Amour Fou (3.12)

Gloria Trillo gives Carmela a ride home, enraging Tony.  Jackie Jr shoots up a poker game, enraging Christopher.  Patsy Parisi makes sure that Gloria will not cause any more problems, while it’s up to Ralph Cifaretto to make sure that Jackie will not cause any more problems.

EPISODE 38 - ORIGINALLY AIRED MAY 13, 2001
WRITTEN BY DAVID CHASE & FRANK RENZULLI
DIRECTED BY TIM VAN PATTEN

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I think “Amour Fou,” is one of the great episodes of the series.  Chase has said on more than one occasion that this episode is one of his favorites, mainly because of the way that it pulls disparate stories together into a unified whole.  What I find most appealing about “Amour Fou” is that it is a powerful, well-muscled episode but still manages to be, in typical Sopranos’ fashion, quite limber – it is flexible enough to allow different interpretations, particularly regarding its use of painting, music and sculpture.

On the  DVD commentary track for this episode, David Chase says that “The Sopranos is a slow build…we spend a lot of time setting things up which pay off later.”  This is the episode in which the storylines of Gloria and Jackie Jr reach their payoff.  I previously noted that Chase conscientiously paralleled these two characters in “The Telltale Moozadell” (3.09) by staging their back-to-back scenes in a similar manner:

gun juxtaposition

The two seem to be following an impulse to fuck themselves, and Ralph and Tony are not doing anything to steer them away from self-destruction.  I’ll break the episode down by looking primarily at these two doomed characters, starting with Gloria first.

Gloria
Tony’s feelings for Gloria changed after she flung a side of beef at the back of his head.  In episode 3.09, Tony was more than happy to help exhibitionist Gloria “fuck herself” at the Bronx Zoo, but when she stalks him now in the parking garage, his attitude has shifted – “Go fuck yourself,” he tells her.

fuck yourself

Tony discusses Gloria with Dr. Melfi.  The therapist cannot quite reveal everything she knows about the troubled woman and Tony remains intrigued by her.  He compares her to a portrait by “Goyim,” obviously meaning Goya.  I think it is a revealing malapropism.  Goya was interested in dark subjects, and even created a series of murals referred to as “the Black paintings” due to their bleak, harrowing style and subject matter.  The most famous of the Black paintings is Saturn Devouring His Son which depicts the Roman god committing filicide.  Livia Soprano had filicidal impulses, and Gloria is the current manifestation of Livia in Tony’s life.

Saturn devouring his son - Sopranos Autopsy

The Goya reference also made me think of one of his etchings entitled Nada (Nothing).  A decomposing corpse climbs out of its grave to scribble the word nada onto a piece of paper, perhaps communicating that there is nothing after death:

Goya, Nada

Livia lived by a philosophy of nada – “It’s all a big nothing,” she told her grandson.  Gloria Trillo seems to live by a similar philosophy.  Within minutes of first meeting Tony, she told him that she murdered seven relationships.  While we and Tony chuckled at her self-effacing joke, it belied a deep neurosis.  She destroys romantic relationships, she is unable to forge lasting or meaningful connections.  Melfi suggests that Gloria is drawn to Tony as a way to destroy herself, like a moth to a flame.

But Tony finds it hard to resist the dark beauty.  He meets the deeply troubled, smoldering sexpot in a motel room.  As Gloria complains about her relatives and her niece’s school, it is clear that there is something amiss in her coping mechanism.  But as she sings and gyrates to Stevie Van Zandt’s “Affection” in her lingerie, it is easy to understand why Tony keeps returning to her.

