if he walked in, then spots Adriana and tries to talk but she just walks away. Tony comes to her defense, saying Christopher is the one at fault here, and then lays out a serious ultimatum. Tony is going to go mingle with his guests, and in 10 minutes he will look up. If Christopher isn't there, it means he has gone to find whatever else it is he is looking for in life and he will NEVER return. If Christopher is there, it means he has dedicated himself to this life and ONLY this life. He tells him not to answer, his answer will be where he is in 10 minutes. With that he walks away so they can take the photo, leaving Christopher standing torn between two worlds, a decision to make. He leaves the house to smoke a cigarette and consider. As Vedi, Maria plays, the family gathers together for a photo with the priest, everybody wondering where Pussy is. Skip knows, he can hear Pussy over the wire as he sits in the upstairs bathroom sobbing uncontrollably with guilt. Christopher doesn't bother lighting his cigarette, his pondering over as he stands and walks back into the house, mirroring the final scene from two episodes earlier when he dumped his screenplay. It's perhaps a redundant bit of storytelling, but it hammers home a point: for Christopher there is no other option, this is the life he has chosen. First because he didn't think he could make it, and now after getting the briefest taste of his fantasy life. Is life pointless? Perhaps. But that doesn't mean you can't have a purpose, even if it isn't the one you thought it would be or that you wanted.   Season 2: Guy Walks into a Psychiatrist's Office... | Do Not Resuscitate | Toodle-loving-Oo | Commendatori | Big Girls Don't Cry | The Happy Wanderer | D-Girl | Full Leather Jacket | From Where to Eternity | Bust Out | House Arrest | The Knight in White Satin Armor | Funhouse Season 1 | Season 2 | Season 3 | Season 4 | Season 5 | Season 6.1 | Season 6.2 Jerusalem fucked around with this message at 13:37 on Apr 23, 2020 |
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Apr 28, 2019 12:28
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I always crack up at the German philosopher "Nitch."
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Apr 28, 2019 13:34
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Came here to post that retrospective but then saw it on the OP. It was pretty cool but I wish it had been longer and had more of the cast. So instead, have this clip montage of the show's best scenes that I watched last night.FOrgot how often this show was loving funny. https://www.youtube.com/watch?v=2Ropc0KvWFw Agreed something was off with Paulie in that group and I swear up and down I thought Dominic Chianese had died. Who the gently caress was I thinking of? John Ventimiglia (Artie), if I'm not mistaken, has had his share of problems and he looked drunk as poo poo on that thing. Lorraine Bracco must be a chain smoker. I felt bad for Hesh and the girl that played the Russain nanny since they hardly got to speak. For about 2 years, when I first heard of Joey Diaz, I thought he was the actor that played Pussy and had transitioned into stand up or some poo poo. Michael Imperioli is a great actor that I never see getting much work anymore. He seems perfect for an animation voice if nothing else. Edie Falco I guess has had the most "success" moving forward. Anyway that's my "what ever happened to?" analysis. I think the cast's reverence for James Gandolfini there wasn't just "let's all speak fondly of the dead guy" and more a genuine appreciation for him as an actor and as a person. From all accounts he was a considerate, empathetic caring stand up sort of guy who never "big timed" anybody and that really came across in that group interview. The collection of talent on this show is just nuts. There's not a bad actor in the bunch, IMO and they all do so much with just their faces, their body language and their inflection. One thing that came out of that "Inside the Actor's Studo" group discussion thingy that I'd never thought of was how "non-showy" the cinematography and direction really was. It's like the anti Scorcese and a wise move - not too much of a score, nor overly intense lighting, scene framing, dramatic camera angles or intrusive mood music to tell you how to feel about a scene. You're just watching. I think they called it "cinemaverite" where the way it's shot puts the viewer in the scene and almost makes them a character. I can only recall a couple of "holy poo poo, that was insane" direction choices in this show; like when Sil is sitting at the dinner table and a guy gets shot or some of the dream scenes (where it's actually appropriate) but, overall, almost all of it is shot with no score and at traditional 90 degree angles and close ups. Sorry for 
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Apr 28, 2019 17:18
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The guy who played Phil leotardo died a few years back, that may be who you are thinking of. I can never not think of the Shah of Iran when I recall that character. loving dead ringer lol
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Apr 28, 2019 18:16
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Midgetskydiver posted:The guy who played Phil leotardo died a few years back, that may be who you are thinking of. That was it. I knew it was a Sopranos actor I'd seen in a mob movie (which doesn't really narrow it down) Too lazy to look it up but if I remember right a number of these actors were in mainstream mob movies and also had a poo poo ton of personal problems. I think Tony Sirrico and Frank Vincent were honest to god mafia dudes. I know the guys who played Artie, AJ and Matt Bevalacqua got into some legal trouble to varying degrees and I'm pretty sure the latter went down with some hard prison time for loving killing a dude or something. Who gets the vote for most underrated character? I'd say Artie since I remember his scenes the most of the all the "minor" characters. He's always stuck in the middle of all the mob poo poo, suffocated by life (and his wife) and the few times he tries to branch out he's shut down fast. The vodka loan, trying to mack on Ade, pulling a rifle on Tony, getting his arm burnt in the tomato sauce, a failed suicide. I also liked the old rear end in a top hat who came out of the can for a while and hosed with the landscaper, trying to go old school on the modern crew and talking loud poo poo, who then went down by getting set up with the stolen TV's. Speaking of suicides, successful or otherwise, what's the tally on that? Artie, Eugene, AJ, Gloria, the cop who jumped off a bridge, Dominic...feel like I'm forgetting several
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Apr 28, 2019 19:02
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Irina swallowed a bunch of pills when Tony left her. Meadow’s friend that the coach was loving cut her wrists. One of Melfi’s unseen patients killed themselves when she was hiding out in between season 1 and 2. Davey Scatino had a gun to his head before being interrupted by his wife.
