The Sopranos: 2022 Super Bowl Car Commercial Analysis
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- Опубліковано 3 лип 2024
- This video contains original narrative analysis covering the dramatic scene depicted in The Sopranos 2022 Chevy Silverado Super Bowl car commercial. The analysis here was developed in response to a question posed by a viewer following our assessment of The Sopranos series finale, "Made in America".
In our assessment of the finale, we asserted that Tony Soprano was assassinated and that his wife, Carmella and son, Anthony Jr. were both inadvertently killed in the process. The question raised by the viewer involved Anthony Jr. in particular. Here is the question: Can a storyline that features a reunion between Soprano siblings in 2022 co-exist with an analysis of the series finale that argues Anthony Jr. was murdered in 2007? This video attempts to answer that question.
Notice, she was actually able to park it right at the curb this time, vs struggling with the parallel parking in the final episode. Progress, Meadow!
Different type of parking style though..
would have been funny if she turned on parking assist
It is an Alternate universe where the entire road is fake look at my recent comments
@@brewstamacbeth981 The EV charging stations set up alongside that stretch of road are phony but the road itself is real. Other than those props, nothing else is fabricated.
Not to mention it's probably what saved her...one question? Besides the obvious why not have her brother look exactly as he did in 2007? Why have Anthony aged as if he we're alive in the series anyways if he's only a spirit. I've always thought myself, the timing of Tony's actual death was questionable, i know it was someone from New York who did it but it probably happened a year or so after Phil's hit. Because if you accept it happening in 2007 you'll have to accept Tony would not only be out in public but with his entire family also, he out of all people would know the way Phil was hit would never slide with new york, which is the only thing that troubles me about the ending all these year's. I always thought when Tony sees himself in the resturant some time had passed, plus him going out right after a war like that, even with the sit-down thing, i don't see him being so trusting that easily, at least until some time passes. It just doesn't match how careful Tony was especially those last season's. But great observations, I'm sure i can catch a few more rewatching it, it makes the commercial far more intense and emotional viewing it from all the signs there. It definitely felt like part of the actual show again.
THERE IS A FAMILY OF DUCKS IN THE BACKGROUND OF FINAL FRAME
Yes, you're right about that, Hans. Very nice catch.
I'm not sure you've received proper recognition for spotting this, man. That is a major find.
Well, that settles it!!
settles it? settles what?
@@CaptBeauregards
well!?
“Tony puts people in the graveyard. Meadow puts people on the playground” is one of the best lines of analysis I have ever heard. I can’t wait for more from you!
You're very kind, Wicklunda. Thank you so much! I've got a new one in the works. Will let you know when it's published. Thank you again!
“Scenic media will never have a relationship with Tony like Borko, I don’t care how far he sticks his tongue up David Chase’s A$$$” -Paulie Walnuts, (Rockin in Paradise)…. Seriously though great analysis….mind blown
I took it as Tony puts people in new carpeting and furniture. 🤷🏻♂️
@@scenicmedia8624man what happened? Your videos were pristine
@@littlecousin5630 So kind. Thank you! Doing a lot of research and writing. Next video on "Once Upon a Time" coming soon. Then another on "Goodfellas". Thanks again!
Perfect symmetry. In the final scene she rushes across the street and into what will be become the worst memory of her life. And now, she walks purposely across the street, in harmony with forces both earthly and divine, into an embrace of love. Thus fulfilling the last words of AJ: “Remember the good times”.
Nice. I like it. Thank you, Wicklunda!
this is very sweet. Letting go of grief is so bittersweet and profound.
I was blown away by your analysis of the Sopranos ending. It was literally the explanation I've been seeking for 15 years. This video too has me thinking that these things you have uncovered can not possibly be coincidence. David Chase will never come all the way clean and admit it but I don't think he should. Art is subjective. Bravo
Very kind. Thank you, Bumblebee!
I couldn’t agree with you more. I have probably watched every Sopranos ending on UA-cam and many had great insights, but these two put it together in the most satisfying way.
@@wicklunda I agree I'm blown away
I have a bridge I want to sell you.
I couldn’t agree more! Brilliant work. These two videos (the ending & the 2022 commercial) are, I agree, sonething I’ve waited 15 years for. Combined with one other video I’ve seen that perfectly and in detail breaks down the how and why Tony was killed (by a triumvirate of Butchie, Paulie and Patsy) - they complete my understanding and appreciation of this great ending to this great series. I wish I could remember the name of the account that posted that other video. The three videos (the two by this account and the pre-assassination breakdown video) should be required, MANDATORY viewing by any true, deep Sopranos fan.
Meadow still looking fine as hell 15 years later..
And again, this explains why we sat through every bit of this in slow motion!!
Doesn't she? Wow!
Literally doesn’t age it’s insane
Maybe one of those rings was Sauron’s ring of power. A side effect was it keeps you from aging.
@@wicklunda lol I said same thing to my wife. Off topic we know some Wicklunds in Wisconsin and the U.P. of Michigan. Any relatives in that area?
So if this commercial is canon does that mean Paulie really attacked that poor couple because they werent renting their movies from the Netflix?
Thank you for watching the video, Lord Hypnos. Personally, I have nothing to say about what does or does not constitute 'cannon' in relation to this show. I associate that term to literature. I'm actually surprised at how many Sopranos fans use this term in a technical sense to determine what to accept or reject by way of story analysis. In any event, the fact remains that hard work went into developing a dense storyline here -- one that picks up on elements from the finale. There's just no getting around that. Thanks again!
@@scenicmedia8624 I was mostly kidding I actually think this analysis and your one on the ending are really good and I'm definltley subbing.
@@TheDeathMetalOtaku - Understood. Very kind. Thank you, Lord Hypnos!
😂
Holy crap I got chills all over my body when you pointed out the choreographed steps with the stranger
Wow. Thank you, Unicorn Rainbow! Notice too that the moment we cut away from the choreographed procession, we see Anthony Jr. on the 'bridge' moving toward Meadow. That transition - from procession to bridge - tends to reinforce the idea that the stranger in the red cap helps the siblings navigate their way to each other. Occurred to me later that I could have made that point a bit more clear when talking about the stranger. In any event, thank you for your kind feedback!
@@scenicmedia8624 Not sure if this was intentional on the directors part but the red cap also makes me think of that old movie The Sixth Sense where the boy is visited by ghosts, and the visual clue that the person talking to him is a ghost is always some kind of red item.
@@unicornrainbow222 I think there is definitely a deliberate effort to tie together all of the red elements in mise-en-scene. The restaurant sign, the three red lights, the stranger in the cap, and the Chrysler. Insofar as Anthony Jr. is 'visiting' from the realm of the dead, I think the symbolism sounds identical to what you cite in The Sixth Sense. Although I did not include it in the presentation, there is a patron at Holsten's in the series finale who is wearing a red baseball cap. There is a shot of him facing forward and he looks very similar to the stranger in the red cap. Rather, the red cap looks similar. I thought there might be some effort in the commercial to draw upon another element from the finale. It was interesting but not quite enough to include. Ultimately, though, I'm convinced that little figure, the stranger in the red cap, is a kind of functionary from another dimension.
AJ’s hair is fluffed up in the wind. Obviously this means Silvio is alive and well.
ua-cam.com/video/jJN9mBRX3uo/v-deo.htmlsi=1J5LcHjTu-ti8a0g&t=67
I don't get it. Please explain.
nicely done
Excellent, who knew a brief commercial could pack so much? This analysis makes this commercial spot a perfect epilogue to the Sopranos series. Actually brought tears to my eyes. Very well done.
Thank you so much, Juan! Agreed. Extremely dense piece of work. And you're exactly right, a perfect epilogue. Thank you again!
Glad to know Anthony jr, didn’t get capped.
@@joshshrum2764 Anthony Jr. was murdered in the finale and appears here as an apparition.
He's teaching. Over analyzing. All speculation.
I am subbed, notifications on, and waiting impatiently for anything else you want to post; Sopranos or otherwise!
don't forget the ducks on the hill behind meadow and anthony's embrace. Kinda cool because Tony always loved the ducks in the first season, and when they flew away tony got panic attacks and sad. Maybe the ducks could symbolize something almost as genius as everything you just said. I applaud you sir
Thank you, Mt. Angelo. Very kind of you. You're totally right about the ducks. I missed it completely. Nice work. Thank you again!
