Sopranos Series 3 Episode Guide
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Sopranos Finale Pool a B C D E F G H I J K L M N O P Q R S T U V W X Y Z the Final Episode Airs This Sunday, June 10
Sopranos Finale Pool A B C D E F G H I J K L M N O P Q R S T U V W X Y Z The final episode airs this Sunday, June 10. Don’t just predict who will live and who will die… How many more plot details can you predict? Murdered Dies Suicide Arrested/Jail Kills Injured Severely Illness Breakdown/Crazy Prospers Leaves/Quits Betrayed Betrays Disappears / Missing Returns Flashbacks Hallucinations Dreams Torture Time Travel own! Add your own! Add your own! Add your own! Add your own! Add your own! Add your own! Add your 1 Tony Soprano 2 Carmela Soprano 3 Meadow Soprano 4 AJ Soprano 5 Janice Soprano 6 Christopher Moltisanti 7 Kelli Lombardo Moltisanti 8 Adriana La Cerva 9 Dr. Jennifer Melfi 10 "Big Pussy" Bonpensiero 11 Silvio Dante 12 Gabrielle Dante 13 Michele "Feech" La Manna 14 Phil Leotardo 15 Furio Giunta 16 Little Carmine Lupertazzi 17 Uncle Junior Soprano 18 Paulie Walnuts 19 Artie Bucco 20 Charmaine Bucco 21 Richie Aprile 22 Rosalie Aprile 23 Hesh Rabkin 24 Dr. Elliot Kupferberg 25 Eugene Pontecorvo 26 Patsy Parisi 27 Benny Fazio 28 Little Paulie Germani 29 Bobby Bacala 30 Johnny "Sack" 31 Vito Spatafore 32 Agent Dwight Harris 33 Hugh DeAngelis 34 Add your own! 35 Add your own! 36 Add your own! 37 Add your own! 38 Add your own! 39 Add your own! 40 Add your own! Grid by Christopher Fahey graphpaper.com behaviordesign.com Sopranos Finale Pool Rules 1. Choose any number of combinations of characters (along the left side) and fates (along the top), then initial each of your predictions in the corresponding cell. -
Absent Presence: Women in American Gangster Narrative
Absent Presence: Women in American Gangster Narrative Carmela Coccimiglio Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfilment of the requirements for a doctoral degree in English Literature Department of English Faculty of Arts University of Ottawa © Carmela Coccimiglio, Ottawa, Canada, 2013 TABLE OF CONTENTS Abstract iii Acknowledgements v Introduction 1 Chapter One 27 “Senza Mamma”: Mothers, Stereotypes, and Self-Empowerment Chapter Two 57 “Three Corners Road”: Molls and Triangular Relationship Structures Chapter Three 90 “[M]arriage and our thing don’t jive”: Wives and the Precarious Balance of the Marital Union Chapter Four 126 “[Y]ou have to fucking deal with me”: Female Gangsters and Textual Outcomes Chapter Five 159 “I’m a bitch with a gun”: African-American Female Gangsters and the Intersection of Race, Sexual Orientation, and Gender Conclusion 186 Works Cited 193 iii ABSTRACT Absent Presence: Women in American Gangster Narrative investigates women characters in American gangster narratives through the principal roles accorded to them. It argues that women in these texts function as an “absent presence,” by which I mean that they are a convention of the patriarchal gangster landscape and often with little import while at the same time they cultivate resistant strategies from within this backgrounded positioning. Whereas previous scholarly work on gangster texts has identified how women are characterized as stereotypes, this dissertation argues that women characters frequently employ the marginal positions to which they are relegated for empowering effect. This dissertation begins by surveying existing gangster scholarship. There is a preoccupation with male characters in this work, as is the case in most gangster texts themselves. -
The Sopranos
BLOOD IS THICKER THAN WATER AN ANALYSIS OF FAMILY, FAMIGLIA AND ITALIAN IDENTITY IN THE SOPRANOS Aantal woorden: 23.505 Han Vandepoele Studentennummer: 01506075 Promotor(en): Prof. dr. Gert Buelens Masterproef voorgelegd voor het behalen van de graad master in de Taal- en Letterkunde Engels-Zweeds Academiejaar: 2018 – 2019 ACKNOWLEDGEMENTS Writing a master thesis is no easy feat, and could certainly not have been done without the help of some wonderful individuals. First of alI I would like to take this opportunity to thank prof. dr. Gert Buelens for his guidance and patience, but most of all for giving me the freedom to discover this topic on my own pace. Furthermore I would like to thank my parents for handing me the opportunity to study, my friends for providing me with distractions when necessary, and my sister for helping me clean up that pesky table of contents. TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................................................... 2 TABLE OF CONTENTS .............................................................................................................................................. 3 LIST OF FIGURES ..................................................................................................................................................... 4 INTRODUCTION ...................................................................................................................................................... 5 PART -
