I got 4 seasons into this until I realized every "new" conflict introduced is the same leading up to the same conclusion. What an absolute disappointment.
>Hey, lets end Ralph Cifarettos story in the most goofiest and most anticlimactic way possible.
There is no way you people actually think this is better than breaking bad.
 CRIME Shirt $21.68 |
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CRIME Shirt $21.68 |
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Not really though, OP is right. It is my #1 show but it's obvious it was made in an era before series writers seriously planned entire seasons ahead of time. This resulted in rash and abrupt ends to some storylines, or just forgetting about some other storylines. Still better than Breaking Bad, but being a soilent dickriding fanboy is not the answer.
IT WAS JUST A FRICKING prostitute
IT WAS JUST A FRICKING HORSE
Wire is better.
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Bro you can keep your tomato israelites lol. Nobody is jealous your IQ is low enough enjoy like this trash.
Holy fricking filtered.
Nothing happens the show. Most HBO shows are overrated, overhyped garbage
The amount of dropped plotlines in this show is insane. I watched this show after watching Breaking Bad and GOT, and the genre that really gets to me is when actions have consequences and every tiny decision matters. This show would setup a dozen potential payoffs that never matter or even occur. I was waiting for the Russian, Valery, to come back and haunt them but he never did. And you know what, it's David Chase's problem. He never planned on the Sopranos being a 6 season show, he wanted a mob film. He even admitted to inserting self containing mini mob stories into the show that had no effect anywhere else in the story. I think the example he used in the interview was the College episode when he killed the rat. And he said it with a fricking smile.
He's not very creative. And introducing people and them instantly being a problem is so bland. What'd be better is having a pre established character become a problem as time progresses. It's like having a Batman story where his best friend who was never mentioned or seen before is randomly introduced and simultaneously a villain appears in Gotham
>I wonder who that might be
What'd be better is having a Dr Thomas Elliot (different name and profession) appear much earlier, introduce a Hush red herring and genuinely shock the audience when the newly introduced character isn't Hush. This isn't some gigabrain idea. Just simple writing longer story arcs.
I heard it had gay shit. Sopranos having a mini gay love story take up half of season 6 was more than enough gay shit for the next 5 years.
Agree about how Chase forced the villains in a really hamfisted way. Richie, Ralph and Phil were so obviously and laughably antagonistic from the second they were each introduced. Kind of lazy writing to just shoehorn an unknown villain into the story. Big Pussy and Adriana's storylines were at least more interesting because they were previously established characters whose relationships with other characters changed over time.
But a lot of even those stories never really went anywhere. When pussy died, what was the reaction from the FBI? Skip Liparsi appeared in only 1 episode after pussy died and I don't think he even mentioned him. The best we got was really small subplots that weren't very fulfilling and were dragged out too long. It's like he threw out all his notes on the subplot after the character dies and introduces a new one that's the same as the one before. We get small reminders of the plot seasons later like they're little trinkets. There's no momentum behind the story anymore once it's revisited. Beansie gets run over and after that he's forgotten until they head over to Florida for an episode like they just wanted to give the actor a cameo. Honestly it's not very hard. When Valery gets away, let him start going guerilla warfare on Sopranos' crew.
Maybe a character gets whacked or beaten for information and put in a coma. But don't make it obvious it was Valery. Since its inserted during a disagreement with New York, Tony and his men think it's NY. John sounds disingenuous because he's pissed off and makes snide remarks when talked to but he genuinely doesn't know and doesn't care. That's enough for Tony to think it's real and retaliate. The FBI comes to talk to Tony and boom, agent Harris or a friend of his is shot by a sniper or gets hit by a bomb. This is the excuse for the FBI to go hardcore on both families. They start losing money, some guys go to prison, yada yada. It's the final episode of the season, Tony and John have a sit down, things are out of control, they blame eachother, Tony says he got X hit because he had to retaliate, John gets angry and repeats it wasn't him or his crew. Meeting gets interrupted by gun shots in the building. Semi horror scene where they're getting picked off. Valery gets Chris, Tony or Paulie and before he gets to kill them, he's shot by...
You get the idea. Actions have consequences, things build up to a real climax.
The Sopranos definitely suffers from feeling like it "resets" every season. The first half of Season 6 was at least a reprieve from the cyclical structure. It introduced more experimental elements with Tony's coma.