@@scenicmedia8624isn’t that also a graveyard behind them the whole time? is she visiting his grave?
Those are geese but still a good point
@@whomstmustveIt would explain the purpose of putting the hurst in the background directly across from aj.
i see it as ducks symbolized his family for tony. if those are geese or ducks, there’s a mother goose & 3 baby geese. it could symbolize meadow leading tony, carmela & aj or her as a mother with her three kids maybe
So it turns out that Meadow Soprano found a way to do something that Michael Corleone and Tony Soprano couldn’t: escape the mob.
She wasn't a made mobster, her father was, she was never involved.
She is now the “Boss”.
Tony's sister Barbara did it way before her
@@joeleone2228Patrick was.
Ercole was also able to escape the life.
I would’ve paid attention in English class if we did some analysis like this
That is a very kind compliment. Thank you, James!
Fr
No u wouldn't
The looks on each of the siblings faces as they meet eachother in this scene lso contrasts and supports the deeper story you are presenting here. Anthony looks serious and as though he has been waiting for her all along, and she looks relieved to finally see him. I can see exactly what you are saying about Anthony, and this is making me tear up.. I’m all on board with your analysis. I love it. A very poignant commercial/reunion of these two.
Thank you for checking out the video, Кирала. Thank you for your feedback too. Great to hear you liked it. Very kind of you. Thank you so much!
To add to the cars. When Tony Jr is first shown, the car to his right is a Buick LeSabre. It’s the same model year and color Buick LeSabre that is parked in front of Meadow when she is trying to parallel park in the last episode.
Hi, Edwin. I suspect you're right that the car is meaningful in some way. Particularly, given it is featured in the shot with Anthony Jr. I am not convinced it's the same make and model as the car behind which Meadow parked in the finale. I'm also not sure either car is a Buick LeSabre. Or rather, if it is, I don't know what year. There are similarities between the car in the finale and the car in the commercial. But the there are some differences too. The shape of the wraparound taillight, the shape of the wraparound headlight, and the shape of the c-pillar all appear to be different between the two cars. I also looked up the LeSabre, 2007 and 1999, and in both cases, I see a turn indicator (or hazard light) situated below the headlight and inset into the bumper. That appears to be a persistent design feature throughout the years. If you're able to lock in on the year of the car you have in mind, I'd be interested to take a look. Thanks, Edwin!
Hi, after this I revisited the last episode and you’re correct it’s not the same color. The one in the last episode is gray or light blue? But I’m certain it’s the same make and model. In the final episode scene where you can briefly see the car that is parked in front of Meadow, we can only see the rear of the car. I recognized it right away because my parents owned the same car lol. Google “2004 Buick LeSabre Rear” and images should show you the rear to compare to the last scene. Also, compare the front of a 2004 Buick LeSabre to the one on this commercial they look identical. Let me know what you think
The vehicle in the back of the parking lot isn’t a hearse. It looks like a newer Chevy suburban. They have that chrome strip behind the rear window.
Hi, Matthew. Thank you for you feedback. Yes, you are correct. The car in question is not a hearse. It may be a Chevy Suburban or a Chevy Tahoe. I've had occasion to look at both. I originally thought it could be some kind of SUV hearse which is the image I show in the presentation. I also concede in the presentation that I could be wrong and that, whatever the make of the car, it is nevertheless meant to look like a hearse "at a glance." I still think that's correct. That said, if I were to make this video now, I would not even allow for the possibility that the car could be a hearse. It really could never be a hearse for purely dramatic reasons. The tension in the scene only works if references to the death of Anthony Jr. are suggested. The moment some element or another becomes literal or overt, the tension is lost and the spell is broken. In any event, I do appreciate your response. Thank you again, Matthew!
Maybe it’s symbolic of the end (death) of gas guzzling SUVs (something AJ himself mentioned /concerned with in the series) also Tony had a suburban. This supports GM’s new path on the future of EVs too.
14:35 Tony should consider himself lucky that’s his male heir and Blanca missed the fuck out.
Understood. Thank you for your insights.
I see this as well as your finale analysis as 100% canon, even above the creators' opinions. So utterly eerie and perfectly analyzed.
That's very kind of you. Thank you so much, Vendzor! Great to hear you like both videos. Thank you again!
I interpreted the onyx ring as a reference to Paulie. He always wore that same ring on his pinky throughout the series.
Scenic media will never have a relationship with Tony like Borko, I don’t care how far he sticks his tongue up David Chase’s A$$$” -Paulie Walnuts, (Rockin in Paradise)
yeah u were bored when u made this
I'm reminded of one of Meadow's quotes: "Youre the son.. you'll always be more important." If this is true, it makes sense why Anthony would be killed and Meadow survives... less threat?
No. Meadow just was not there in time to be killed off like the rest of her family.
There's also a fish head in frame just behind Anthony for the majority of his appearance, which was used throughout the series to imply death.
Oooooooh that's a good one!
idk why people assume AJ is dead
no reason other than esoteric symbology to believe anyone other than Tony died that night
My presentation on the finale is the first time that it has been argued that Carmella and Anthony Jr. were murdered in the finale. The idea of a triple homicide in the finale had never come up before as far as I know. I have never heard that. I have not really heard anyone say it since either. It's certainly not a commonly held opinion regardless. In any event, there is more than "esoteric symbology" to indicate three family members died. If you have not already seen my presentation on the finale, I encourage you to give at least the first 10 minutes a try. Tony, Carmella, and Anthony Jr. all take Holy Communion together to prepare to pass. Anthony Jr. is a kind of Christlike figure who dies to both punish and redeem his parents who are like the Good and Bad thieves on the cross. Its not esoteric. Its standard Roman Catholic religious symbolism. Thanks for you feedback, DJ.
I suspected that Meadow was the fatality in the final scene, paying an homage to the Godfather.
Very nicely done! Having worked in marketing for years, I understand those shooting this TV spot would have taken painstaking care regarding all the elements - foreground and background - in this ad. The ones most provocative to me include using a playground instead of a cemetery on the drive in. I also immediately wondered why AJ arrived in a 1980s vintage car and absolutely noticed what looked like a hearse in the background, which was the only vehicle in the parking lot with a window open. Why is that window open, since the weather is obviously cold (people wearing coats, no leaves on trees)? Having a black car entering the frame just at the culminating moment of the embrace is a hugely odd choice, since it distracts the viewer, unless it means something more. No doubt something more that just a sibling reunion is going on.
Thank you so much, Tom! It is somehow perfectly appropriate that cars & roadways should comprise the dominant motif used to transmit symbolic information. Birth car, death car, ghost car (black car that appears during embrace). The Highlands Reach Bridge between life and death. Note that both siblings cross the same bridge moving in the same direction (from death to life). Meadow crosses, literally, when she drives over. Anthony Jr. crosses, metaphorically, when he steps into the embrace. Even the 'realms of existence' are expressed in 'concrete' terms. Meadow is on the street in the realm of the living, Anthony Jr. is in the parking lot in the realm of the dead, and the functionary in the red cap sticks to the sidewalk in between them. One connection I failed to emphasize in the video is that once the camera cuts away from the 'choreographed procession', we see Anthony Jr. on the bridge, on his way toward the embrace. This tends to substantiate the notion that the stranger in the red cap plays this odd, supernatural role of helping the two siblings make their way to each other. In any event, to your point, it is pretty amazing that, in a car commercial destined for the Super Bowl, the final shot actually covers up the featured product (with another car no less).
To be fair, working in the industry, something like the priest collar shadow which only happens for a split second would be so incredibly difficult to achieve let alone inefficient from a production standpoint that it seems entirely accidental. As much as we like to view high-budget productions as being meticulous down the finest detail, there are so many other factors that trying to nail a split-second priest collar using natural sunlight and then a bounce or fill light would be 1. such an odd thing to even concept in pre-pro 2. a task selling it to an agency, production company and so on.
So many things have to go right for that 1 split second that it might take dozens of takes to achieve it if they even could. The actor has to land not just on a mark, but has to turn his head and torso in just the right way for that light to form it's nearly impossible to replicate. Even if they do nail it once, maybe the facial expression which is far more important is slightly off so now you have to do it again. Or a seagull crosses frame out of nowhere. That take's blown. Now how many more takes can you burn before everything lines up perfectly?