In This House It's 1954: the Representation of Women In
“IN THIS HOUSE IT’S 1954: THE REPRESENTATION OF WOMEN IN THE SOPRANOS by SUSAN ALEXANDRA KAHRS (Under the Direction of Peggy J. Kreshel) ABSTRACT The Sopranos, an HBO Original Series, is one of the most popular programs on television. This thesis will examine the representations of women in The Sopranos. Grounded in cultural studies, feminist theory, and feminist media studies, this research was based on a number of assumptions. First among these is the belief that meaning is socially constructed and never fixed, but constantly produced and reproduced. Second, culture can only be understood in relation to issues of power. Third, popular culture is a site of struggle, and fourth, that it is essential to understand how media help shape the values, norms, and beliefs that reinforce gender inequities. Finally, research is a political act. A textual analysis of seasons 1 and 4 uncovered how patriarchy is the dominant ideology on the show. The Sopranos presents a rigid, regressive form of patriarchy where traditional roles, including the mother figure, were fractured and dysfunctional. INDEX WORDS: Patriarchy, Gender roles, Cultural studies, Feminism, Feminist theory, Circuit of Culture. “IN THIS HOUSE IT’S 1954:” THE REPRESENTATION OF WOMEN IN THE SOPRANOS by SUSAN ALEXANDRA KAHRS B.A., Erskine College, 2000 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 Susan Alexandra Kahrs All Rights Reserved “IN THIS HOUSE IT’S 1954:” THE REPRESENTATION OF WOMEN IN THE SOPRANOS by SUSAN ALEXANDRA KAHRS Major Professor: Peggy J. -
REPRESENTING 9/11 in the SOPRANOS a Thesis by VITO V
“SPEAK ABOUT DESTRUCTION”: REPRESENTING 9/11 IN THE SOPRANOS A Thesis by VITO V. PETRUZZELLI Submitted to the Cratis D. Williams School of Graduate Studies Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2015 Department of English “SPEAK ABOUT DESTRUCTION”: REPRESENTING 9/11 IN THE SOPRANOS A Thesis by VITO V. PETRUZZELLI December 2015 APPROVED BY: Craig Fischer, Ph.D. Chairperson, Thesis Committee Germán Campos-Muñoz, Ph.D. Member, Thesis Committee Başak Çandar, Ph.D. Member, Thesis Committee Carl Eby, Ph.D. Chairperson, Department of English Max C. Poole, Ph.D. Dean, Cratis D. Williams School of Graduate Studies Copyright by Vito V. Petruzzelli 2015 All Rights Reserved Abstract “SPEAK ABOUT DESTRUCTION”: REPRESENTING 9/11 IN THE SOPRANOS Vito V. Petruzzelli B.A., Rutgers University M.A., Appalachian State University Chairperson: Craig Fischer Broadly definable as an interdisciplinary study of televisual texts, literature, and history, this thesis analyses David Chase’s The Sopranos (1999-2007) and its engagement of the September 11, 2001 terror attacks. Tracing the show’s narrative and aesthetic roots to its pilot episode, I explore how narrative and aesthetic elements contained in 9/11 television newscasts elicited both an alteration and an exaggeration of the show’s structural and symbolic elements. Furthermore, I illustrate the impact of televisual mediation on the act of viewership, demonstrating the manner in which The Sopranos and 9/11 newscasts employed authoritative narrative perspectives as a means of disseminating vital information to viewers. Methodologically, I employ a narratological approach to show through close textual analysis how elements of location and sequential ordering inform the creation of unique story worlds, and how these story worlds operate symbiotically with viewers in creating meanings beyond the texts. -
CAST BIOS Jamie-Lynn Sigler
‘THE CHRISTMAS NOTE’ CAST BIOS Jamie-Lynn Sigler (Gretchen) – Jamie-Lynn Sigler first captured audiences when she appeared on HBO’s critically acclaimed drama “The Sopranos” as mafia daughter Meadow Soprano. Now the extraordinary talent is lighting the screen displaying her vast range of acting chops. Sigler recently wrapped production on “Loserville,” a comedy that follows an unpopular high school outcast as he navigates the wild and confusing days of his senior year. In the film, Sigler portrays Coach Aileen Russo and stars opposite Matt McGorry and Darby Stanchfield. Also on deck for Sigler is the film “Anatomy of the Tide,” a dramatic tale that focuses on three island boys in their final summer of adolescence as they look beyond the ocean that has incarcerated them since birth to plan their future of hopes and dreams. Both films are slated for an early 2016 release. Sigler’s recent film credits include indie films “Broken Tail Light,” “Divorce Invitation,” “I Do,” and “Jewtopia.”’ Other film credits include “Homie Spumoni,” a comedy co-starring Donald Faison, Joey Fatone, and Whoopi Goldberg, “Lovewrecked,” opposite Amanda Bynes and Chris Carmack and the thriller “Dark Ride,” in which she stars. “Dark Ride” tells the story of a killer who, ten years after he brutally murdered two girls, escapes from a mental institution and returns to his turf; a theme park called “Dark Ride”. Most recently, Sigler starred on the NBC comedy “Guys with Kids.” Executive produced by Jimmy Fallon, the popular sitcom told the story of three 30-something dads trying to hold onto their youth while navigating fatherhood. -