Are you 14?
>It's the final episode of the season, Tony and John have a sit down, things are out of control, they blame eachother, Tony says he got X hit because he had to retaliate, John gets angry and repeats it wasn't him or his crew. Meeting gets interrupted by gun shots in the building. Semi horror scene where they're getting picked off. Valery gets Chris, Tony or Paulie and before he gets to kill them, he's shot by...
If a season had ended like this I would have immediately stopped watching
I hit character limit so I stopped. I wouldn't end the season there. The good insert for who to have kill Valery would be someone from a separate subplot who had the intention and capability of doing it along with the access to the site. That's pretty much a blank slate. You could make it a FBI agent like Harris or Skip saving Tony. You could have it be someone with shit aim who meant to hit Tony that shot Valery. Regardless it needs to have the necessary set up for it to be logically sound. If you made it Harris trying to get revenge for his buddy being shot, we need to make sure the audience knows how much his buddy mattered and none of the guys we saw on the show hit the threshold for a FBI agent doing rogue. So have the necessary leg work, show how Harris struggles with the death both at home and at work. Let it affect his marriage, have him shout for the first time during a FBI meeting. It's the little emotions like sniffling his nose, fidgeting and clenching his jaw that the audience can pick up on. The FBI know about the meeting but they're waiting for confirmation, some bureaucratic red-tape BS is keeping them from going in, something stops the agents from going in. Valery knocks out some agents leaving the blindspot for whoever kills him to enter if its not an agent.
When it comes to the aftermath of the shot, if it's an agent, he either make the choice to let Tony and his guys go or he gets knocked out by a mob guy which survived the shitshow. Tony and John escape. FBI get in and find Harris lying on the ground. This is how you make sure for next season the Tony vs John beef is over and open up to new stories such as an Internal Affairs investigation on Agent Harris. Bare in mind I just made this up on the spot.
Nah I never went down that path. I'm the loretist guy on the hotd and got threads. I like writing but I'll never have the links to get in the industry so I'm here. Occasionally posting on a Mongolian throat singing board.
>You could make it a FBI agent like Harris or Skip saving Tony
this is the most hackey idea I have ever heard from this board
Serious question, are you a writer or an aspiring writer? Did you go to school for it or something? I'm asking for a reason.
BTW I'm not OP. Those last two were mine, I just agree with OP.
I don't know why people get so upset about not seeing Valery again. Imagine you're him. You just narrowly escaped a mob hit. You're going to go back? Frick with them? Push your luck for what? To end up dead when you just successfully fought for your life? That homie went back to Russia;.
>I heard it had gay shit. Sopranos having a mini gay love story take up half of season 6 was more than enough gay shit for the next 5 years.
i didn't finish Wire but from what i saw it's one character who's like a totally deranged psycho murderer so it's not like TLOU emmy chasing virtue signaling or anything
But how much gay porn do I have to sit through for the plot. Apparently that Omar guy is gay and he's supposed to be one of the main characters.
I was disappointed with Furio just being in love with Carmela but then again I was okay with it because I genuinely thought it was going to go somewhere. Remember that scene during the whole casino red Indians columbus day thing. Tony is by a helicopter blade and Furio thinks about pushing him in. That was good shit. Until nothing came out of it. He just ran to Italy and Carmela fricked some random teacher and that didn't go anywhere anyways.
It should feel like one continuous story with different chapters instead of different reboots of spiderman. Some of it was out of their control like with the actress for Tony's ma dying but I don't think that was gong anywhere anyways. He probably would've kept her until season 6.
I'm in my 20s but I'm a zoomer. I think the rough outline I described there is actually good. As long as there's enough hints to make it obvious to anyone rewatching but it's so subtle you don't realise its Valery on first watch, it's good writing. Tell me which part you didn't like.
he had a boyfriend for the first couple of episodes but i don't remember him getting gay with anyone else for awhile. i lost track of what was going on in s3 and kind of gave up on the show.
When you say 20's like how old tho?