There is only maybe 2-3 hours of low-hanging sun like they show in the commercial that to dedicate possibly an entire shoot day to pull off an incredibly difficult split-second frame seems extremely unlikely. Who knows how close they shot this to the final delivery date to air during the Super Bowl? Coordinating schedules between someone like David Chase, the actors, the agency, the DP etc. they may have only had 2-3 days to film the entire spot where everyone's schedules lined up, why would you risk losing a whole day to one single frame?
Not to dismiss the entire video, there are some very intriguing and possibly correct interpretations in this analysis but some of it is extrapolating meaning from accidents or coincidence.
@@basementvault I agree the collar interpretation is kind of far-fetched. But the choices of a vintage car, complete black clothes and Meadow is crying are unsettling.
@@basementvaultA true artist as God on his side.
As an extreme example, Rossellini for the making of Journey to Italy didn’t even write a script and let God do most of the story while it get filmed.
I’m not saying that every hidden meaning in this commercial is unconscious to the authors, but as long you place an intention, God help you and things that wasn’t calculated just shows Itself with meanings.
By far the best analysis of the ending and a car commercial I have ever seen. For the love of God, please make more.
Thank you so much, Mellow Yellow! Very kind. Writing one for 'Goodfellas' now. Will ping you when it's done. Thanks again!
Yeah awesome. He literally gave me the answer definitively to the ending of "Sopranos".
I dunno if anyone’s already mentioned it, but the man’s pinky ring Meadow wears on her finger is actually Paulie’s. You can see him wearing the gold and onyx pinky ring on screen in multiple episodes on his right hand pinky when he does his famous two finger pointing 🤘
Thank you, Elim. Yes, you are correct. Personally, I don't attribute any special meaning to that fact. The black onyx design treatment sets the standard for this type of ring. The black color and rectangular shape combine to create the perfect masculine foil for an otherwise small and decorative piece of jewelry. Nevertheless, good eye. Thank you again!
@@scenicmedia8624Thank you for your work and observations. God’s work, my friend.
didn't Phil also wear one? (Johnny Sack for that matter as well)...and we know she was working towards being a lawyer towards the end of the series, but moving in the direction of helping/representing the mob or at least the members of the mafia...could we venture a guess that perhaps she is still a lawyer and maybe switched roles, working towards the conviction/dismantling of the people and organizations that murdered her whole family (the mob)? Keeping that kind of pinky ring as a constant reminder of what she's going after? Because, don't get me wrong, I LOVE your analysis, I just want to make sure I say that, but, her relationship with her father was pretty good, they had a special bond, something the both of them mentioned or displayed many times, so I would expect her to wear Tony's pinky ring. Not only would it have more sentimental value but it is more feminine than the one she's wearing in this commercial that you state is meant for remembering her father...I just think it would make more sense for her to wear the ruby/diamond pinky ring than the onyx in regards to remembering her father. TELL ME WHAT YOU THINK! THIS WAS A GREAT ANALYSIS! BRAVO! 👏🏽 👏🏽 🙌🏽
Side note, I will mention that I usually wear 3 rings with stones on three different fingers and they are always rotating around the finger here and there never staying centered on the fingers...
gosh, i just wish so badly we could get some kind of sequel. this show goes down in history, like all historic events do. clouded in assumption and judgement and we will honour it for those reasons alone. Made in America
Definitely not a hearse it’s a 2022 suburban with the back window down google is amazing
Does not matter. Could never be a hearse. Too literal. All that matters, as stated in the presentation, is that it is meant to look like a hearse. Symbolism is amazing.
@@scenicmedia8624 Right.
I really enjoyed watching your Chevy commercial especially while high. Not as high as you were when you came up with this tho
ua-cam.com/video/tES773OCLZY/v-deo.html
There’s also the massive bridge behind Anthony that represents the bridge from the afterlife to this life that he crossed for this meeting.
Yes, that is discussed in the presentation. One thing I noticed but did not include here. If you juxtapose the image of Meadow crossing the bridge with the image of Anthony Jr. appearing to traverse the length of the bridge, the perspective of the two shots would show them converging. In other words, each appears to be traveling in the opposite direction toward the other.
Source video for the 2022 Super Bowl car commercial:
ua-cam.com/video/G9BdttCfBTI/v-deo.html
The Sopranos series finale analysis:
ua-cam.com/video/ZCb6OL6RGyk/v-deo.html
Unfortunately they made the commercial link private.
@@wicklunda Thank you for the heads up, Wicklunda. Link updated.
You have to have at least two PhD's to make a commercial these days!
Lets not Forget About these obscured Ducks, seen behind Meadow & AJ 🕯
while they are reunited/hugging, perhaps another nod from Family/Tony, Carmela.
Oh wow the ducks!! 17:18
AJ and Meadow both cast a shadow while the walking man does not. This tells me AJ is alive.
Thank you for checking out the video, Frank. Convinced beyond a shadow of a doubt. I respect your conviction. Thanks again!
@@scenicmedia8624 If you agree with Frank ... are you then saying AJ is alive?
@@flowerforsyte5671 Hi, Flower. No, I don't agree with Frank. I was paraphrasing his own argument with addition of a playful pun. Some viewers are committed to their opinions so I try to respect that. The Anthony Jr. character was murdered in the finale; there is zero doubt about that. Thanks!
Your work yet again blows me away. The attention to detail is mind blowing and you continue to deliver such deep and meaningful analysis to some deeply buried artifacts hidden in film. You are a diamond in the rough my friend. So happy to have stumbled upon you with your first video on the ending of the Sopranos.
Thank you
Too kind. Thank you so much, Bahnzai!
Good stuff. Some of it seems like you’re reaching for stuff to correlate together but a lot of it are legit good points. I dunno. If you had to ask me, I think this was a clever way for David Chase to convey that they survived/lived if there was a shooting. Solely because AJ is older. If it was a dream, she would’ve saw him as AJ was 15 years ago. So if this was shot as her remembering AJ as he was, I’d say you’re spot on. As far as jewelry goes, I think the pinky ring was her moms, the onyx her dads and the bracelet was one of Carmella’s from the show. (It would be nice if you can find it in an episode.) I also think she’s been engaged for a bit and the pregnancy idea is brilliant but I don’t see the marriage being new. It’s been over 15 years. Lastly, because Carmella wasn’t involved tells me she’s passed on also, however I’m not sure if she was shot also or died naturally some way.
I was going to say the same about AJ, and him looking older, with even some grey hair.
One thing is for sure... If even just half of the analysis is on target, it's still a whole lot that went way over my head when I viewed it live. To me, most of the jewelry scenes were just to mimic similar scenes with Tony. He smoked a cigar, she sucks on a candy. When she gets out of the truck, she looks exactly like Tony in that same scene.
That was the extent of my analysis, to be honest. So this kinda seems crazy. But the car AJ gets out from, is quite interesting.
@@enriquebenedicto9429especially given that its a car commercial.
Yeah, some of the observations are interesting but the channel is really reaching on some. I rolled my eyes so hard a couple of times tha I hurt myself :)
The car is definitely made in America.
I could of watched this commercial a trillion times and maybe I would of noticed the rings and bracelets no way i would ever seen all this
Right on. Glad you liked the presentation. Thank you, CharlRay!
This commercial is brilliant, as is your analysis and your previous video. Looking forward to more from you.
Thank you so much, Crunchie! Very kind of you. Working on a new one for Goodfellas. Hope to have it out soon. Thanks again!
I'm a new fan of the show, watched it only recently. I had my own little take on the ending upon seeing it where I thought that Meadow being the only one in the family to not be in the restaurant as the cut to black happens meant that AJ and Carmella died as well. The argument against that idea I've seen is that Tony was the only target and the mob has "rules" they adhere to, but there's many ways the event could have taken place. There's a possibility both AJ and Carmella got caught in the line of fire as the shooter(s) fired multiple shots at Tony. Perhaps they were exceptionally vile SOBs and they decided they'd kill the other two while they were at it and then run away. It's not like members of the mob always follow their own rules. For a high profile assassination against someone like Tony, maybe the rules flew out the window. Maybe the assassin's didn't care if his family got in the way.
Of course, this was just a theory in my head. I know I'm not the only one who thought about this as a sort of symbolism but I didn't think too much about it afterwards, though we can say with certainty at this point that Tony died. But upon seeing this analysis, I realize there's a possibility this really was the case that all three of them died.