A Second Sopranos Packet Much Like 12 Episodes of the Sopranos, This Packet Was Written by Matt Weiner 37 Tossups with Powers
Not Possible, Even With Computers: A Second Sopranos Packet Much like 12 episodes of The Sopranos, this packet was written by Matt Weiner 37 tossups with powers 1. Immediately after Tony is informed of this action, a semi-conscious man mumbles "the fish is in my pocket." The results of this action are discovered as a man yells "Yo, Einstein, you should have seen me at the hospital." Authorization for this action is given by the sly phrase "I don't know" after contrasting the target of this action with a man who put up storm windows. Along with a related action that causes another character to wear a (*) neck brace in the following episode, this action is the second event intercut with a performance of the Welsh song "Ar Hyd y Nos." The target of this action is smoking a pack of Marlboro Lights with a red lighter and hears the pun "hijack, bye jack" before receiving a "Moe Green special" in his bathtub. For 10 points, identify this murder committed by Mikey Palmice with Junior present, which targeted a friend of Chris. ANSWER: killing Brendan Filone 2. Patsy is initially confused by thinking Mr. Caputo is referring to these people taking over the poultry store. After being corrected for referring to these kinds of "pricks" holding Meadow "hostage" at Columbia, Tony says that Italians are these people "with better food." In the much-beloved Columbus Day episode "Christopher," one-off character Ruben the Cuban is accused of bias against these people. Dr. Reis idiotically reflects on some (*) "tough" examples of these people at the Melfi family's therapy session. -
"The Strong, Silent Type": Tony Soprano, Don Draper, and the Construction of the White Male Antihero in Contemporary Television Drama
"THE STRONG, SILENT TYPE": TONY SOPRANO, DON DRAPER, AND THE CONSTRUCTION OF THE WHITE MALE ANTIHERO IN CONTEMPORARY TELEVISION DRAMA James Beale A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Becca Cragin, Advisor Esther Clinton Jeremy Wallach © 2014 James Beale All Rights Reserved iii ABSTRACT Becca Cragin, Advisor In this thesis, I examine intertextuality present between The Sopranos and Mad Men, particularly in regards to each show’s protagonist. Tony Soprano and Don Draper are complex characters, each with their own conflicts, neuroses, and supporting characters, yet both men address a similar question: what does it mean to be a man in 21st century America? Both men deal with complex identities due to their pasts, exacerbated struggles due to their jobs, and most importantly, equally complex women who challenge their authority. While addressing issues of gender, I discuss the linkages present between each show’s creator, David Chase and Matthew Weiner, which speaks to the broader thematic overlap between the two dramas. Intertextuality, partially stemming from Weiner’s time in the Sopranos writing room under Chase, can help to interrogate television’s own auteur, the showrunner. I also analyze the white male antihero archetype as a whole, which has been popular on American television in the past fifteen years, as I trace the major conflicts to Robert Warshow’s formulation of the gangster as a tragic hero. For Warshow, though, the gangster ultimately worked as a straightforward morality tale – in these shows, the message of the antihero is deliberately muddled, crafting an intimate portrait of masculinity in crisis. -
Leo Belovarsky LOGLINE
Säljande presentation Av: Leo Belovarsky LOGLINE A man named Anthony “Tony” Soprano is the hot headed and violent mafia boss who rules the New Jersey- based on the DiMeo family. The series begins with he, after years of stress over his mafia business and his traumatic upbringing that eventually leads to panic attacks, begins to go to therapy sessions with psychologist Dr. Jennifer Melfi (Lorraine Bracco), in the greatest secret as he cannot prove weak to his men. This series is pretty raw, intense and sometimes racist, but there are a lot of scenes with humor and then it shows how family everyday life and so on. SYNOPSIS When Tony Soprano collapses after suffering a panic attack, he begins therapy with Dr. Jennifer Melfi. Details of Tony's upbringing - with his father's influence looming large on his development as a gangster, but more so that Tony's mother, Livia, was vengeful and possibly psychopathic - are revealed. His complicated relationship with his wife Carmela is also explored, as well as her feelings regarding her husband's cosa nostra ties. Meadow and Anthony Jr., Tony's children, gain increasing knowledge of their father's mob dealings. Later, federal indictments are brought as a result of someone in his organization talking to the FBI. Inspiration MÖTER MÖTER Anthony “Tony” Soprano Huvudkaraktär Tony Soprano is the hot headed and violent mafia boss who rules the new jersey, when he does not have the role of mafia boss, he usually goes to his psychologist and tells about his problems that he has with the family or other things etc. -