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Apr 28, 2019 19:09
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crispix posted:How long had you been in the can for? "Hey, Tone, you hear what I said? Bigguh Boat told us he was havin sex with Janice and I said 'how long u been in the can for?' heh heh heh."
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Apr 28, 2019 19:15
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I just watched this Psycho-knock off called Don't Go In The House and a young Dan Grimaldi (Patsy Parrissi) plays the lead in it.
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Apr 28, 2019 20:42
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BiggerBoat posted:That was it. I knew it was a Sopranos actor I'd seen in a mob movie (which doesn't really narrow it down) Frank Vincent was in both Goodfellas and Casino, and there's a fun callback to how his character got clipped in Goodfellas in The Sopranos. Speaking of Gandolfini, it seems like everybody who knew him loved him and not in a bland 'don't speak ill of the dead' way. He was by all accounts very kind-hearted, humble (calling himself "a fat gently caress who got lucky") and just a decent person.
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Apr 28, 2019 20:58
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There’s a cemetery down the street from where I live and it’s all right but if I overlooked it like pussys house does I’d probably want to kill my self 
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Apr 29, 2019 19:59
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Big Puss never made it to the cemetery   I wonder if Vito's kid spent time there.
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Apr 29, 2019 20:37
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BiggerBoat posted:Speaking of suicides, successful or otherwise, what's the tally on that? Doesn't Meadow say something in a late season episode about a college classmate attempting/committing suicide, with the implication that it was her unstable roommate?
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Apr 29, 2019 21:00
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JethroMcB posted:Doesn't Meadow say something in a late season episode about a college classmate attempting/committing suicide, with the implication that it was her unstable roommate? That was Hadley, they had a back to school party for her. Dunno what happened to Caitlin Ugh my knowledge of this show is too encyclopedic now
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Apr 29, 2019 21:43
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crazy eyes mustafa posted:That was Hadley, they had a back to school party for her. Dunno what happened to Caitlin I don't think she gets mentioned after turning Meadow onto Jackie Jr. having X.
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Apr 29, 2019 23:27
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Dawgstar posted:I don't think she gets mentioned after turning Meadow onto Jackie Jr. having X. They really, really nailed the " sheltered country kid freaking out the first semester in college" aspect of that character. One of my friends down the hall had a room mate freshman year from the middle of Iowa who started out as a normal, slightly awkward guy who by the middle of the second quarter was making GBS threads into tube socks, wrapping them in tinfoil and dryer sheets and hiding them in a shoe box under his bed. He also only ate the chicken fingers from the cafeteria( breakfast lunch and dinner) and got kicked out of the anime club. I have no idea how weird how you have to be to get kicked out of an anime club.
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Apr 30, 2019 23:50
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Your Gay Uncle posted:I have no idea how weird how you have to be to get kicked out of an anime club. Your Gay Uncle posted:making GBS threads into tube socks, wrapping them in tinfoil and dryer sheets and hiding them in a shoe box under his bed.
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May 1, 2019 11:59
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Yeah, so, the dude is an anime fan. But what did he do the get kicked out of the club?
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May 1, 2019 15:14
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Why the tinfoil? Why am I even asking?
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May 1, 2019 16:20
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THAT’S NO POTATO What do you expect, his dad was a fenuch. Next he’ll be wafflestomping in the men’s shower if he isn’t already
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May 1, 2019 16:44
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Ya look like a Poota-Reecan hoo-ah 
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May 1, 2019 19:55
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Midgetskydiver posted:Why the tinfoil? I imagine the idea was to try to form some sort of seal so that nobody would notice the smell. Must've developed a fear of making GBS threads in the common bathrooms.
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May 1, 2019 20:18
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Andrew Verse posted:Yeah, so, the dude is an anime fan. This was a while ago and I might be wrong but I think he threatened to shoot someone after they had a 3 hour argument over subs vs. dubs. https://youtu.be/ArQjiK6htCI?t=4
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May 1, 2019 20:48
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crispix posted:Ya look like a Poota-Reecan hoo-ah I loved him like a brother-in-law.
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May 1, 2019 20:49
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Rewatched Whitecaps last night and Jesus Christ, what an episode.