I'm familiar with the entertainment industry. I've been around major productions and seen how meticulously high production sets and shots are made. Since this was directed by David Chase himself, it leaves little doubt in my mind that the man intended some heavy symbolism with the hearse with the open window in the back. There's not one background detail in a production like this that wouldn't be intended in some shape or form. It catches your eye immediately. I think you're on to something with this entire video. Maybe this is indeed Chase's own way of implying, without directly saying anything, that all of the Sopranos except Meadow died. The show has had tons of religious and spiritual symbolism in it, the kind of stuff I didn't even expect it to have. It wouldn't be too much of a reach to say that this stuff could be correct. Great job on the video btw. A+
Thank you for checking out the video, Dreams. Thank you also for your kind feedback! I may not have expressed it clearly in the original analysis, but I'm inclined to consider Carmella and Anthony Jr. collateral damage. Generally, I think if we believe that a murder took place in the restaurant then we have to concede that collateral damage is possible. It is legitimate to raise questions about the triple homicide theory in the context of mob rules concerning families. But there have been errors and outright exceptions resulting in collateral damage in real life. I know of a handful of examples in New York in the '70s and '80s. I tend to think the Joe Gallo murder is an example closest to the series finale. The Colombo organization opened fire on him inside a restaurant in Little Italy in front of his sister, his wife, and her ten-year-old daughter. Gallo was assassinated without harm coming to the three females, but, again, collateral damage was definitely possible. It certainly was not the case that the shooter decided to wait to avoid the risk. The same is true here. I think the argument on behalf of collateral damage is baked into the premise of the finale. If it were so important that the family not be harmed, then the murder would not be scheduled to take place during a family gathering at a small diner. I realize we're already on the same page in terms of what could have possibly happened; I'm just talking it through a little bit. In any event, thank you again for your feedback. I really appreciate it! My apologies for the delay responding.
@@scenicmedia8624 I kinda think that they were killed intentionally due to the brutal way Phil Leotardo was taken out in front of his family. As revenge, they didn't just kill Tony in front of his family, they killed the family too.
could Carmela's death been on purpose, even if it is masquerading as collateral damage? Remember how wives are always taken care of if the husband is murdered or imprisoned, and remember how Paulie and Vito were bickering about giving Carmela Tony's share of the heist? And Carmela is used to living large...her death may have definitely been on purpose.
Damn. You are a genius, man. I am getting goosebumps once a minute from your video.
You're too kind. Great to hear that you like it. Thank you so much, Григорий!
I thoroughly enjoy your in-depth analysis of The Sopranos. I was blown away by your video of the last Sopranos episode, and how much detail you put into it. Fascinating stuff. I have subscribed to your channel and am eagerly awaiting any new videos you will be adding. Awesome work!!
That is very kind of you, SpiritualChick. Thank you so much! Working on something new right now. Hope to have it out within a couple of weeks. Thanks again!
That’s no hearse…that’s the previous gen Tahoe… AJ is alive
Thank you, Leo. Yes, have discussed the hearse many times. I never thought that it was a hearse. I point out in the video that it does not matter if it is a hearse because, regardless of the actual make of the car, it is nevertheless made to look like one 'at a glace'. A lot of the imagery discussed here involves split-second subconscious impressions. In any event, if I were to make this video again, I would not even suggest that it could be a hearse. The truth is, it could never be a hearse. The symbolism would be too literal. If there was a hearse in the parking lot, it would break the tension. It would break the spell. The Anthony Jr. character is an apparition in the video. There is no question about that. The amount of supporting evidence is overwhelming. I only mention it to make the following point. Putting an actual hearse in the scene to evoke the specter of death would be about as subtle as making Anthony Jr. semi-transparent. That's why the hearse could never be a hearse. The car present in the parking lot can only suggest the idea of a hearse. I should have framed the discussion that way in the first place to avoid confusion. Thanks again for your feedback, Leo!
"What I've done is going to be puzzled over and studied and followed... forever." - Se7en
The Sopranos ending AND this commercial will always be this way. No regrets. New sub!
Right on. Thank you, Alister!
Wow, just wow...this is an observation that is almost spiritual in context, well done my friend, well done. 👍🏽
You're very kind, Worthy. Great to hear you liked it. Thank you so much!
I don't think AJ was killed in the diner. I do think he's dead, but from suicide. The bridge reminded me of that PI. AJ "moving across the bridge" is somewhat similar to Tony gazing at the bridge in that episode. Not sure if I remember that scene correctly. I can't wait to watch your other video about the ending!
Right on. Thank you, Friedstein! Will be curious to hear what you think about the analysis on the finale. Thanks again!
@@Oshiiiiiiiiiiii I don't remember much about the show, but my explanation is his depression. From what I recall- AJ tried to drown himself with weights attached.
If we're going for symbolism, the depth of the pool that prevented his drowning could be a sign of how close he is towards self-destruction (Or just a sign for help). I would assume he would use the same method for suicide.
Just an idea that I'm probably making more complex then it is. Nothing deep.
Edit:
I watched the scene again. I thought that the jump plank has correlation to stepping on the edge of a bridge. If that made sense. Since the ad is assumed to take place after tony's death- his absense lead to his suicide (The bridge). While he tried his first attempt- he was rescued by Tony.
@@Oshiiiiiiiiiiii Because he tried it before, so it's possible he tried again later.
This was amazing. I took the commercial at face value, never thinking of this outcome. Thanks for opening my eyes
So kind of you, Diana. Great to hear you found it interesting.Thank you very much!
The "Hearse" is a standard Caddilac Escalade. They have the thick chrome trim behind the second row of seats.
Hi, Albert. Thank you for your response. I include a disclaimer concerning the vehicle in question. In the disclaimer, I show an image of a Cadillac Escalade and I refer specifically to the chrome treatment on the Escalade. Among the many, many, many comments I get on this topic, the prevailing opinion is that the vehicle in question is, in fact, a Chevy Tahoe. Ultimately, the actual make and model of the vehicle are entirely irrelevant. As I mentioned in my disclaimer, the vehicle is meant to look like a hearse "at a glance." I later refer to it as an "at-a-glance hearse". Furthermore, the vehicle in question could never be a hearse. If it were actually a hearse, the imagery would be too literal. All of the symbolism pertaining to death and the afterlife must be suggested. When the symbolism becomes overt the spell is broken. The dreamer wakes up. Thanks again, Albert!
You’re really reaching with this explanation…more than you are in the original video itself.
@@JoshCork ua-cam.com/video/92oT9rvnr_E/v-deo.html
Great analysis Scenic, hope to see more videos from you soon!
Very kind. Thank you, Ton! Have something almost done - should be ready in a day or two. Will ping you. Thanks again!
I've always thought Tony died at the end...
But, honestly I can't take Carmella and AJ getting killed too....
It's just too sad.
There is something optimistic about the way their deaths are portrayed in the finale. The diner really is a kind of interdimensional space situated between the real world and a Catholic afterlife. In that context, Anthony Jr. is a Christlike figure whose death functions as both punishment and redemption for his parents. 'Punishment' because he is their prized progeny and his death is an immediate consequence of their own selfish, self-serving life choices. 'Redemption' because Anthony Jr. had yet to grow up in any meaningful way. In this sense, he retains the kind of adolescent innocence that allows his sacrifice to redeem his parents.
Based on this portrayal, Anthony Jr. will have a meaningful death and he is rewarded with eternal life. Likewise, his parents, they take their lumps but are ultimately granted grace through his intercession. I think this is why we see them take communion. It is preparation to pass together into that afterlife. So, in a sense, there is something kind of hopeful about it. As an aside, I think the Boy Scouts in the back corner are angels meant to comfort the wounded and ferry the dead into the afterlife. Notice that a second booth of Scouts spontaneously appears beside Tony. We never see them enter and sit down. Okay, Rob. Thanks, man!
I know exactly how you feel! It’s all so grim…too grim.
Nevertheless, within the universe of the show, I believe that’s what happens. Abd furthermore, it completely clarifies the self-imposed moral constraint and obligation that David Chase put upon himself NOT to show it…but to cut to black.