I was still a teen when Kung Flu came about so I still have my hair, at least for now
Marvel fell apart because they never planned beyond infinity war. They allowed certain IPs like the Secret Invasion plot to be ruined by having the Skrulls ruined during the Ms Marvel film. They killed the momentum, bored the audience with meaningless shows and bait/switch films like Doctor Strange. The move here should've been using Kang (a lesser version) as a stepping stone to Dr Doom for the sole purpose of transitioning the MCU over to a more X Men focused core. If they really wanted to have the Wanda Vision story then have magic be an intermediary place holder before introducing mutants as a consequence of their meddling. You could even add them together if you want. The point is this is not just a story but a business, maximum profits doesn't entail soullessly milking the IP but using it to make the most of the situation. For marvel the only logical long term strategy I can think of is bringing in the X Men. Fantastic 4, Spiderman, Nova, you can have decent one shot stories but for audiences, having a new infinity saga is necessary and no other group of projects can fulfill that. Getting there is inevitable, there's enough execs who can read the signs, the issue is choreographing it.
A video game has plenty of conflict. Does that make it better than most television shows?
Its not the lack of conflict, it's the lack of any consequences. Why tf would I care about new mob guy number 28 being a problem when the last 27 ended up amounting to nothing? Out of the 70 or so episodes we watched all the events that actually mattered maybe 10 mattered. Compare that to GOT when it still kept to the source material. Basically every scene mattered. Every character mattered. I'm not expecting autistic levels of planning or for David Chase to wait 12 years to release a script for a single season.
>the "you ain't from the hood" talk
I don't like talking about it. It's not something to boast about. Most people who are from it have clouded judgements that skew things just as bad or worse than the guys who've never lived it. Most people who claim they're from it never saw shit, even the ones who have family involved in high level OC.
>none of you know how to write
It doesn't take a chef to know if something doesn't taste good. You can circlejerk all you want but if the audience doesn't like what you make, it's shit no matter what the critics tell you.
>The Sopranos is the greatest show of all time
Its a relic of that time which hasn't aged well but has left a mark. The only way you'd be this delusional is if you're some Italian American with a civilian uncle who claims he has a "friend" that's not even a made guy. Just stop. I sincerely hope this was just bait but I've run into enough guys like this.
>GOT
No. By citing that show in comparison and talking about how every scene and character mattered it all becomes clear what the problem is. Let me try to make it clear to you.
You don't have to be a chef, but you need tastebuds. A better example would be to tell you that you don't know why a Murakami is amazing but you also mention that you're color blind. Similarly, you don't know why The Sopranos is the greatest show of all time because you lack the scope that is needed to appreciate it in full.
The way you view television is akin to how a child views it in that only wants to see car crashes and explosions. I'm not calling you a child, but from what you've stated, your taste is just a slight expansion of that.
From every thing you've stated, you think a good show is essentially a fight. You want Tony to run into enemies, beat some, lose to some, beat some, lose to some etc. You think the characters don't matter if they appear in Tony's life for a second and then they're never heard from again, because once again, good television to you is when a character goes to war against another character and you see who wins and who loses.
This is exactly why someone in the thread told you this:
>muh heckin plot strands!
It's not a Marvel movie, try paying closer attention
You're missing what the show is really about. A dumb show would be an hour where 55 minutes of the show is Tony and the crew planning a hit, following the guy, and then killing the guy and running into complications etc. That is a dumb show.
And about being from the "hood," no, not the hood. It's about NYC. Mobsters, people getting killed with silencers, the amount of money and power etc is realistic, but if you aren't from it it seems like fantasy so you put it in the same category as Breaking Bad as if they're both unrealistic.
A 300 IQ teacher who's incapable of teaching might be the smartest living thing in the universe but he's still shit at his job. If this show really is so great, does it matter if the audience disagrees? Is the food really that great if everyone vomits after one taste?
>good television to you is when a character goes to war
They don't have to be adversies. It wouldn't work if everyone was one. The problem is all the teasing with the bullshit set up that doesn't have a payoff. You can't just build something up and let it be a nothingburger constantly and get mad at the audience for noticing. It's repetitive and not very rewarding.
>try paying closer attention
But then you're mad when people notice issues...we're not haters of the show.
Watch 27:40 onwards. He defends the position we're against. He acknowledges he kept the outline of the seasons vague and tried make each episode it's own self contained story. He was against the push from HBO to connect things together, he doesn't like planning ahead. This is fine. The show was good but it wasn't great because of this decision which lead to the things we complained about. I understand his position but I disagree with it and know it has had a negative effect on the series.