Tony is willing to endure much of Gloria’s emotional volatility but he absolutely cannot tolerate her violation of his domestic space.  Gloria drives Carmela home from the Mercedes-Benz dealership during which she pays Carm some left-handed compliments.  Although Gloria subtly mocks Carmela, it is very likely that she envies Carm’s life and possessions.  Tony quietly seethes when he learns that Gloria made such close contact with his wife.  A bristling Tony comes to Gloria’s workplace to make it clear to her that it is over between them.  She has managed to murder another relationship, sever another connection.  Mercedes-Benz tristar emblems surround Gloria in her desperation, ironically underscoring that happiness isn’t found in material wealth or luxury goods, but in the connections we make with others.  (Or as Chris Stevens from Northern Exposure once put it, “Happiness doesn’t come from having things but from being a part of things.”)

mercedes gloria

Gloria’s cup of crazy overfloweth.  A hysterical phone call to Tony pulls him back to her house.  In a tender moment, Tony puts his hand to her cheek, recalling the imagery of the Giuseppe di Ribera painting we saw in the episode’s first scene:

cheeks

But this tender moment is short-lived.  Tony finally recognizes just how similar to Livia his goomar really is.  “I’ve known you my whole fuckin’ life,” he realizes.  Janice Soprano has functioned as a Livia-substitute within the series after the passing of Nancy Marchand, but Janice has been largely absent for the past few episodes.  Gloria, with her neediness, aggression and nihilism, has taken Livia’s mantle in this latter half of Season 3.  Gloria threatens to reveal the affair to his family which drives Tony into a fury.  His response is difficult to watch.  Even after half-a-dozen viewings,  I still grimace as Tony slams Gloria into the floor.  (It is a violent scene, one that recalls Ralph’s brutal beating of Tracee in “University.”)  Tony closes his hands around Gloria’s throat to choke the life out of her—as she wants him to—but his realization of how disturbed she is prevents him from doing it.

Gloria hoped Tony would provide a dramatic end to her life, but he is not willing to oblige.  Tony sends Patsy to finish her off, so to speak.  Patsy assures her that death by his hand “won’t be cinematic.”  Perhaps Tony sends Patsy—as opposed to one of his other goons—because he has an “uncinematic” look about him.  Patsy could pass for an accountant or an optometrist, he doesn’t have Paulie’s dramatic “wings” or Silvio’s pompadour or Christopher’s dark intensity.  (We might remember that David Chase used Patsy to provide an undramatic, uncinematic climax (of sorts) in episode 3.01 when he showed up at the Soprano home drunk and ready to kill Tony, but ended up just pissing in the swimming pool instead.)  Patsy’s promise to Gloria that “it won’t be cinematic” is one more expression of Chase’s commitment to portraying the fuckin’ regularness of life.  There are no fireworks here to close the Gloria-storyline.  The “hits-and-tits” fans who tuned in every week looking for violence and nudity would be just as disappointed as Gloria to find not frenzied drama at the end of this line, but only the face of Patsy Parisi.

patsy 2x

After calmly threatening Gloria’s life, Patsy picks up some groceries and returns home to his wife as Bob Dylan’s “Return to Me” plays. 

Jackie Jr
While Gloria’s story ended with a whimper, Jackie is set up to go out with a bang.  He has the opportunity, like Meadow, to get a good education and make a legitimate living for himself.  But he has instead been long trying to worm his way into mob-life, hoping to bank on his last name.  He and buddy Dino go to Ralph’s office (where Dean Martin’s “Return to Me” is playing) to kick up to him and seek his protection.  When Christopher approaches the boys with a job, they decline, hoping that keeping their loyalty to Ralph will curry his favor.  But Ralph does Jackie no favors in this episode.  Ralph’s story about Jackie Sr’s takedown of a card game many years ago plants a dangerous idea in Jackie’s head.  And Ralph’s treatment of him as a child (“Make sure you rinse those plates before you put them in the dishwasher”) only spurs Jackie to make a big move that will prove his manhood.

Like Matt Bevilaqua and Sean Gismonte in 2.08, Jackie and Dino decide that the only way they can be taken seriously by the New Jersey Mob is through a dramatic, over-the-top act:

matt sean jackie dino

In “Full Leather Jacket,” Matt and Sean decided to hit Chris as a way to make themselves better known to the Jersey mobsters.  They succeeded in becoming well-known, but they also succeeded in becoming dead.  Jackie and Dino don’t have as murderous a plan as their precursors Matt and Sean – they decide to rob a card game instead.  But motor-mouth dealer Sunshine annoys one of boys with his incessant commentary, and ends up taking a couple of bullets to the chest.  This is arguably the most intense shootout of the entire seriesFurio gets shot in the thigh.  Like his precursor Sean, Dino is killed immediately.  And like Matt before him, Jackie manages to escape, but only for the time being.