I mean…Carmella! Carmella…this person we all loved and invested seven seasons in. Bad enough Tony gets murdered. But Carmella…and AJ…getting gunned down!? It’s too much. But nonetheless that’s not only what happened, we can see how it happened. AJ (who’s not known for being brave or heroic but is known for truly loving Tony (who literally saved his life multiple times) and for taking action w/o thinking things through) sees this gunman *STANDING RIGHT NEXT TO HIM* shooting his father! He leaps up to try & stop him and Carmella instantly leaps after him to save her son. They both end up in the crossfire. Triple homicide. In front of Meadow.
Almost unspeakable. The horror. The pathos. The sadness and terror and trauma! Wow.
No wonder Chase cut to black.
Far far more grim than any of us or most of us realized.
Couldn't just be that the emotion of the scene and the memorial stuff is just because they are meeting to visit their father's grave?
Nothing here to indicate there are plans to visit a grave site. In fact, the only shot from the original opening credits that was replaced in this version was that of a cemetery.
I just watched this and the ending scene analysis and they are both so good. I never would’ve noticed most of the details you pointed out and explained. Please do more videos. Great stuff.
Right on. Very kind. Thank you so much, Castle!
The black car in the background is just a stock Chevy Tahoe/Suburban. There is a vertical chrome accent on the back window with those trims equiped with the chrome accents, so I think we may be looking a little too deep into this background element.
Thank you for your insights. To be clear, the make and model of the vehicle does not matter. The chrome package applied to the vehicle does not matter. There is a disclaimer in the presentation that clearly states this. The disclaimer goes on to explain that the vehicle is made to look like a hearse "at a glance". I then refer to the vehicle as an "at-a-glance hearse" going forward. That is what matters. That is all that matters. The car is made to look like a hearse "at a glance". The car is used as a visual suggestion. What I like about your comment in particular is the fact that you offer your own version of a disclaimer for the exact same reason that I did. Thanks again!
If you freeze the video at 21:37 you see the fish head mafia reference, also symbolizing death. The bridge in the background could mean Anthony is crossing over to the light. I hate to think of AJ being dead it’s hard for me to even write about this topic.
I was sceptical at the start, BUT....what an analysis...blew my mind!!!!!!!
Great to hear. Thank you so much, Stephen!
Wow, this is a lot of over analysis. I thinking you're reaching, finding links to a series you really miss, that are just coincidence. It's s commercial for a car.
I appreciate your thoughts, Gareth. Thank you, sir!
I would love to know what the commercial's creators think of this analysis
What does this all mean?
David Chase, the director of the 1st episode, then the last, was responsible for tying in all the clues , allusion, and symbolism. (he shot the commercial too)
We all saw what we all saw. The basic plot line, of a guy seeking for answers in a psychiatrist's office. The reason for his mental illness.
What he got was a deep dive into the meaning of life. Existentialism, Machiavellism, religion, the paranormal, philosophy, psychiatry, psychopathy, nihilism, all kinds of shit.
So, it's no surprise then, that Chase would perpetuate the theme from the TV series into the commercial. Is there a link here? I should hope so. We want more of the Sopranos.
Even if we never do get any more, it's a brilliant piece of writing these people gave us. David's commercial is the bonus, that we never expected.
The abstract vision of the Sopranos embodied in a TV commercial. We're just lucky to have seen it, when we did.
Omg, it’s not a hearse. It’s just a black Tahoe, Yukon or Escalade with standard chrome window trim. There are thousands of them roaming that area daily.
Jim, sir, the make and model of the vehicle are irrelevant. As I stated in my explicit disclaimer concerning the vehicle, it is meant to look like a hearse at-a-glance. That is what matters. That is all that matters. It was because I could not determine the make and model of the vehicle with absolute certainty that I included a disclaimer. What I particularly enjoy about your comment is that fact that, in spite of your condescending tone, you cannot actually state the make and model of the vehicle with absolute certainty either.
@@scenicmedia8624 they are 3 identical vehicles, made on the same assembly line in Texas. I own one, and can say that it is identical to its Chevrolet and GMC brothers and to this vehicle. While I can appreciate the time and effort put into this, and the production quality, you’re reaching way too far with this theory. I also watched your Holstens video, and while you did a fine job with the symbology, you offer no motive for why Carmela or AJ would have been murdered. Nor is there any precedent for it, and it would not be tolerated by the mob. Hope that isn’t too condescending for you, as that was not my intention.
@@Jim-Slade Thank you for your clarification. As I say, the make and model of the vehicle are irrelevant. If I were to make this video again, I would not even raise the possibility that the vehicle could be a 'hearse'. Not because of the endless cavalcade of car experts eager to play gotcha, but because in reality the car could never have been a hearse in the first place. It would have been too literal. The portrayal of Anthony Jr. requires that all of the ideas surrounding death are suggested. Once any one of them becomes literal the spell is broken. It would be like making Anthony Jr. semitransparent.
Now, as for your feedback on the finale, I did not state it clearly enough. Carmella and Anthony Jr. are collateral damage. They are not intended targets. If you are willing to accept that an assassination plot unfolds in a busy diner during dinner rush then you cannot but concede that collateral damage is possible. It is impossible to rule that out. I would argue that, based on the surfeit of symbolism suggesting three deaths, that possibility is what came to pass.
Now, I don't want to muddy the waters on this point, but the idea that the mob would not tolerate harm coming to family members, presumably under any circumstances, purposeful or otherwise, is a tired canard. You say there is no precedent for it. In the episode "The Blue Comet", Tony issues a version of the same claim you make; "families don't get touched". The irony is that he makes that statement while urgently, insistently moving his family into a safe house. Now, if Tony can concede the possibility of collateral damage, I think we can.
I would argue that the finale to the Sopranos is most like the real assassination of Joe Gallo at Umberto's Clam House in Little Italy, April '72. Multiple shooters went into the dining room and opened fire on Gallo who sat with his sister, his new wife, and her ten year old daughter. Gallo took the shooters out into the street where he ultimately died. As a result, none of his family was harmed, but absolutely zero effort was made to insure the safety of his family. The idea that family is sacrosanct is pure public relations. I'll share a link with you below to an interview with Lucchese associate Henry Hill. The link is cued to a question on the same topic. Listen to his answer and tell me if he does not sound convincing. Thanks again.
Henry Hill
ua-cam.com/video/kBvdRT1P6cQ/v-deo.html
The Super Bowl commercial was directed by David Chase, The (1999) Sopranos creator and was filmed by the (1999) Sopranos director of Episode S06-E15 Phil Abraham which aired Apr 22, 2007. The Episode was Called "Remember When"
The Ad stars actress Jamie-Lynn Sigler, reprising her role as Tony's daughter Meadow and Robert Iler, who played Tony's Son A.J.
Episode S06-E15 Storyline: {edited} Tony & Paulie head off on a road trip to Florida. They reminisce about the old days & they also find that many things along the route have changed over the years.
Nice one. Thanks, Moe! Though, not sure I understand the last line. This was the original concept?
@@scenicmedia8624 The Sopranos 2022 Super Bowl Car Commercial was filmed by Phil Abraham and Phil filmed a single Sopranos Episode which was Called "Remember When" The Episode involved reminiscing about the old days & how many things along the route had changed over the years. So many others could have filmed the Commercial & yet it was someone from the original Sopranos series who filmed a single episode having a name & content related to the Commercial about a route, change & reminiscing!
@@moehunter Ah, I see. Interesting. Thank you, Moe!
The leaps made here are insane. It's almost as good as saying that the sky is blue and that is proof that Tony died because on some Sopranos episodes the sky was gray.
EDIT: this must be satire
That's one theory. I wonder if you can think of another.
I likes your Sopranos ending analysis. However this one is stretching. A lot. The "hearse" is a Chevy Tahoe, no wide chrome just normal. The Adams apple thing is a stretch too.
The definition of reaching lol it’s just a commercial paying homage to one of the best tv shows ever.
The original opening credits tells its own story. The opening credits has an inset narrative that speaks directly to the conflicted concept of family that exists at the heart of the show. At first glance, you are presented with the image of a man who drives home from New York to New Jersey. The time of day throughout the opening credits plays upon an suburban audience bias to see Tony as a father who returns home in the evening at the close of his work day. There is a single shot, however, lasting less than a second, that shows the time on the dashboard clock reads ten twenty-two a.m. At that point, if you happen to spot it, the entire meaning of the opening is turned upside down. It's not a father returning home in the evening, it's a gangster returning home in the morning. The point is, even the original opening credits sequence was designed to tell a story. Moreover, the story itself relies on a fleeting detail all but withheld from the audience. As far as the commercial itself is concerned, a one-minute update to the original Sopranos timeline is more crucial to the integrity of the franchise than a two-hour prequel. I can assure you, a significant amount of attention and effort went into developing a backstory on how and why it is these two characters are meeting on this day at this location. That's how these things work.