You can respectfully disagree, I'd like to know why you think it was a good decision, but you can't just claim I'm acting in bad faith, not a fan of the series or ignorant on the subject.
>That is a dumb show
We both agree on that. I don't want the Sopranos to become Seal Team. 90% of the show should be people sitting in a room and talking. It's only if this part of the show is done well that the 10% that's action actually matters.
>etc is realistic
The show is kinda realistic, they're a bit too well off but way more than BB. I can't talk about NYC but I stumbled my way into the shitshow in London as a kid. But I was the local "genius" so enough people kept me on the right track even if they were involved.
>But I was the local "genius"
you was in some inbred neighborhood or shit
London is not some small redneck town. Once I got into a good school, I realised I'm just smart but nothing truly exceptional. I just grew up in the "hood". Most the kids I played football with and stuff never became more than petty criminals or drug dealers fighting over postcodes. Most just use drugs and occasionally get into Black person moments over insignificant things. I'm a likeable guy, the only issues anyone has had with me were "fence sitting", being moral and "hoarding" girls. I'm sorry but I'm not stabbing a friend I knew for a decade because you dislike the estate he's from, I won't accept sex trafficking, and I'm not wiener blocking you when I have female friends. It's usually one guy getting emotional and everyone else knows he's in the wrong.
I think I'm one of the only guys who had full freedom to associate with who I wanted, including their opps. If I wasn't the village prodigy I would've been stabbed a long time ago. I'm a civilian. The most I've ever done is rob snacks of some guys as a dare when I was 14. But I've been present when kilos of hard drugs were moved, I'd be given heads up when some guys get murdered in premeditated hits and I've even seen 2 guys get tortured. One of them only spoke Chinese I think. I'm trusted. People come to me when their little sister needs help with her A levels, when they want to leave crime or have problems with depression. Btw I've only arranged one sit down and it was over a stolen car. I knew the guy who stole it and the guy wanted to kill him over it. It only lasted 5 minutes in a car park and the guy was only checking if something he hid in the boot was still there. 2 weeks later they're sharing a smartwhip (nitrous oxide) together outside a shisha cafe.
Its not that eventful, most the action is just kids chasing eachother over he said she said on Snapchat or Instagram.
Hey dude, you sound like a cool guy. Do you mind if you suck my wiener?
You're not the first guy to ask that and I get it, I look like a tiktok dancer, these guys take a shit tonne of drugs and have "experiences" in prison. I cut ties after that but I'm not stupid enough to tell the world about someone being gay. Reminds me, there was this black guy in East London, forgot what gang he was from but he got caught on page 20 or something on the gay side of pornhub. Like 5 bald guys gang banged him. Bare in mind this is a tough jacked gang member. And like within a few weeks I think some other guy in East forced his opp to suck his dick at gun point and RECORDED IT
>I know I shouldn't laugh but I remember his tears and the gun
He was disowned by his own gang for getting his dick sucked. I guess he didn't adapt to life outside prison lol. This was around 2014
>Russian special forces
>extremely pissed off before he runs off
Out of anyone to voluntarily dissappear without making a fuss, he's one of the last people that should be considered.
Are you Black?
No but my school and local area was 60+% black. If I was black I don't think I'd have had the privilege of fence sitting. Black guys might be violent and get all the attention but they don't make any money from the drug trade unless they have people working for them. I've only met one little group who moved into armed robbery that were actually professionals. I went the same primary as them and didn't get along with one of the guy's little brother. They've been doing it for at least 7 years now and they haven't been caught. Some do credit card fraud but that's it. Black guys aren't involved in immigration. They don't transport shit from Europe, they don't have migrants working for them in construction for below minimum wage, they're not subletting 2 bedroom houses to a dozen guys, they don't take catalytic converters. They sell drugs, use violence to get quick money or sweet talk someone into giving their's accidentally.
>it is the best show
I'm not going to be able to win you over. It's your favourite show.
>Chase wasn't admitting that he didn't plan long term story arcs
Please rewatch it.
>Chase actually said he just moved back to Russia
That's another issue. He has to explain what happened in the background. Like I said earlier, it doesn't have to be a violent payoff just something that's good enough.