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May 2, 2019 10:09
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Season 2, Episode 8 - Full Leather JacketRichie Aprile posted:You know maybe when I'm over there, I could gently caress his wife? The Sopranos are eating Chinese takeout (presumably from where Tony suggested to Carmela when he was in Italy) and the subject of College comes up. Meadow's friend Hunter has gotten early acceptance to Reed, her first choice, and Meadow insists (protesting rather too much) that rather than thinking about how this affects Meadow herself, they should be glad that Hunter got into the place she most wanted to go. Carmela explains to AJ that Hunter took a big risk, by applying for early acceptance she could only apply to a single College and would have been behind the 8-Ball if she hadn't been successful. When Carmela mentions the number of options Meadow allowed for herself, she pointedly doesn't mention Berkeley, and Meadow reminds her. Tony immediately shuts down that idea, insisting that he won't pay for Berkeley, making it implicitly clear that he's upset at their liberal reputation. AJ points out he would like to go to Harvard or West Point, and Tony mocks him in a constructive way, saying he needs to start taking his academic studies seriously or the only way he'll ever see those places is on television. Carmela probably greatly approves of this stance by Tony, otherwise who knows what deadend career he might end up? One such poor bastard is the security guard at a store that sells stockings, KOed and lying on the floor as three idiots go at the safe with a sledgehammer like monkeys trying to get at a treat. It's Christopher, Matt Bevilaqua and Sean Gismonte, the latter taking a poo poo right there in the store as Christopher oversees the safe-cracking. They mock the idea of having to work in a place like this, but Christopher actually defends Sean taking a poo poo. He points out how the adrenaline affects different people, and tells them a story of Pussy's early years as a cat burglar(!), where he left a bear-sized poo poo in one of the places he broke into. Christopher explains that what got Pussy on the radar was stepping up for Johnny Boy Soprano during "the unrest of '83", and Sean bemoans that back then you got recognized when you did something. Christopher admits that you have to choose your time to strike, but when it comes you have to make your move or find a different career. For once, Matt and Sean are actually listening, which he'll later regret. Tony lies in bed trying to sleep while Carmela broods over late-night infomercials. He suggests she take a Xanax, so she turns down the TV to talk about what is on her mind. Why is Meadow obsessed with Berkeley, what could it possible be about a University frequently ranked as one of the top ten best in the world that could possibly appeal to her? Clearly she just wants to get away from them! Tony agrees that Carmela's probably right, and against correctly points out that this is actually Meadow's job as a young adult: yearning to break away and be free is if anything a sign that they did their job as parents right. She's worried though, what if Georgetown or Notre Dame turn her down but Berkeley says yes? Tony points out this is unlikely given she's on the National Honor Society but Carmela scoffs at the idea that actual academic achievement means anything. In a complete 180 from her earlier talk with AJ, she insists Hunter only got into Reed because her uncle and his wife were graduates. Good grades aren't enough to guarantee a spot anymore, now it's who you know or if you've bought them a new building or something. Tony, who has money but not THAT kind of money, points out that there is not exactly anything he can do about that and tries again to go back to sleep, while Carmela continues to brood.   At the little cafe/office that doubles as Richie Aprile's base of operations, he is visited by Silvio and Paulie who want to talk with him about Beansie Gaeta. Richie continues to feel zero remorse for his actions against Beansie, still cracking jokes about the fact he'll never be able to walk again, indifferent to their clear distaste. He's pretty displeased though when they tell him it would be a good idea if he was to do something nice for Beansie, like build a ramp to his front door and make his house handicap accessible. Richie is aghast, positive that they're joking, and cracks one of his own about loving Beansie's wife. But when he realizes they're being serious, he is grossly offended, pretending not to understand Silvio and Paulie's extremely careful assertion that Beansie has a lot of friends (i.e, Tony Soprano) and it might pay to do this nice thing for Beansie (i.e, Tony Soprano). Paulie gets mad, though Silvio can't help but appreciate Richie's crack about building a ramp to Paulie's rear end and driving a Lionel through it. They've delivered the message, if Richie is too stupid or too stubborn to get it, that is his problem. They're not the only ones with a clear message to deliver. Carmela approaches an extremely nervous Jeannie Cusamano at their property line to ask a "favor". Jeannie's twin sister Joan went to Georgetown University and is a well-respected alumni, maybe she could ask Joan to write a letter of recommendation? Jeannie, who is clearly desperate to get out of this conversation, tries to point out that Joan knows nothing about Meadow. That doesn't stop the bulldozer that is Carmela though, Jeannie knows Meadow and can give Joan a rave review, as well as copies of her academic transcripts! Jeannie, miserable, finally acquieses and says she'll at least ask, and a satisfied Carmela finally lets her go.   Beansie is undergoing physical therapy, lifting himself up out of his wheelchair by the arms when Richie Aprile comes walking through the door. The physical therapist can clearly see this is upsetting to Beansie, but rather than make a scene he just asks her to wait out in the hall while he and Richie talk. She goes, suspicious but not doing anything about it, and Richie ignores Beansie's angry protests that he wants Richie to leave him alone or his accusations about what he did to him to voice HIS complaints: whose idea was it for him to build a ramp for Beansie? Beansie hasn't got a loving clue what he is talking about, and Richie again lays out his bizarre "Old School" sense of right and wrong. He's actually perfectly willing to build Beansie a lamp, but only if Beansie was to come and ask him for help directly. He's offended that somebody was sent to ask on his behalf, while a bewildered Beansie half-sobs that he doesn't want jack poo poo from him, trying his best to maintain his composure in the face of this monster who crippled him for the crime of... well, he still doesn't know what the gently caress he did to make Richie hate him so much. Richie agrees to leave, but gets in close to whisper low that if Beansie goes crying to Tony Soprano "again", he'll make him a quadriplegic. Christopher pulls up in his car outside the suburban