When i first watched this i said awe she teared up..almost made me tear up...thats how fkn real the sopranoes felt to people all over i have herd others say so as well..never will be another series like the original..godbless
"the mini onyx stone represents the way that we see the ending of the show, but also as a metephor for death itself" like whaaaaaat bro. RIDICULOUS !
This is how symbolism works, Andrew. I thank you for your honest response.
Wow! That's some "Dark" storyline.
Couple of QUESTIONS:
1.) Where was Carmela if she died? Why did not Meadow have a reunion with her mother also? Meadow was close to her mom too.
2.) Why would the "killer" take out AJ and Carmella and not just Tony? Usually the mafia never touches family members.
This was a great breakdown. I had heard the jewelry theory before but associated the diamond tennis bracelet with Carmela. I mean she the physical personification of a boujee tennis bracelet, and owned multiple, which I would imagine were left to Meadow. And the onyx ring turned away / bracelet hidden but the slim wedding band still visible in their embrace - to me that was centering AJ, the youngest member of her family, but the one she wears on her right hand ring finger. Still a great analysis though, i loved your take on it
I don't think that Carmela and AJ died at the diner. I think Tony was the only one that took that bullet. What I think is this: the guy in the Members Only jacket was sent to kill Tony. The other guy dressed like a hunter was an undercover FBI agent sent to intercept courtesy of Tony Soprano's FBI agent acquaintance. When Members Only guy emerged from the bathroom he shot Tony, hunter guy tried to intercept but was too late, Tony goes down Carmela and AJ cover him. Members Only guy aims to shoot again and gets taken out by undercover hunter guy. Unfortunately, Meadow arrives at the moment Members Only guy raises the gun and pulls the trigger in time to see her father get shot. She screams tipping off the undercover office and setting off the above mentioned chain of events. Members Only guy is not a regular hit man but an acquaintance of the mob and possibly a relative of the Russian guy who escaped in the episode Pine Barrens. Therefore, it can be argued that his intent was to kill the whole family because he doesn't abide by the same rules as the Italian mob. I believe Tony dies surrounded by his family on the floor of the diner.
Compelling theory, Ametha. Thank you so much for sharing.
Wow! Excellent analysis dude!
How in the world did you figure all this out?
Seriously. I'm amazed by people like you who do these detailed UA-cam analysis videos that actually makes sense.
I think the "hearse" is just a regular 2017 Chevy Suburban. If you look up "2017 Chevy Suburban Black," you'll note that it looks pretty much identical to the supposed hearse.
Yes, it's something along those lines. The actual make & model are irrelevant. The car is made to evoke the idea of a hearse, "at a glance". That's all that matters. Thank you, Daniel!
Anthony JR definitely moves the car door.
i see tons of issues with this analysis.
Your other analysis of end scene was amazing.
This one is reaching a lot
Thank you very much for your kind words on the finale analysis, Vermont. I really appreciate that! I'm sorry this one did not land for you. Thank you again!
Its the best show of all time. I look forward to your content @@scenicmedia8624
The fact that AJ is in a 40 year old Chrysler is a bit ghostly and creepy in and of itself. Is the car itself part of his apparition?
Me: this is a fun video I mean it’s probably reaching but-
Narrator: now let’s discuss the hearse you missed in the background
Thanks, JT! I'm still impressed that Chase managed to put the ghost of a murder victim into a commercial featured during the Super Bowl.
This is an amazing analysis
The ending to the Sopranos series was "DARK"!
But it was realistic.
There could never be a happy ending for Tony.
I think that the brilliantly ambiguous ending of the series left plenty of creative room for critical cast to reprise their roles. That Gandolfini died before any of that kind of thinking to revisit his character bore clear fruit leads me to believe that what’s followed over the years like this very ingenious commercial are meant to further along what was back then only a possible outcome. What we’re seeing play out now is the Sopranos version of the “Observer Effect” wherein opinions are congealing into a richer consensus. The more time that passes, the more folks start to think that death was always THE only true way the story ended. But I’d bet that were Gandolfini still walking amongst us, it’s likely that the interviews, commercials and public commentary by Chase and others would have taken a different tack (other than funerary) over the years.
None of this takes away from the fastidious artfulness of the commercial’s symbolism and masterful story telling. It’s like watching all the symbol-laden dream imagery of an episode of Twin Peaks! Thank you most kindly for putting in considerable time to enrich the conversation and lore surrounding a body of work we all love so much.
You got all this from a Chevy commercial? What strain do you smoke brother?
It's all there, my man. Sativa and Indica are but divergent paths to same end. I am grateful for your inquiries. Thank you, Trigger!
I know its all there! I just can't believe you got there from a Chevy commercial. impressive. @@scenicmedia8624
I would love it if the sopranos came back to tv with a new show
Loved the analysis!
Although i didn’t watch the series, i did catch events here and there, and this breakdown really has a lot of insight.
Too kind. Too kind. Thank you very much, Padawanmage!
I just noticed Tony Sirico is wearing the same ring with the black stone in the 20th anniversary show.... Any thoughts?
P.s. great job on the analysis. Love it!
I cried. Absolute masterpeice. The screenwriting is alchemical and your videos esoteric!
Very kind you, J.Miguel. Thank you so much!
Tinky barnwoniwitz!! I fleeshimed my own thongy down to the side!! Monko
Fantastic job 🔥
If I remember correctly, the tennis bracelet was a gift from Tony to Carm...So, maybe AJ survived in the hospital, became a priest to help the neighborhood but Meadow had to get out after witnessing her parents be slaughtered and brother at near death? The rings and bracelet represent her parents.
I think it may be weirder than that. You're right that the tennis bracelet belonged to Carmella. It does, nevertheless, still symbolize Anthony Jr. The symbolism just happens to be a bit more complicated and its implications tend to deepen the meaning of the reunion. It's going to sound a little out there, but bear with me.
I think we can agree that there is sufficient evidence to support the claim that Meadow is pregnant. Swapping out the graveyard scene for the playground scene in the drive sequence is significant. Furthermore, pregnancy is a meaningful and substantial motive for the Meadow character to visit with her brother on this day. We really must presume there is a reason for them to meet. Finally, birth control and the prospect of pregnancy were both associated with Meadow in the finale. In this way, a Meadow pregnancy now forms a bridge between the finale and epilogue.
If we accept that she is pregnant, then we have an expectant mother wearing a bracelet that belonged to her own mother. Let's assume it symbolizes "motherhood". Now, I say it also symbolizes Anthony Jr. I say this for two reasons. 1.) it is simply the third piece of jewelry. There were three family members murdered in the finale and there are three pieces of jewelry. There is a pinkie ring for Tony, a wedding band on the right hand wedding ring for Carmella, and there is a tennis bracelet for Anthony Jr. Pure process of elimination. 2.) it is a diamond. The diamond matches the earring Anthony Jr. wore in the finale. Also, there is something youthful, something hopeful about a diamond bracelet that makes sense to commemorate a young person (by contrast to a somber, black onyx pinkie ring to commemorate her father for example).
If we can accept the bracelet as a symbol of both mother and son, and we have Meadow as an expectant mother, then this may change the meaning of the scene. This is the part where it gets "a little out there". I still believe that Meadow is meeting with her brother to say farewell. In other words, this is not a reunion between two siblings after years apart. This is a farewell between siblings after years together. But it is not because Meadow is leaving him behind to start a new family without him (which is my claim in the presentation). It is because Anthony Jr. will be reincarnated as her son. She is saying farewell to the incarnation of her baby brother so that she can welcome him back as her own child. I think the reincarnation theory is more complete. It also adds depth to the reason the two siblings would meet on this day. She is ready to welcome him back. In this way, it the embrace becomes more rich with meaning. The two siblings share a farewell and a reunion at the same time.
One last note on the tennis bracelet. In the same way there are two players and one ball, there are two mothers and one son.