>The baddest hood in England is mild in America
Its not a pissing contest. The Black folk across the pond are a lot worse but it's nothing to boast about. The police did some good work here. Sure I got harassed by the met for a while but it was well deserved. My area was a no go zone when I was knee height but by the time I went to university, 90% of the problem was solved. I remember seeing a dozen guys get put away during one police operation. As much as I like these guys, the special privileges, clout and respect I got from association with them, they're a net negative to society.
I don't know if it's my favorite show but I do think it's the greatest show of all time.
About Chase and long term arcs, once again I don't think you understand what was being stated nor the entire context of it. He stated in that interview and many others that the seasons and ending were planned out, which by definition are the long term arcs, what he stated that he didn't do was focus on the long term serialization of the A plot and instead decided to connect the show in a different way.
It's not a pissing contest, it was just a response to your claim about the show not being realistic and your comments about the mob in NYC. You were comparing it to London as if the two were similar and I was just saying it was different.
But the point of all of this is that the reason you will see the critics rave about the show is because it is deeper than just a simple show about a criminal committing crimes.
grow the frick up
>A 300 IQ teacher who's incapable of teaching...
Come on now. If someone gives a moronic person great information but they're moronic, it doesn't mean the information is bad. If someone makes the best dish ever but people can't taste it because they have no tastebuds, that doesn't make the dish bad. You're pointing out and basically admitting that it's on the audience, not the show. To add to this, many people do regard the show as the greatest show of all time.
About the set-ups and payoffs. It depends on what you think a pay-off is. For example, having a Russian get shot and then escape is not a set-up for the Russian coming back and killing everyone. Once again, if you think good tv is a fight, then you feel ripped off if the Russian doesn't come back and hurt them. The Russian wasn't there to set-up and pay-off with violence. The Russian was there to help illustrate a different story. Many of the things you think are teasing a future fight are not. These things are illustrating things and are in and of themselves the "pay-off."
Ah yes the Bogdanovich interview. Rewatch the entire interview. He is telling you why it is a better show than 99% of shows that exist. HBO wanted a serialized show i.e. a fight, the dumber show. Instead each episode was made as a digression. I don't think you understand his position, because it's not vague and unconnected. He says that they laid the connective tissue afterwards as in it was the least of their concerns but nevertheless still laid it. The point being is that the show isn't about a long fight to see if Tony dies of not. If you're looking at the show for that then you're missing the color in the Murakami.
>The show is kinda realistic,
Again, you wouldn't know. NYC isn't London. There is way more money, power, crime, violence, and most importantly guns. Civilians have guns. A whole different animal.
Name the specific issues and maybe I can help explain it better for you.
>it's on the audience
If not the audience who is the authority of what show is good or bad? Sopranos is still a good show but the intentional decisions by the writers had negative consequences on the outcome of the show.
>Russian coming back and killing everyone
He doesn't have to kill everyone, he doesn't have to kill anyone. But when you talk about a Russian special forces veteran with a vendetta, the threat of retaliation should at least play some role in the story. Even if Valery actually died and it was something like Tony not going to the Russian to launder anymore leading to money piling up that allowed for someone to steal from him, yada yada it should have a chain connecting it to the decision Paulie made to kill Valery to the outcome of a worthwhile frick up. I'm making examples on the spot. I don't mind when nothing matters in the Simpsons but in the Sopranos it's disappointing and it's a consequence of choosing to not plan long term story arcs thoroughly, something David Chase admitted he avoided.
>the dumber show
HBO was wrong on a lot of things like the idea of making Tony some goody two shoes who rats out evil criminals but they were right about having the story be connected.
>nevertheless still laid it
The parts he did plan were fricking obvious from the first episode. Even for the subplots he bluntly tells you what's going to happen 3 episodes ahead killing the payoff when it does happen. He can have his mini movies as long as they actually had an effect on the story that's worthwhile, which didn't happen because the episodes weren't well connected.
>NYC isn't London
NYC's mob scene is sterile. Same thing here. Closest thing you'll find to it today is some Albanian or Turkish group. The glory days are long gone. Almost everything is about drugs now and no one can assert dominance in the market due to ethnic diversity. Only criminal I know from NYC is some nepo baby working with the UN. White collar crime is at least refreshing.