home of Liz La Cerva, Adriana's mother. Running through the rain, he demands to be let in as Liz yells at him that Adriana isn't there and he isn't welcome. He forces his way through the door, calling out to Adriana who of course was standing upstairs watching all this unfold. She tells him to go away, she hates him and never wants to see him again. Liz threatens to call the cops, grabbing her phone and starting to dial, but Christopher snatches it off her without even looking, eyes only for Adriana as he demands another chance. She is furious, reminding him of how he embarrassed her the last time they saw each other, but he just shoves her mother aside and in front of her disbelieving eyes, asks Adriana to marry him. Horrified, she begs Adriana not to fall for it as he pulls out a ring and tells her the words she has always longed to hear: he loves her, he wants to marry her. Now Adriana only has eyes for Christopher, ignoring her mother's protests that she's wasting her youth or that the ring was stolen. She gently but firmly pushes her mother aside, and Liz leaves with a warning that the next time she gets hurt, Liz won't be there for her. Adriana opens the box and recoils with shocked joy to see the ring, and hugs him in pure happiness, all her justified anger and concerns completely forgotten in a moment. At Tony's, he meets with Uncle Junior out by the pool, a clandestine meeting designed to get around both the FBI and Carmela herself. Because Junior can go "shopping" despite his house arrest, he's collected some vegetables from Tony's garden while taking the chance to discuss a DVD bootlegging operation he wants to bring Tony in on. They notice Richie Aprile approaching, presumably told by Bobby out the front where to find them, and Junior explains that Richie is part of the same operation: they're able to get movies like The Mummy on disc before they've even reached the theaters. Richie and Junior hug and double-team Tony with their pitch for the discs, discounting Johnny Sack and New York who technically should be involved in an operation this size. Junior is still clearly smarting from Johnny Sack's involvement in Tony running the Family underneath Junior's nose, but he pulls himself back from complaining too much since that would indicate he still resents Tony himself. They head back around the front to join Bobby, Junior yelling at him not to get handprints on his car finish. Tony passes Bobby the arugula raab from the garden and warns him not to smother it in oil like last time, but Bobby shrugs that Junior likes to mop up with his bread. As Junior oversees Bobby tucking away the arugula, he carefully listens in on Richie and Tony's conversation. Testing the waters, Richie explains that "winghead" came to see him about building a ramp for Beansie, and affects surprise when Tony agrees and doesn't deny it was him who told them to do it. Richie protests, Beansie would still be selling nickel bags on Jefferson Avenue if it wasn't for Jackie, but Tony doesn't argue back, just plainly and simply instructs him: build the ramp. Junior chimes in, not to argue one way or the other, simply to note that it was a terrible accident Beansie suffered. This itself speaks volumes, without saying anything he is saying that what happened to Beansie was wrong, and letting Richie know there is no support to come from elsewhere. So with a frown Richie agrees to do as he is told, but then plays what he believes to be his trump card. With great fanfare, he opens his trunk and presents a confused Tony with an old brown leather jacket. Tony has no idea what the point of this is, but beaming with pleasure Richie reminds him this is the jacket he took from Rocco DiMeo. He was a mobster with the toughest reputation in Essex County until he went toe to toe with Richie and was sent packing, and Richie took the jacket as a prize. When Tony and Jackie were kids, they were in awe of that jacket, and now Richie is presenting it to him as a gift, a make-good between the two of them. He insists Tony put it on, and reluctantly he does, offering a mild,"Thanks" to the still beaming Richie while Junior rolls his eyes before smiling his own apparent approval at the extremely awkward scene.  Sometime later, with Junior long gone, Carmela is doing chores around the house and stops to check the mail. Amongst the bills she is surprised to see a letter from Berkeley. Opening it, she discovers that Meadow's High School Transcript was incomplete and must be resubmitted quickly or her application to attend will not be considered. Without a word or a gesture, Carmela calmly takes the letter to the bin and dumps it in the trash. At night, Christopher and Matt work on cracking another safe while Sean shits on the floor like a loving animal. They discuss paying their dues, both in a duty sense and a literal financial one. Tony was pleased with the score they made from the last safe, but of course as the Boss he is due a cut himself. Because Christopher is THEIR Boss, Tony's cut is coming out of their end and Christopher is keeping all of his for himself. He's very open about this, explaining this is the way things just are at this point in their "career". They agree, and he points out that in any case he already spent all of it on Adriana's diamond ring. Sean and Matt are appreciative of how hot Adriana is, and Christopher indifferently notes that she loves him and these are her childbearing years, almost like it was a matter of business for him. He even agrees that Matt's idea of screwing whoever and then just hiring somebody to cook and clean is preferable to marriage isn't exactly a bad system. Looking around the shop, he again mocks the idea of being a wage slave spending day in and day out in a place like this, as one accomplice breaks open a safe and the other shits on the floor, which apparently is a far preferable life. Tired but feeling too guilty to sleep, Carmela is basically on auto-pilot as she returns to the kitchen in the middle of the night and retrieves the Berkeley letter from the trash. Brushing the food off it, she pops it in with the other mail and returns to bed. The next day, a nervous Vito and Bryan Spatafore - both nephews of Richie - ring the doorbell at Beansie's home and tell his wife they're come to put in the ramp, widen the doorways and adjust the bathroom etc. She's pleased, thinking they're from Rehab Outreach at the hospital, but when they don't reply to that she demands to know who they are and who sent them. Nervously, Vito mumbles,"Richie Aprile" and, fighting back tears, she demands they get off her property and slams the door in their face. With another sigh, Vito tells Bryan that he understands she has her problems, but he can't go back and tell Richie he failed in the task given to him. So he has the crew get to work on it anyway, while he goes back to ringing the doorbell to try and talk "sense" into her. At Richie's office, a member of his crew brings Matthew Bevilaqua and Sean Gismonte in to see him. They were in the area to look at IROCs (I don't know if he