Christopher knows that Jackie is the man who got away, and insists that Tony give him permission to get vengeance.  But Tony refuses, perhaps because he is considering giving Jackie a pass, or perhaps because of his promise to Jackie Sr. that he would protect his son, or perhaps because he wants to farm the hit out to someone outside the family.  The reason for Tony’s refusal is as ambiguous as the painting in front of which he and Chris argue:

abstract

Franco Ricci, in his essay Aesthetics and Ammunition, writes that the splatters of paint on the canvas look may like a storm at first glance, but…

A brewing storm is an apt but facile analogy.  Closer examination of the cloud formations, however, reveals two sneering tigers, nose to nose, eye to eye, chin to chin, revolving around a turbulent celestial vortex.  One of the tigers is larger…he looms over the smaller tiger.  As in the scene in which the frothing behemoth has just collared his younger nephew, here, too, further explosive action is anticipated.

I’m not convinced that the two masses of color represent tigers.  (It’s more believable if I squint real hard.)  But that’s the beauty of it – it’s open to interpretation.  While it is difficult to know exactly why Tony prevents Chris from hitting Jackie, his intentions becomes clearer when he meets with Ralph later.  In a textbook example of mobster management, Tony lets Ralph know that he needs to pop Jackie without ever saying out loud that he needs to pop Jackie.  By obligating his captain Ralph to carry out this abhorrent job, Tony is able to get a little sweetness out of his distasteful (but necessary) decision to make Ralph a captain.  By never telling Ralph outright that the boy must be whacked, Tony also—technically—does not break his promise to Jackie Sr. to protect Jackie Jr.

Dylan’s “Return to Me” becomes a lament as it scores Rosalie’s wait for her doomed son.  But it is Ralph that returns to her, not Jackie.  Ralphie knows what the future holds for her son, and feeds Rosalie some bullshit story about Jackie’s dalliance in drug-dealing in order to prime her for his upcoming death.

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The third major storyline of the episode centers around Carmela – or more specifically, Carmela’s Harry Winston ring.  The Sopranos can sometimes be guilty of too enthusiastically hammering home some idea or image, and Carm’s ring fits the criticism here.  It is displayed prominently throughout the episode:

rings

In fact, the hour begins on a close-up of the ring as Carmela walks into the Rodin exhibit at the Brooklyn museum.  Carmela and Meadow, standing amidst the sculptures, almost look like museum pieces themselves:

rodin

Rodin’s sculptures, according to Helen Gardner’s Art Through the Ages, express “the existential situation of modern man, his inability to communicate, his despair.”  Rodin’s figures do not look like the heroic characters of ancient Greek and Roman sculpture; they seem to have been shaped by the tensions of real life which push and pull at them mercilessly.  The greatest tension pulling at Carmela is represented by her ring.  She despairs that her luxurious lifestyle is funded by crime and violence, and that her criminal husband lavishes her with expensive gifts partly out of guilt for his philandering.  As the pair walk into the next exhibit, Meadow denigrates one of the portraits hanging on the wall: “She’s just the wife of a rich merchant.”  Carmela takes the characterization as a personal insult and lashes back at Mead’s sagging grades.  In a sensitive state, Carmela starts weeping in front of Giuseppe di Ribera’s The Mystical Marriage of St. Catherine.