That's another great analysis; very interesting. Oh, and I purchased the series and am re-reviewing... =)
Very kind. Thank you so much, Grafenwöhr!
i'd like to see Christopher explaning this to Bobby B
From your lips to God's ears. Thank you, Richard!
Tony was off-ed by the old school faction of the Lupertazzis: old school guys famously dont hurt civilians, especially when they're killing someone they respect like they do Tony. Carmela and Anthony survive the diner, why on earth would we think otherwise? .
Hi, Dan. I claim that Carmella and Anthony Jr. are collateral damage. They are not intended targets. If you're willing to accept that a murder plot unfolds in a busy diner during the dinner rush, then you cannot but concede that collateral damage is possible. If you watch my video on the finale, you will see that all three family members - Tony, Carmella, and Anthony Jr. - participate in a symbolic recreation of the Eucharist. They take Holy Communion which binds them together in a common fate. The same fate from which Meadow was excluded. This tends to confirm that the possibility of collateral damage came to pass.
I agree with you that New York orchestrated the murder plot. They had additional help. Butchie, Albie, Little Carmine, Paulie, and Patsy all conspired to get this done. I disagree with you that there was any respect left for Tony by the time he was murdered. Let's remember Tony pointed a gun at Butchie after curb stomping Coco in front of him; Tony contemplated murdering Paulie on the boat in Miami (and Paulie knew it); and Tony was responsible for murdering Patsy's brother, Philly. Patsy never forgave that. Tony was done. He was murdered and his wife and son were killed as collateral damage. There is an overwhelming amount of evidence to support that outcome in the finale. The commercial here only confirms it.
As for the old school guys who "famously don't hurt civilians", I'll include a link to an interview with Lucchese associate Henry Hill. It is cued to his response to an interviewer who makes a comment similar to yours. You tell me if the response from Henry does not sound convincing. I'll also include some "old school" murder plots that produced collateral damage and a civilian murder. It happens, man. Thank you for your feedback, Dan.
Henry Hill - Code of Honor
ua-cam.com/video/kBvdRT1P6cQ/v-deo.html
Joseph Peraino Sr.
Attempted Murder
1982
Two shooters opened fire with shotguns on a primary target and his son in 1982. Son was murdered. Nun was killed by stray buckshot.
www.nytimes.com/1982/01/05/nyregion/two-slain-and-one-hurt-in-a-mob-style-shooting.html
Carmine Galante
Murder
1979
Three shooters with pistols and a shotgun respectively entered The Joe and Mary Italian‐American Restaurant and murdered Galante, 70, and his bodyguard, 90. The restaurant owner was collateral damage while his teenage son was critically wounded.
www.nytimes.com/1979/07/13/archives/galante-and-2-shot-to-death-in-a-brooklyn-restaurant-son-of.html
Colombo Leadership
Murder
1972
A contract killer working for the Gallo family mistakenly killed two civilians and wounded two civilians when attempting to murder senior Colombo leadership at Neapolitan Noodle restaurant in Manhattan.
www.nytimes.com/1972/08/16/archives/hunt-for-gunman-pressed-by-police-scores-in-mafia-families.html
Cherie Golden
Murder
1977
Two shooters, Joey Testa & Anthony Senter, killed a 19-year-old girl in a parked car outside the Gemini Lounge. Her boyfriend was murdered inside.
www.nytimes.com/1977/07/26/archives/body-in-car-identified-as-brooklyn-woman-19.html
There's probably also something to be said for the fact that AJ turns up in an old red gas powered car while Meadow is in a new blue electric powered car. There's an idea of the transition and AJ is tied to the one that's in the past.
If we want to look at the "commercial'" symbolism (separate from the narrative symbolism), I think you're right. I think you could go on to generalize that idea and apply it to the entire parking lot. It is the "junkyard of history," so to speak. Returning to narrative symbolism, it is interesting that the car Anthony Jr. drives is a Chrysler New Yorker. Someone in the comments asked why should the car associated with Anthony Jr. be that particular make and model. That was a great question because the answer turns out to be pretty haunting. Anthony Jr. was murdered by the New York family under Butchie and Albie. Yes, Anthony Jr. was collateral damage in the plot against his father. In other words, Anthony Jr. was not targeted. Nevertheless, he is a victim of violence orchestrated by the New York family. In that sense, Anthony Jr. belongs to the population of victims killed by the New York family over the years. In that sense, the ghost of Anthony Jr. is a "New Yorker." From there, we can go on to say that the year the car is manufactured signifies his birth and the model of the car signifies his death. Thought you might find that interesting. Thank you, Rob!
Wanted to point out some pieces of evidence I noticed in S6E1 that may support your theory on the final scene and this commercial. The beginning montage intercut with a recording from Burroughs' "Seven Souls" has interesting subtext for both Anthony Jr. and Carmela. First, it names Carmela "Sekhu - the remains." In the context of the scene, the montage seems to imply that Carmela will "remain" after all that is done - after Adriana (the Shadow, Memory) is gone. However, The Seven Souls does not use the term the same way. The novel implies that "the remains" actually refers to human remains - the corpse of a person. I'm not sure Chase could foreshadow Carmela's death more blatantly. Quotes supporting this include:
1. "When the smoke cleared away, wasn't much left . . . just empty buildings and Sekhu, *human remains.*"
2. "The Shadow, Memory, horribly maimed, clings to the Remains, Sekhu. The spirit that must remain in the body after all the others are gone: the Remains, that enabled the others to leave, *by giving them a receptacle to occupy in the first place.*" (Side-note: we actually see this interaction between the Shadow and Sekhu play out throughout the final season of the Sopranos as Carmela reckons with her denial that Tony and Christopher had Adriana killed).
Likewise, the montage tags Anthony Jr. "Ka, the Double, most closely associated with the subject. The Ka, which usually reaches adolescence at the time of bodily death, is the only reliable guide through the Land of the Dead to the Western Lands." This establishes three clear criteria for AJ as he progresses through the end of the show: he must die young, he must be closely associated with the subject (ie Tony) and must serve as a guide through the Land of the Dead. As established by your video, Anthony Jr. dies at the age of 22, and so the first criteria is met.
After Season 3, Chase & co put special effort into ensuring the audience understands that Anthony Jr. is, in many ways, a "double" of his father. They have the same problems and Tony's complaint about AJ (that he has "the world by the balls") is something he has previously said about himself, even to the same person (Melfi) who appears to notice. Likewise, by the end of the series, Anthony Jr. is also seeing a therapist, using his depression as a vehicle to his own good, and repeating phrases of Tony's. In "Kennedy and Heidi" Anthony rhetorically asks "Why can't we all just get along?" to his psychiatrist, a line similarly used by Tony in "The Strong, Silent Type" when talking to Melfi. Both characters use the line to distract from their psychatist's process - AJ's is trying to get him to discuss the beating he witnessed, while Melfi is trying to start dialog with Tony about he grieves for animals yet not for people. The best example of this "doubling," however, is when AJ mentions Tony's "remember the good times" quote from "I Dream of Jeannie Cusamano."
Meanwhile, your theory about this commercial would actually help AJ meet his final criteria: serving as a guide through the Land of the Dead. Anthony is Meadow's guide into the Land of the Dead, where they meet for this final goodbye.
EDIT: Seven Souls describes Meadow as the guardian angel - this has been poured over countless times so I won't belabor that point. However, an interesting inclusion is that it also describes her as "third man out." She spends much of the show not living with the other Sopranos and she is the only one not to arrive at Holsten's in time. Additionally, Burroughs describes Khu as "responsible for the subject and can be injured in his defense." We saw her almost injured in "College" and if she had arrived, she would have blocked MOG's shot on Tony. Burroughs concludes that "The four remaining souls must take their chances with the subject in the land of the dead." The souls' equivalents on screen are Ray Curto, AJ, Adriana, and Carmela, all of whom, by our shared theory, die by the end of the show.
This is off the charts, Jacob! Thank you for all of this great analysis. It's the first time, I've heard anyone step through the "Seven Souls" segment cogently. Really nicely done, man!
Yeah, it’s really not that deep mate. Most of that is utter nonsense 😂
Billion dollar car brand. Multi-hundred million dollar series franchise. Multi-million dollar ad buy. Worldwide audience. First modification to the original series timeline in fifteen years. Epilogue to a series-defining finale. Directed by the show creator. To suppose that, under those circumstances, serious thought and effort was not put toward constructing a meaningful narrative to explain why it is the siblings meet on this day at this location is naive. Nevertheless, I thank you for your thoughts.