means rims or the actual Camaro itself) and asked to be introduced. Sean explains his Uncle Louis served time in the prison shop with him and Richie remembers him with pleasure, noting his height and weight (a little "tough" guy like Richie always knows people's height and weight, so he can impress himself when he beats them up). He asks if they work with Christopher Moltisanti, refering to him as "Camel-nose" and pointing out again that he'd tear him apart if he touched Adriana again. They yuck it up at "Camel-nose" and despite snapping at them that of course you can make stuff like that up, he hits them with a few more lines at Christopher's expense which they happily laugh along to until he quietly notes that maybe Christopher has his good points too. They're quick to agree, Matt saying Chris is "my homie", which irritates Richie again, why not just say he lives up near him? They leave after prompting from the crew member taking them to see IROCs, and a bemused Richie says they should let him know if there is anything THEY can do for HIM. Jeannie visits her twin sister Joan O'Connell at her law office, where she nervously tries to play this up as a chance passing by before finally coming clean and explaining she got trapped into promising this favor to Carmela Soprano. It's an oddly edited scene since the same actor plays both roles and they avoid two shots as much as possible, but Saundra Santiago does a good job portraying both the confident and assertive Joan and the frazzled, nervous pushover Jeannie. Joan has no interest in writing a letter of recommendation for Meadow who she doesn't know at all aside from a single brief encounter at a barbecue, and is dismissive of Jeannie's fears about crossing Carmela. She laughs that it's not like they're going to put her into cement boots, but Jeannie's fear is actually an entirely different and more terrifying one: being a bad neighbor! Whatever the reason for accepting the request, she did accept it, so how can she tell Carmela no now? Joan warns her she'll be a pushover her whole life if she doesn't stand up to Carmela now, and again insist she won't write the letter: she's already doing a recommendation for a Dominican boy with a 5.2 average, and she isn't going to wreck her own reputation and put a gangster's daughter into Berkeley, even if Jeannie does beg her to consider it a favor to her as family. With derision, she tells Jeannie not to be a doormat for the rest of her life, not like her: she's a tough, independent woman who can stand up for herself    Carmela's mother Mary and her long suffering henpecked father Hugh have joined the Sopranos for dinner. Janice and Richie have also arrived intending to pick up Livia's furniture from the basement and return it to the house, and of course Carmela has insisted they stay for dinner. As Mary insists Hugh leave the room and get another chair so Richie can take the other end of the table to Tony, Tony himself arrives in time to overheard Richie refer to Livia as "Ma", which he does not look favorably on. Meadow is not present and AJ is enjoying being the only kid, eager to play hot wheels (isn't he like 14?) with his grandpa. Carmela is delighted to have a full table, commenting on his cosy it is, and Richie agrees, noting that this was something he really missed while he was "away": friends, family, togetherness. He seems extraordinarily mellow in this setting. Carmela leaves to get the roast and Mary tries to stand to help her, but Carmela insists she sit, then turns to the motionless Janice and assures her she doesn't need to get up either. "Oh Janice, sit," an amused/disgusted Tony adds to the still seated Janice,"Really, sit!" Richie brings up the jacket, asking where it is, does he still like it? Janice asks what he means and he waxes lyrical again about the jacket, and Tony just smiles and agrees it is very nice before excusing himself to get the Ginzu knife. In the kitchen, Carmela compliments Tony on how calm and in control he is, and Tony agrees that it makes more sense to keep a guy like Richie close at hand and in sight at all times. Carmela doesn't care what his reasons are, she's just happy to be enjoying a non-dramatic evening in for a change, and gives him a loving kiss on the cheek. Tony heads in with the roast and Meadow arrives, apologizing for being late, and the entire tone changes as she and Carmela have a mild argument about her absence. The phone rings and she answers as Meadow checks the mail and discovers the stained and wrinkled letter from Berkeley. Carmela pointedly ignores her query about it to speak to Jeannie Cusamano, who with great sorrow explains that Joan simply can't write that recommendation letter. When Carmela just outright asks her why not, Jeannie tries to explain the Dominican boy and, desperate, starts making up bullshit about how he has a crack-addicted mother.... and cerebral palsy! Carmela just fumes on the other end, but mostly because she's trying to ignore Meadow who has opened the letter, seen her high school transcript is incomplete and put two and two together about how the envelope got stains on it. Jeannie suggests Father Intintola would be even more impressive than one from her sister and frantically hangs up, desperate to put this entire horrific social interaction behind her. But that's the end of that, Jeannie told her no and Joan's no doormat so Carmela can just   At the Bada Bing, Matt and Sean are bored at the bar when they notice Tony walk by and head into the men's room. Kicking themselves for missing the opportunity to say hello or something, like Carmela they decide to just go ahead and try to force what they want instead. But while she went to a law office, for them the most reasonable thing to do is to follow Tony into the toilet! They check each other out to see how they look, using a breath spray before heading into the toilet. Matt at least observes etiquette by stepping up to the urinal one removed from Tony's, saying a casual hello and then wrecking it by giving far too much information, explaining who he is, where Tony knows him from, how they're friends of Christopher and worked THE EXECUTIVE GAME, how he'd like to break his dick off inside one of the dancers outside etc. Tony, at this point just amused, says he's aware of who they are and heads to the sink to wash his hands. Unsure what to say now, Matt simply stands at the urinal leaving Sean to pick up the slack, and since Matt already said EVERYTHING he decides to assure Tony that they're all good about him getting a cut of the safe-cracking. Tony instantly slaps one canned-ham size hand around Sean's throat, calling him a poo poo-eating twat and asking if he's ever heard of wire-taps as he grabs at Sean's shirt and lifts it up before storming out of the room. Matt can't believe it, blaming Sean who, in spite of almost never saying anything, insists that Matt ALWAYS clams up and says nothing and leaves him to do all the talking. Matt can't even wrap his head around this. Outside Satriale's, Richie is still all smiles but unlike at the