classical painting

Carmela feels that she  too has married a baby.  But Tony is not the baby Jesus depicted in the painting, nor is Carmela a saint like Catherine.  Carmela is an accomplice to crime, as Dr. Krakauer told her, and she knows it.  She goes to her new priest, Fr. Obosi, for advice.  Obosi couldn’t be more different from Krakauer.  He tells her that Carmela must not leave Tony but must instead “learn to live on the good part.  Forgo those things that lie without it.”  David Chase says that they got this from a priest who once did say something very similar, but added that other religious leaders have found this advice to be morally questionable.  I don’t think Chase is criticizing Catholicism here as much as he is giving Carmela a way to rationalize staying in her marriage.  Chase, like Father Obosi’s God, “understands that we live in the middle of tensions.”  At the end of the episode, as Dylan’s “Return to Me” plays, we understand that Carmela and Tony have returned to each other: Carmela by taking off her expensive sapphire and rededicating herself to her marriage; and Tony by ending his affair with Gloria.  If Gloria represented amour fou, a crazy, passionate love, then Carmela represents a solid, stable domestic love.  Although Carmela removes her expensive ring here, she will decreasingly attempt to “live off the good part” as the series continues.  She will, like Hillary Clinton (who the mob wives discuss), take all the shit in her life and spin it into gold.  Literally spin it into gold – the future holds more jewelry and clothes and houses and a Porsche for Carmela.

OPEN TO INTERPRETATION
On the DVD Scene Selection menu for this episode, the first chapter is titled “Open to Interpretation.”  It is in this first chapter that Carm and Meadow visit the Brooklyn Museum.  I’ve already given my own interpretations of how some of the sculpture and paintings are used in this episode.  Also open to interpretation is the way that some of the music is used.  “Amour Fou” makes use of repeated music more than any other episode.  The Italian aria that opens the hour as Carmela walks through the museum is “Spoza so dispprezzata” (“I am the scorned wife”).  Its lyrics about a woman who is cheated on but remains faithful to her husband can clearly refer to Carmela:

I am a scorned wife,
faithful, yet insulted.
Heavens, what did I do?
Yet he is my love,
My husband, my beloved,
My hope.

But the aria is also interesting for the way it bridges this episode with the previous one – the musical piece played during a short scene in Tony’s car and then again over the final credits in “Pine Barrens.”  It’s almost as though the music is being used to carry the ambiguousness that remained at the end of “Pine Barrens” into “Amour Fou.”  Another song that is repeated here is Van Zandt’s “Affection” which Gloria dances to in the hotel room and is then heard again over the final credits.  Chase may have recycled the song just because it’s a kick-ass track, but he may also have replayed it as a sort of final farewell to Gloria.  (Especially because its chorus, “Give me some affection / Why’s it so hard?” sounds like something Gloria would say.)  The third song to repeat is “Return to Me.”  Bob Dylan approached David Chase wanting to do a Dean Martin song specifically for The Sopranos, and his cover of “Return to Me” was the result.  Dean Martin’s version plays in Ralph’s office while Bob Dylan’s version closes the episode.  Kevin Fellezs, in his essay Wiseguy Opera: Music for Sopranos, makes several points about this:

  1. The older Dean Martin version was recorded during the golden days of the mob and ironically “reinforces the way in which the old rules, and the context in which they were formed, have changed.”
  2. “Dylan and Dean represent an antagonistic generational difference nearly forty years ago” and our understanding of this reflects our understanding of the popular culture in which The Sopranos exists.
  3. The newer Dylan version is heard loud and clear and its lyrics seems to mirror the onscreen action at times.  In contrast, the older Martin version is barely heard, “but is almost subliminally inserted into the background of the soundtrack, reflecting the failure of ‘the old way of doing things’ in the present moment.”

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ADDITIONAL NOTES:

  • The sacred and the propane, er, profane:  Carmela weeps before di Ribera’s 1648 religious painting, but she also cries watching a frickin’ dog food commercial.
  • Carmela must be moved by the dog food commercial because dogs are known for their loyalty and protectiveness, and these are characteristics that Tony is not demonstrating to her right now.  (Tony does have these characteristics, however, and perhaps this is why Dr. Melfi interpreted the dog in her dream after she was raped to be a representation of Tony.)
  • David Chase says the episode title may have been influenced by Jacques Rivette’s 1969 film, L’amour fou, about the dissolution of a marriage.  But he undercuts the highbrow episode title by allowing Tony to mispronounce the French phrase as “mo-fo.”
  • As Dr. Fried removes the bullet from Furio’s leg, Tony jokes, “Doc, see if you can remove this ladies’ underwear.”  Furio’s blue nuthuggers are probably a byproduct of his European heritage.  Most of the New Jersey-born tough guys probably prefer boxers.  (In reality, actor Federico Castelluccio moved to NJ from Italy when he was eight years old.  It is unknown what type of underwear he prefers when not playing “Furio Giunta.”)
  • I think Annabella Sciorra’s portrayal of “Gloria Trillo” is one of the highlights of her career.  As much as a whackadoo Gloria was, I regretted not being able to see Annabella play her after this episode.  (Though she does appear again in a quick dream-sequence in Season 4.)
  • This penultimate episode of Season 3 originally aired about four months before the terror attacks of 9/11.  In one shot taken from near Newark Bay, we can see the WTC towers standing on the eastern horizon.