Real nice channel you’ve created . Subbed
Very kind of you, John. Thank you! Thank you also for subscribing. I appreciate it.
Doesn’t AJ literally hug her at the end of the commercial lol
Thank you for your response, Robert. I think I explain the nature of the two siblings greeting one another. There is a space created for their embrace. More generally, I think you would agree that Anthony Jr. tends to stand alone in the parking lot without an occasion to interact with anything physical. Thanks again!
Great analysis. You almost lost me at the braclet, but it was very insightful and comes together very nicely.
Also, sometimes things like graveyards in a shot when selling cars can be bad for marketing, so it is possible that the ad company made them put in that Playground in there regarldess of narrative. Even the Hearse was kinda made to not look like a Hearse and hidden away into almost obscurity probably because of the marketing team and higher ups.
Exactly. Same reason they didn't include a cigar, it looks bad.
Thank you for your kind feedback, ABC! I am inclined to think that once there was an explicit contractual agreement in place between Chase and the car manufacturer on the basic storyline, Chase retained total creative control. That would have included final approval over the final cut. There would be no way that someone of his stature would subject himself to the creative opinions of obedient marketing executives. There would be no way that Chase would allow them to say word one about any creative decision he made concerning his own pristine, marquee, multi-million dollar series. The Sopranos is a pop cultural mega phenomenon. They came to him. As I mentioned, once there was a basic agreement in place, it was his show.
I think Chase makes a point to demonstrate that fact during the course of the commercial. Ignore that he put the ghost of an adolescent murder victim into his commercial. He blots out the featured product. In the final moments, the car featured in the commercial is completely hidden from view behind a generic looking, black. four-door sedan. In other words, he put symbolism meaningful to his narrative into prominence at the expense of the featured product. To say it another way, he put a generic car in front of the featured car in a car commercial. That seems like a deliberate gesture to me.
In that same spirit, I would argue he put a playground into the driving sequence because it expressed what he wanted to express. Finally, the at-a-glance hearse is hidden because it must be hidden. The death symbolism in the scene only works if it is suggested. It cannot be made explicit. If it is made explicit all of the tension is released from the scene. That's my take on it in any event. Thank you again for your kind feedback, ABC!
Thank you for this video :)
who says Aj died he never died tony died at the end we never saw it but the director said he did
Hi Jonny. It's not a question of "who says". It's a question of what we can learn from the narrative through analysis. In that respect, it's possible to support an argument that Anthony Jr. died. Thank you!
Wow, the time and thought that the writers/Chase actually put into a commercial is amazing.
Yeah, it seems like Chase has mastered this hyper-compressed storytelling style. I actually think there is a little more to the story than I put into the presentation. Someone pointed out that the tennis bracelet Meadow wears originally belonged to Carmella. I think that is correct. While I stand by the claim that the bracelet represents Anthony Jr., I think the fact that the bracelet belonged to Carmella suggests it is a composite symbol that signifies Carmella, Meadow, and Anthony Jr. The bracelet Meadow wears belonged to her mother; Meadow is going to become a mother; it is a diamond bracelet which signifies her brother; Meadow wears her mother's bracelet to meet her brother. That cluster of ideas feels like a reincarnation scenario. If we accept that idea, then Meadow is still meeting with Anthony Jr. to say farewell so that she can start her own family. But in the reincarnation scenario there is more to it. In that scenario, she is saying farewell to the spiritual incarnation of her baby brother before he prepares to rejoin her as her son. There is something about the reincarnation reading that seems more complete somehow. In any event, glad you liked the video. Thank you!
god dammit, you've done it again! great analysis
That's so kind of you, Jeroji. I'm really glad to hear you liked it. Thank you very much!
It's a good enough theory, but it's kind of a reach, especially considering that it's a commercial. If the people in charge of Soprano's continuity were that capable, The Many Saints of Newark would've been a lot better. Not that it was bad, I enjoyed it, it's just that that two hour program didn't have nearly as much depth as this however long commercial had. That's just my opinion. AJ could be wearing dark colors due to his depression, I mean this kid was just barely getting over a suicide attempt(if he was getting over it) right before his father got murdered in front of him. If they're bothering to go the ethereal/apparition path, why wasn't there a Carmela appearance? You could say it's because Meadow and Carmela didn't have that good of a relationship, but that could just as easily be the reason she's not present for this little reunion, because Meadow didn't feel obligated to invite her on account of growing closer to AJ than she did to Carmela.
Also, speaking of The Many Saints of Newark, the portrayal of Livia Soprano had a LOT of unspoken similarities to the Sopranos' portrayal of Carmela, which leads me to believe that after her husband died, Carmela adopted the same cynicism and negativity that Livia Soprano did especially after the death of Johnny Boy Soprano. This would make her hard to live with and probably someone you would avoid inviting to a reunion where you would drop news of being pregnant. This theory is further supported by how often during the show, Carmela would patronize or belittle Meadow in subtle ways due to her own jealousy and just the way older Italian women behave in the culture depicted by the Sopranos. It's not hard to imagine without having the intervention of Tony, both to play devil's advocate/defend one or the other and to blame for racist remarks etc, Meadow and Carmela's relationship drifted further and further apart every year until by the time of this commercial they may barely even be on speaking terms. Not to mention with phones nowadays they'd probably be more inclined to FaceTime one another and hang up when the conversation gets tense as compared to being face to face.
That was excellent! For some reason Had me in tears !
That is very kind of you, Sue. Thank you so much!
I've watched tons of analytical content on UA-cam and your Sopranos videos are the first videos to actually bring tears to my eyes. You've done this with your incredible attention to detail and the poignant and divine conclusions you have come to. Bravo, beautiful work, I hope you continue to create!
That is so kind of you. Thank you very much, Chelsea! I am working on something for "Once Upon a Time in Hollywood." Almost there. Thank you again!
Perfect analysis... absolutely perfect...
Very kind. Thank you so much, Amir!
@scenicmedia8624 please make more vids... your talent is remarkable!
@@amirbayat4845 Too kind! Thank you! Will have a series of videos coming out on 'Once Upon a Time in Hollywood' next. Scripts for first two almost finished. Thank you again!
Very clever. Excellent take on the symbolism of the black ring.
Thank you, sir.
amazing video
Very kind of you, Andrew. Great to hear. Thank you!
Yeah... It's a stretching theory of all three Tony, Carmella, and AJ died in the end. My theory is that Tony Soprano does die, but not at that diner. Most mob hits wouldn't take place around witnesses, and in the mob, they wouldn't harm the family.
Thank you for your feedback, Ms. Soul! If you have not seen my analysis on the finale, you might find that interesting. I'll include a link below. There is a significant amount of evidence to indicate that the murder plot did unfold in the restaurant and that the three family members were murdered. Tony was targeted while Carmella and Anthony Jr. were collateral damage. I'm afraid I have to challenge your other claims. First, there are plenty of mob murders that have taken place in public. Some of the most famous mob murders in history took place in public settings with many witnesses. Paul Castellano, Joe Gallo, Carmine Galante, Albert Anastasia, Joe Colombo. Second, while I do not think there is any reason to believe that Carmella and Anthony Jr. were anything other than collateral damage, it is naive to think that the American Mafia would not harm family members in the real world. Lucchese mob associate Henry Hill responds to this common claim in a way that is pretty convincing. I have it cued up below. Thank you again, Ms. Soul!
Henry Hill Interview
ua-cam.com/video/kBvdRT1P6cQ/v-deo.html
Sopranos Finale Analysis
ua-cam.com/video/ZCb6OL6RGyk/v-deo.html
If we take AJ to be the embodiment of the initiate viewer's understanding of symbolism in the series, the white collar and black window recall a conversation AJ and Meadow had about symbolism with Robert Frost. "I thought black meant death!" "White, too." She was leaving then, but she's moving towards him now. It's like a little, ironic reprisal.
This one is actually almost good, Sini.
@@scenicmedia8624 I actually do think AJ is, in part, a ham fisted representation of a viewer new to shows that use filmic language. He uses none. Then misappropriates a bunch, then finally delivers an ironic reprisal from the first season correctly, after which he is acknowledged by Tony, presumably as an adult.