family dinner it isn't reaching his eyes. He wants to know why Paulie and Silvio called him down there, making him miss First Post which is a pretty big deal considering he's a bookie/loan shark. It seems they've gotten a call from Gia Gaeta (this time there can be no doubt it was NOT Beansie who made the call) that after ripping up her stairway to build the ramp, Richie's crew just... left. Richie explains he had to call them over to Livia's to do some work to prepare for her return to the home as well. He makes a point that Livia isn't just Janice's mother's house, but "Your" boss' mother's house too. That doesn't hold much water with them, they know how Tony feels about Livia, but the man himself arrives before any further comments can be made. Richie points out that Silvio and Paulie are still on him about the ramp, and Tony - who took to heart Carmela's words at dinner - decides to keep his cool and tells Richie to take a seat so they can have a coffee and discuss it with cool heads. Richie enjoys the fact he hasn't immediately sided with Silvio and Paulie, but as he sits he notices something: Tony isn't wearing the jacket? Tony can't help but smile and says the jacket is in the car, would he like it back? Richie doesn't reply to that, just turning to tell an unimpressed Silvio and Paulie the EXACT same story about how he took it from Rocco DiMeo (I assume he was some part of the DiMeo Family Tony now heads), using the same phrasing and everything. This is clearly a much told, well loved story. Jeannie pops timidly around to see Carmela in her kitchen, bringing the dish the Riccota pie was in. With anxious pleasure she tells her that Joan was wowed by Meadow's transcript and agreed to write up a testimonial right there on the spot. Carmela is delighted but immediately asks to see a copy, and a frantic Jeannie assures her she can get one. Beaming beatifically, Carmela warmly thanks Jeannie for being such a good friend and hugs and kisses her, without a single mote of cynicism or self-awareness behind it. As far as she is concerned, she did what any mother would do, and Jeannie did what any friend would do, and Joan did what any reasonable person would do once given the facts. The fact Jeannie is clearly about to poo poo herself is something she probably doesn't even notice. Matt and Sean hang out at their apartment smoking weed in their underwear, blitzed out of their mind listening to Up 'N Da Club playing on their giant television. A hammering at their door freaks them out, Sean trying to hide his bong while Matt tucks his gun under the couch cushions. They turn the TV down and Sean rushes to the door and looks through the peephole as the hammering becomes louder and more insistent. It's Furio, backed up by another of the crew from Naples who followed him over. Sean opens the door and Furio strides in with an unreadable expression outside of his irritation and being made to wait. He's here for the money, confusing them until they figure out he's here to pick up Tony's cut. Sean quickly (and stupid as he is, visibly) grabs their money stash and counts out $7500, 10% of the total take (that was a hell of a score). Furio is satisfied... with Tony's cut. But now he wants his, and demands they fork over $1000 for him too. They're outraged but he just snaps his fingers and motions for them to hurry up, and after their token protest they meekly do as they're told. Furio turns to leave and notices their underwear hanging out to dry. Amused, he comments in Italian to his backup that these two suck each other's dicks. Matt and Sean don't know the words but they can guess the tone and demand to know what he said. Furio simply cups Matt's chin and makes a kissy face before they leave laughing, leaving behind the two wannabe gangsters feeling like complete chumps.   Christopher and Adriana finish making love, both of them shocked by the passion. They've had make-up sex before, but this was something different, and Christopher jokes that he'd have asked her to marry him sooner if he'd known the sex would be this good. As they share a cigarette, Adriana gushes over how much she loves her ring, and calmly Christopher credits Tony with setting him straight and putting him on the right path. No more distractions, no screenplay, no drugs. The only things in his life now are his work for Tony and his love for Adriana. He promises he is rededicating himself down the line, and accepts the blame when she asks why they have wasted so much time fighting, saying it's due to him not expressing his feelings adequately. It's everything she's ever wanted to hear, she's never been happier in her life and she tells him how much she loves him, and without hesitation he tells her the same before they settle in for more blissful making-out. Life has never been better, things have never gone so good. Carmela is practising drawing from a photo of AJ when the doorbell rings. The maid, Lilliana, lets in the visitor and she is delighted to see Richie, who has come to visit and brought a plate of tripe and tomatoes he made as a thank you for including he and Janice in the Sunday dinner. She's grateful and touched by the gesture, and they bond over their shared love for tripe, Richie acknowledging it is far from everybody's favorite (and also quietly making it clear he's aware of her likes as well). She offers him a coffee and he is happy to accept, his pleasure again seemingly genuine. Yes there's probably an element of wanting to get good with the family to help him with Tony, but that's not all that different from what the likes of Paulie, Pussy and even Silvio do. Plus, he does actually care about Janice, and being Old School that means he has a vested interest in getting on with the family. When Carmela asks about their relationship, he grins like a schoolboy, admitting it is ironic that after 20 years and all the different paths they took, they've ended up back where they started but found genuine happiness together. But that good vibe fades fast when Lilliana pops around and notes her husband has come to pick up the extra television from the basement she said they could have. As Carmela thrills to her own Christian charity by gossiping with Richie that Lilliana's husband Stasiu was a mechanical engineer in Poland but now he drives a cab. But Richie doesn't hear, because all he can focus on is the fact that Stasiu was wearing the leather jacket he gave Tony. Okay let's talk about this loving jacket. What is the significance, what is the meaning? Well it's (at least) twofold. Richie gave Tony the jacket out of a genuine gesture of friendship and reconciliation. He's dating his sister, he's looking after his mother, he wants the relationship to be good and he's taken to heart at least somewhat Tony's reminder that he's the Boss and being Old School means you respect that. The jacket is a symbol of Richie himself at the height of his powers, of a time when he ruled the streets of Essex, when everybody knew he was the toughest son of a bitch around. To give Tony that jacket is to not only let go of