Big Girls Dont Cry Free
FREE BIG GIRLS DONT CRY PDF Cathie Linz | 311 pages | 02 Oct 2007 | Penguin Publishing Group | 9780425218310 | English | New York, NY, United States Big Girls Don't Cry (Dundee, Idaho, #6) by Brenda Novak The smell of your skin lingers on me now You're probably on your flight back to your home town I need some shelter of my own protection, baby be with myself and center clarity, peace, serenity. I hope you know, I hope you know That this has nothing to do with you It's personal, myself and I We've got some straightenin' out to do And I'm gonna miss you like a child misses their blanket But I've got to get a Big Girls Dont Cry on with my life It's time to be Big Girls Dont Cry big girl now And big girls don't cry Don't cry Don't cry Don't cry. The path that I'm walking I must go alone I must take the baby steps 'til I'm full grown, full grown Fairytales don't always have a happy ending, do they? And I foresee the dark ahead if I stay. I hope you know, I hope you know That this has nothing to do with you It's personal, myself and I We've got some straightenin' out to do And I'm gonna miss you like a child misses their blanket But I've got to get a move on with my life It's time to be a big girl now And big girls Big Girls Dont Cry cry. -
The Sopranos
SOPRANOS, THE (Crime Drama) out of the Bada Bing Club, a local strip joint that he BROADCAST HISTORY: owned. Among his most loyal soldiers were old- Home Box Office school enforcer Paulie; somewhat dense Silvio; 60 minutes hefty, friendly Pussy; and green young nephew Original episodes: 1999- Christopher. When the series began, Tony was still a Premiered: January 10, 1999 capo, but the old boss, Jackie Aprile, was on his CAST: deathbed. Tony and the other capos decided that Tony Soprano …………………….…..James Gandolfini Tony (whose father, Johnny Boy Soprano, had once Carmela Soprano ……………………...……. Edie Falco been boss) should take over. This did not sit well Meadow Soprano …………………... Jamie-Lynn Sigler with his father’s older brother, Uncle Junior, Anthony “A.J.” Soprano, Jr. ………………… Robert Iler however, and a power struggle ensued. In the Livia Soprano (1999-2000) …………. Nancy Marchand course of the 1999 season, Uncle Junior plotted with Janice Soprano (2000- ) ………………… Aida Turturro Tony’s bitter, ill mother Livia to order a hit on Tony; Dr. Jennifer Melfi ……………………… Lorraine Bracco and henchman Jimmy Altieri was discovered Christopher Moltisanti ……………….. Michael Imperioli wearing an F.B.I. wire and was “whacked” (killed). Paulie “Walnuts” Gualtieri …………………. Tony Sirico Tony’s problems with his scheming family, as well as Silvio Dante …………………………. Steven Van Zandt home problems with a resentful wife and rebellious Salvatore “Big Pussy” Bonpensiero (1999-2000) kids, drove him to see a shrink, the beautiful and ……………………………………………Vincent Pastore understanding Dr. Melfi. Melfi soon learned Tony’s Corrado “Uncle Junior” Soprano …. Dominic Chianese real occupation, but due to her fascination with him Adriana La Cerva ……………………… Drea de Matteo could not let go. -
The Sopranos" by David Shasha
Illuminating the Complex Nature of the Human Condition: Some Thoughts on the End of "The Sopranos" By David Shasha Note: The conclusion of the show is divulged in the course of the following article. Though it would be impossible to do justice to the many important cultural achievements of the television show "The Sopranos" in a short article, the recent conclusion of the show warrants a few remarks to put its place in our cultural history into some perspective. In our contemporary culture a huge premium has been placed on cleverness over the difficult and thorny issues of expression and analysis. As a cultural artifact, "The Sopranos" was able to partake in both of these modalities. In the seemingly endless analyses of the show, reference has been made to the semiological aspect of the show as reflecting many signs and symbols of our inherited popular culture. As a show about gangsters "The Sopranos" drew from a rich history ranging from the Hollywood epics of the 1930s like "Public Enemy," "Scarface," and "Little Caesar" to the more contemporary tradition of "The Godfather," "Goodfellas," and "Raging Bull." In fact, "The Sopranos" drew many of its cast members from the ranks of the later gangster films. But beyond its many semiotic references to other works of imaginative art, "The Sopranos" began to tell the story of human beings and delve into their lives in ways that was rare in American culture. The cleverness of pop culture references was balanced and made more profound by the nuanced ways in which the characters came to life as multi- dimensional human beings.