twin towers

 

29 responses to “Amour Fou (3.12)

  1. Furio’s underwear is a callback to when he was making fun of Sean and Matt’s underwear after demanding 1000 dollars

    Liked by 1 person

  2. I don’t know if this was intentional on the part of David Chase, but both of Camille’s “confessors,” Dr. Krakauer and Father Obosi were very hard to understand and little was done in sound editing to make them understandable. Both had heavy accents, and Camilla, both times, at first has difficulty hearing their message. By making the viewer strain to hear both men, we’re put in the same position as Camilla.

    This is a very interesting episode and almost seems to be a link between the first half of the series, which is lighter than the second half. It’s almost like the escape of the uncontrollable evil n Pine Barrens (the unfound, unexplained escape of the Russian) has finally been released in Soprano’s world.

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    • I agree with both of your observations. Perhaps it was intentional: the heavy accents might emphasize that Krakauer and Obosi are both “outsiders,” and as such they cannot truly understand Carmela’s turmoil inside the mob nor give her any plausible advice.

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  3. Great thoughts as always. I’m with Chase — this is easily one of my favorite episodes. It just has a great momentum to it, an exciting pace yet still room for the typical languorous and ambiguous Sopranos digressions. I particularly love how it ends with Dylan’s soft, sweet “Return to Me” cover being blasted into oblivion as the credits roll by the loud rock of “Affection.”

    The next episode is maybe even better in some ways. It certainly is, to me, a fascinating bridge between the lighter first 3 seasons and the darker last 3 seasons. Although Season 4 is when things really got darker and slower-paced, even in S3 we have this undercurrent of malaise and sadness starting to creep in in these last several episodes. Interested to hear your take.

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    • Thanks David. I think you might be surprised by my approach to the next episode – I’m focusing on opposing worldviews: liberal vs. conservative. (I’ll be posting it in a couple of days.) I definitely agree that the series gets gloomier from S4 onwards, and my guess is that the events of 9/11 darkened Chase’s already-dark perspective. There’s a growing sense that there will be no light at the end of this tunnel. One of Carmela’s lines in the Season 4 opener sets the tone:”Everything comes to an end.”

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  4. Mitchell Chialtas

    Good job. One thing I noticed was a reference to Season 2 Episode 1. Gigi Cestone is riding shotgun, and Philly “Spoons” Parisi is in the driver’s seat. Gigi then turns his gun and shoots Philly. In this, Philly’s twin brother is similarly in the driver’s seat, except he is the one with the gun, pointing it at Gloria, whose riding shotgun. I’m not sure the symbolic significance of this, but it definitely means something. Hey Ron, if you could share your thoughts on this I’d appreciate it. Thanks.

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    • Thanks Mitchell. That’s an interesting parallel you’ve found between Philly and Patsy and perhaps it “definitely means something” as you say, but I’m not sure what that might be. Perhaps it simply underscores how different the fates of the two brothers are: Philly is killed for gossiping about Tony’s mother whereas Patsy has become one of Tony’s trusted henchmen. I think one of the great things about The Sopranos is how it leads us to notice these types of parallels and then supply our own interpretations of what they might mean.

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  5. those “two masses of color” are actually tigers if you look closely. What they represent may be up to interpretation, but they are tigers.

    Liked by 1 person

  6. Great review. I really enjoy reading you as I am re-watching the series. One thing that I noticed in this episode is that when Gloria insists to give a ride to Carmella, the ladies are dressed in black and red respectively (moth and flame?)