the past (in spite of his near memorized descriptions of how he got it) but to accept that Tony is in a position of power over him. It is an act of, if not submission, at least capitulation. Take this thing of great value to me as a sign that I respect your power, and because you know what it means to me you will value our relationship all the more. EXCEPT... well, it's not. Well it is. But it isn't. Because think of this from Tony's point of view. Discount the fact that it was 20 loving years ago or more that this jacket was fashionable. What does the jacket represent and what does Richie giving it to Tony represent? It's the fact that Richie still thinks of Tony as a kid, of some snot-nosed chubby kid who worshipped the ground he walked on. For Richie, Tony hasn't changed, and giving him the jacket solidifies that because he assumes Tony holds exactly the same mindset as he did back then. Plus how did Richie get the jacket? Well as the man himself testifies every chance he gets, he got it by beating the toughest guy in the neighborhood up in a one-on-one fight and chasing him off. So what value is there in the jacket if Richie GIVES it to him. Tony didn't earn it, he had it given to him by a guy who TOOK it from somebody else. So does this mean that Richie doesn't respect Tony? That he doesn't think Tony could have taken it from him? That Richie is still tougher/stronger/better than Tony? All of that is happening subconsciously or just skimming below the surface. But it manifests in Tony seeing no value in the jacket, and a distaste for the obvious pushiness of Richie regarding it. By giving it away, Tony has demonstrated to himself that he's above such things but also allowed him to demean Richie even if only in his own eyes. Now Richie is basically just another mustache pete caught up in the old days/ways and unable to change. But for Richie, this is a deliberate spurning of what he considered a heartfelt gift, a sign that Tony is just a punk kid with no regard for tradition or respect for others. Giving away this jacket will have enormous repercussions.  At the Bada Bing, Matt and Sean are back at the bar bored out of their minds and still smarting from Furio ripping them off for a G Note. Christopher isn't there as they expected and isn't answering his phone, and they have no idea where he is (having mindblowing make-up/engagement sex) so all they can do is wait. As they sit, Matt look around the bar and has a rare moment of self-awareness. All around the bar are male "couples", buddies sitting together watching tired looking strippers with bolt-on tits dance for money. Older guys, middle-aged guys, all of them complete losers or pathetic... and Matt and Sean are right there with them. "This is hosed" Matt finally says, they're scared rabbits, pathetic losers. Sean denies this but Matt won't let it go. They buy fish, they crack open safes, and for what? Sean reminds him they're just getting started but Matt reminds him they have stockbroker licenses (I wonder if they say the exam themselves?) and Matt went to Pace College! Sean considers quietly for a few moments and comes to the same conclusion, it's true. They have to go something to get ahead. Without saying it, both of them are thinking of what Christopher told them about Pussy back in the 80s: when it is time, you have to step up or find a new career. Meadow is having a very familiar argument with Carmela about Lilliana being allowed to go into her room and clean it, insisting that giant piles of clothes and wet towels that were starting to smell is just how she likes it. Carmela hits her back with the old,"As long as you're under my roof you live by my rules" thing and Meadow fires back with the traditional,"I'm 18 and going to college soon and I can take care of myself!" retort. Carmela prepares to fire back by telling her that it'll be because of her that she got into Georgetown (whether that's true or not is irrelevant, this was about Carmela trying to take control of a situation she has zero control over, and she believes it in her mind which is all that matters) but pulls up short. Instead she simply agrees that Meadow CAN take care of herself. Meadow thanks her, staring back suspiciously as she leaves, trying to figure out if she actually won this argument or not. Once she is gone, Carmela smirks, feeling like she has at least for now re-established her own self-image as the protector and provider of her needy children. Tony attends therapy where happily proclaims there are no problems for him to discuss or issues to resolve, things are still going shockingly well for him and he's only really shown up because the appointment is there and he might as well keep it. Melfi, a little more confident in their relationship now that the initial awkwardness of their return has settled down, simply sits quietly and smiles waiting for him to let it come out naturally. He does so, pointing out that there is one thing that is puzzling him. He explains the situation with Davey Scatino, and how he took Eric's car and gave it to Meadow, wondering why he did that since he knew she would figure out it was Eric's and react badly. Everything is going well in his life, why would he do something that could create drama? Why would he, after a lifetime of trying to hide his business from Meadow, openly expose her to this part of it? She asks him to tease it out himself, can he think of why he might have done it? He points out that Davey is a degenerate gambler, but he's also highly respected in the community, sneering as he says it. Melfi notes he was one of those "Happy Wanderers" he hated so much and he is amazed, how the gently caress does she remember all this bullshit her patients like him say? But in any case, why should he get the blame for Davey's gambling problem? Does Artie get the blame if he gives a plate of fettucine to some fat gently caress eating himself to death? Melfi suggests that maybe this was the message that Tony was trying to give to Meadow, since she is leaving the nest soon ("Not those loving ducks!" warns Tony, seeing where she is going) and he needed her to understand that the "legitimate" world masks some dark poo poo as well. Tony can't believe this, so after all this time of his good actions apparently being for selfish reasons, he finally admits to doing something incredibly horrible and this time she tells him he was actually doing a good thing!?! But Melfi is adamant, she thinks they're getting to something here and won't let him pretend that there time is up. He agrees to stay but refuses to say anything, troubled by just how close to the bone she has hit. Christopher is on his way to his car, chatting on the phone and in disbelief that he's been asked to go to Beansie's house to check on the ramp Richie is supposed to be building. Matt and Sean pull up and call out to him. He looks up and starts to call out a greeting, and Sean pulls out a gun and unloads it, hitting Christopher in the stomach as Matt screams to get that motherfucker. Christopher hits the ground but is still in possession of his faculties (or more likely in shock) grabbing at his ankle holster until he is hit in the shoulder. Matt jumps out of the car and Sean tries to do the same, only to realize he has left his seatbelt on. As he struggles to unbuckle it, Christopher is able to reach his gun and shoots Sean right in the head, killing him while he is still in his seatbelt (Livia warned AJ about this type of thing!). Matt has been wildly firing in Christopher's direction, but sees Sean is dead and screams out,"SHIIIT!" as Christopher returns fire. The handbrake not properly in place, the car starts rolling forward and Matt has to jump out of the way to avoid being pinned between the cars. With the cars between them and his partner dead, Matt runs away, shooting back behind him without looking. Christopher, gritting his teeth in pain and anger, fires after him but doesn't come close to hitting him. With the immediate danger gone, Christopher collapses and passes out as the sound of sirens draw closer.   