The audience is composed of different people, some have good taste and others do not. The ones with good taste decide if it's good or bad. The Sopranos is not just a good show, it is the best show and the outcome is a symptom of such.
Chase wasn't admitting that he didn't plan long term story arcs and do a thorough arc. They planned the ending to every season and he knew the ending to the entire series well in advance. What he was stating was that he didn't serialize the show to focus solely on the conflict aspect as in "the fight."
Once again, the story is connected. You are viewing it wrong and missing the point as well as the obvious throughline.
The Russian was a drunk that got shot in the head and has a target on his back from La Cosa Nostra now. Strong chance he also has memory loss or some kind of bad disability because of this. Most likely a guy in that position is going into hiding and forgetting about the whole thing or moving back to Russia. Chase actually said he just moved back to Russia. Him risking his ass to go on a war that would just get him into more trouble is cartoonish.
You have no idea what NYC's mob scene is. Comparing England to America is not what you want to do. The baddest hood in England is mild in America. The level of violence is on another level. The criminals are way more dangerous. The police are tougher. The civilians are tougher. It makes England look safe in comparison.
Why do you talk about food so much are you fat?
>What'd be better is having a pre established character become a problem as time progresses.
I was completely sure that Furio would become an insane and dangerous problem but he just looks like a gayboy with fancy shirts and then dreams about Carmella and fricks off, while he started strong with that money collecting scene straight out of GTA.
I completely get when people are upset that Sopranos "has no story" or that shit goes nowhere, but it's overall saved by the writing in scenes, dialogue and that even if shit goes nowhere, the characters personalities and arcs at least follow some trajectory.
Dumbasses.
Its a day in the life tale. In life nothing changes.
>There needs to be "I won" moment in every season. The conflict cannot be just expository on Tony's degrading morality as he further and further proves that he doesn't want to change anything about his life and rather just mental gymnastic his way over consequences over a day.
Black person.
>The conflict cannot be just expository on Tony's degrading morality as he further and further proves that he doesn't want to change anything about his life and rather just mental gymnastic his way over consequences over a day.
WHAT THE FRICK DO PEOPLE GET FROM WATCHING THIS SHIT THO?
Shit's depressing and ugly
This lil homie wants to watch some gay mafia plotting shooting shit while doing 4d chess manuevers. That’s for gays
>Shit's depressing and ugly
thats the point
Yea it's a running joke among fans at this point:
Basically every Season since 2 is:
>here is this guy/wiseguy you never heard about before or was mentioned at most once
>he causes trouble for the entire season
>dies or is gotten rid off in some weird, usually stupid and underwhelming way
>he causes trouble for the entire season
>Cinemaphile learns what an antagonist is
>dies or is gotten rid off in some weird, usually stupid and underwhelming way
>Cinemaphile learns what a black comedy is
It's supposed to mirror how Tony gains absolutely nothing from therapy and keeps going around in circles because he refuses to learn from his mistakes and grow.
thread
Why would anyone expect new shit to happen to people who refuse to change their environments or themselves? That’s the whole fricking point. They’re all miserable but are too cowardly to change
I think it's a better show than Breaking Bad, but the conflicts do get a bit repetitive.
Introduce new antagonist > he's obnoxious and insubordinate > eventually gets whacked.
Literally three separate storylines follow this same pattern.
Breaking Bad has a better plot and structure but Sopranos has much more complex and interesting characters. feels a bit unfair to compare them though, Sopranos was the first of its kind, BB took a ton of shit from Sopranos and was able to do it better just by virtue of coming so much later and being able to learn from the mistakes Sopranos made.
Breaking Bad is less repetitive but it's also less plausible. It turns into a comic book after season 2.
I think it's fair to say that Breaking Bad is more story-based and somewhat limited in scope. Both The Sopranos and Mad Men have a robust and compelling cast of characters, but nothing really happens aside from a few key plot moments. The "action" of those shows is more rooted in the intangible interactions within character relationships.
It wasn't the same after Ralphie.
Junya also went oobatz in the same episodes.
Tony Egg just finished them off.
was ralphie high iq
Breaking bad is like a childrens show that takes itself too seriously
Sopranos is just a fun, funny show with good characters and some deep moments
This thread is the lowest form of conversation
>hides thread
Was Adrianna written to be really fricking stupid on purpose? Like the scene where Sal whacks her she doesn't realize what's going on until he stops the car in the woods and opens the door. Zero self awareness.