Sometime later, Matt bursts into Richie's, asking if he heard what happened to Christopher. Richie has, and Matt explains it was him and Sean that did it, but Christopher killed Sean in the process. Richie is astounded, it was them? Matt, practically crying, explains they did it for him. Richie is even more astounded, they WHAT!?! Matt begs him to understand, reminding him he hates Christopher, but Richie's reply of,"So what?" says it all. Richie is infuriated, not that they shot Christopher but that there is a chance that Tony, the ungrateful two-faced gently caress, will think he had a hand in it. He smashes a bottle and grabs a baseball bat, chasing Matt out onto the street and flinging it after him as the desperate idiot sprints away having hosed up literally everything in the space of a couple of hours. He thought his time had come and he made his move, and now he REALLY better think about a different career. At the hospital, Christopher lies in bed hooked up to machines, the heart rate monitor and the breathing machine the only noise (it will also replace the usual placement of an appropriate song over the end credits). Adriana sits at his side, Carmela, Silvio, Paulie, Pussy and Furio are all present. Sitting at the foot of the bed is Tony Soprano, who until a few hours ago thought that everything was right with the world and all his ducks (not those ones) were finally in a row. His biggest problem was that he'd intentionally pissed off his daughter and his potential brother-in-law had foisted a smelly old jacket on him. Now a man as close as a son to him lies in a hospital bed being kept alive by machines, shot by a couple of nobody idiots for no reason he can understand. All the most powerful man in North Jersey can do is what anybody else in that situation would do, sit there and ask,"How could this happen?"  Season 2: Guy Walks into a Psychiatrist's Office... | Do Not Resuscitate | Toodle-loving-Oo | Commendatori | Big Girls Don't Cry | The Happy Wanderer | D-Girl | Full Leather Jacket | From Where to Eternity | Bust Out | House Arrest | The Knight in White Satin Armor | Funhouse Season 1 | Season 2 | Season 3 | Season 4 | Season 5 | Season 6.1 | Season 6.2 Jerusalem fucked around with this message at 13:37 on Apr 23, 2020 |
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May 2, 2019 12:43
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It's always striking how Carmela is as big a gangster as her husband in her own way. She might even be better at the whole 'giving a gift in a friendly way that doubles as super threatening.' It's just some delicious ricotta pie with no sinister undertones at all! Don't be silly. The attack on Chris reminds me how I enjoy that pretty much all the hits in this show never go smooth, much like I expect they don't in real life. Either they're running down Mikey Palmice in poison ivy or Sean forgets to take his seatbelt off or Tony B doesn't realize the car's still in gear and it runs over his foot.
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May 2, 2019 13:04
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I always wondered: could the cops theoretically trace a poo poo? Can you tie a turd to an individual, like DNA?
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May 2, 2019 13:28
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Sean and that Bevilaqua kid gently caress up so hard and so fast.Big Dick Cheney posted:I always wondered: could the cops theoretically trace a poo poo? Can you tie a turd to an individual, like DNA? Apparently, yes. A cursory Google search says that, in addition to the DNA of anything you ate as well as DNA from gut microbes, cells from your intestinal lining leech on to every movement and can be tested if it's, uh, fresh enough.
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May 2, 2019 15:19
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Big Dick Cheney posted:I always wondered: could the cops theoretically trace a poo poo? Can you tie a turd to an individual, like DNA? To do that, you’d need to get everyone together who ever took a poo poo, which isn’t possible- not even with computers!
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May 2, 2019 15:24
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I always thought this was a great episode and not just because of the scene with Chris Tardio in his underpants  I didn't actually get the other dimension of the jacket that Jerusalem outlined. I always just saw it as Richie trying to come to terms with Tony's authority: he could accept him in his position if he wore the jacket because this symbolised to Richie and the world at large that Richie could see off Tony if we wanted to - instead he was being the great peacemaker. Jerusalem's interpretation is much more interesting though. Whatever the truth of it, it is possibly my favourite example of a recurring theme in the show - that is, just how seriously these psychos take such ostensibly utterly trivial and petty things.
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May 2, 2019 19:32
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Jerusalem nailed the subtext in his review I thought; one thing that struck me about this little arc is how Seinfeldian it is. Just the way Richie says “It’s The Jaaaacket!” I can hear jerry going “The Jacket?” and the ensuing social awkwardness of “why aren’t you wearing The Jacket?” being a core plot point (which in this show it also is) and whichever eccentric gave it to him losing their poo poo upon discovering he gave it away. Anyone watching can see this is one of those weird unwanted situations where there are no real rules, only opportunities to take umbrage at the other persons conduct. With all the other very heavy poo poo going on- Richie crippling Beansie, et al- this is not a happy episode or season- but this little bit always struck me as really funny despite being so negatively pivotal.
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May 2, 2019 20:42
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