She is obviously suspicious but part of herself would never let her believe that Chris would truly let anything bad happen to her. But she is moronic for that assumption in a way, although it's more just a good example of someone going through cognitive dissonance in the face of an extremely harsh reality.
Adrianna was fricking moronic.
Arrested for possession of Cocaine.....without any Cocaine on her lmao.
she obviously knows shes going to be killed which is why she starts crying when the car switches direction to the woods. jesus christ this board is low IQ
Her last name means the deer I think, shes just a stupid fawn that fell in love with an abusive psycho because she’s easy to manipulate. She literally thinks anyone that’s nice to her is probably a good person. She also dies frantically crawling on all 4s
Notice how BB tards always seethe at the Sopranos. It's never the other way around. Sopranos chads don't waste their breath posting about that show.
but i love both shows
BB is decent at best
There's only so much of watching a pair of fools fumble the bag and ruin everything I can take.
>It's never the other way around.
It absolutely is
>I didn't hurt nobody Carmella
She took an oath. She broke it
I don't understand the desire to constantly troll here
Sometimes when someone calls me at work, I'll just pick up and say speak
She fricking bit him anon
They shouldve kept Tony B. for another season.
>muh heckin plot strands!
It's not a Marvel movie, try paying closer attention
This happens one more time in S5 and then S6 is completely different and shows everything falling apart for everybody.
>I
stopped reading here
lel
The actors in breaking bad are cartoon characters. the whole plot of "a teacher becomes a meth cook" is blatantly moronic joke taken seriously.
A mob boss going to therapy is actually plausible whereas breaking bad's plot is a LITERAL joke to begin with.
>The actors in breaking bad are cartoon characters
You haven't watched the show. Every character has depth, reason and motivation whereas sopranos you get introduced to characters that act more like caricatures to add forced conflict.
The sopranos is definitely a product of its time and it hasn't aged well but there is still some good episodes that are watchable
Learn to write. Stop using buzzwords.
buzzwords are the best words though
Sopranos relies on exaggerated characters to drive plot, whereas Breaking Bad relies on exaggerated plot to drive character.
He said actors not characters, and he's right, Walt, Mike, Gus, etc. are all acted out grotesquely, meanwhile the Sopranos is full of characters you could perfectly imagine living day to day life and hanging out with them
filtered
What were they thinking?
Jackie Jr is such a shit useless character that his death is absolutely fitting. Gets shot with toy gun and plops on bloody snow.
post that one where meadow is looking over the word puzzle board and words that he put together are 'ASS' 'THE'
>I got 4 seasons into this until I realized every "new" conflict introduced is the same leading up to the same conclusion.
wait til you get to the gay arch
>wait til you get to the gay arch
It was a joke, he was on these new pills for his heart.
I stopped watching after season 3
I prefer Mad Men
The only characters that I liked were Paulie, Junior, Silvio and Artie
Breaking Bad is better, simple as
2 seasons of "lol, let's solve stupid problems with **Science** before the show finally puts on its running shoes and gets to the fricking point. You are absolutely wrong, in addition to being the greatest show of all time, The Sopranos is the most important show of all time.
It’s just funnier I’ll give it that
Phil was the final boss of Soprano. And Noah.
Friendly reminder that Noah, his father, and Dick Wolf organized the hit on tony
>the sacred and the propane
I still to this day don’t know if little carmine was moronic or just pretending to be moronic
>"To be fair, you have to have a very high IQ to understand The Supranos. The drama is extremely subtle, and without a solid grasp of New York culture and mob connections, most of the conflict will go over a typical viewer's head. There's also Tony's nihilistic outlook, which is deftly woven into his characterisation- his personal philosophy draws heavily from spaghetti Black folk, for instance. The fans understand this stuff; they have the intellectual capacity to truly appreciate the depths of these scenes, to realise that they're not just subtle- they say something deep about LIFE. As a consequence people who don't think The Supranos is the best show of all time truly ARE idiots- of course they wouldn't appreciate, for instance, the humour in...
lol gay.
>The Sopranos is the greatest show of all time. Period.
The Wire exists, so, no