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  7. What Victor said! Although it seemed to me that when Tony was talking to Ralph about Jackie, he a) didn’t want the responsibility of making the decision b) was hoping Ralph would give the kid a pass and, if Ralph didn’t, wouldn’t need to feel guilty about it since it wasn’t his decision.

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  8. Tony’s Amour Fou malapropism is easily my favorite of the series – given that he is in essence “FO-ing” his “MO” in his relationship with Gloria

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  9. Gloria giving Carmela the ride home was intense. I remember wondering when this episode premiered if Gloria was going to just steer that thing off the road and into a tree at 70 mph, taking Tony’s wife with her. There was a rage in her. She was just getting as close to the point of no return as possible. Total meltdown. I don’t know if there’s a show that has explored mental illness as well at The Sopranos.

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  10. Ron, I think you are brilliant but I must disagree with one thing. I think Tony wants to give Jackie Jr. a pass, but gives Ralph the option of letting him live. He seems to encourage Ralphie to give the pass but then says “if the decision goes the other way, the one thing you cannot do, cannot do, is blame yourself. You took this kid under your wing, you schooled him as best you could, didnt ya” (the last two words said almost in a sarcastic tone. Then he shows Ralph the piece that he gave to Jackie, implying that it was Ralphie who essentially set Jackie up for this scenario.

    In the following episode he expresses surprise and says “you were gonna give him a pass, but he should know” I believe that Tony wanted to spare Jackie, but knew that he would not have been able to give the order outright to spare him. It would have had to come from Ralph.

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    • Yeah, I would mostly agree with your reading of the situation. But I think it’s often impossible to know with certainty what it is that motivates a character in SopranoWorld. It’s possible that Tony is of two minds concerning Jackie: part of T may want the kid to live (because he is so young and because he is Giacomo’s son) and part of T may want the kid dead (because Jackie has committed various transgressions against Tony, Chris and Meadow over the last few episodes – plus, putting the burden on Ralphie is a great way of getting back at Ralph after all his bullshit…)

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      • Hey – I’m coming in awefully late but just saw the episode and enjoyed this echange between Tony and Ralph immensely – great job by Gandolfini. I interpretted as Tony really enjoying it because he knew he had Ralph over a barrel – he either has to kill his girlfriend’s son or Tony gets to destroy Ralph with the other members of the family when Ralph gives him the pass.

        Remember how he told Chris to let it go – to let him deal with it. Because Tony had this plan to get Ralph one way or the other. I think Tony urged the pass so that he could use it as a club to get rid of Ralph – just think what Chris or Furio would do after Tony tells them Ralph orders Jackie not to be touched. I think Ralph sensed that and that is why he OKed the hit on Jackie.

        Liked by 1 person

  11. I definitely agree with THAT!

    Thank you so much for all the amazing work you are doing on this site, I stumbled across it one day and now am re-watching all the Sopranos episodes with a new light. Keep up the awesomeness!!!

    Liked by 1 person

  12. The Rodin sculptures are the Burghers of Calais and while it’s a group of six figures standing in unison; here they are separated as individual figures. According to the back story of the statues they sacrificed themselves to save their city. Rodin depicted them as they leave the city and face their doom. Each character embodies despair and hopelessness some depicted with ropes around their necks…
    They may be used to represent the sacrifice Ralph makes of Jackie Jr. or the despair Gloria faces…

    Prior to reading sopranos autopsy I never noticed the art work in the show – thanks for the insightful blog , hope you keep it going

    Liked by 2 people

  13. here David from Rome, near where “all began”. Nice job Ron, thanks.
    I’d just like to say something about the scene when Jackie and his pal first decide to go on with their plan and then get distracted by Sharon Stone’s famous leg move. It reminded me of that scene in Leone’s Once Upon a Time in America when little Patsy buys a “Charlotte russa” (at least so called in the Italian version) to buy a sexual service from Peggy. He’s so thrilled and nervous for his big adult move but can’t resist the taste and beauty of the pastry and ends eating it. Because, you know, he’s just a kid. As Jackie and his pal are and should be.

    Liked by 1 person

  14. Lol the author in this article sounds like such a beta 😂 I got super wet when Tony threw Gloria on the floor and choked her since it reminded me of my bf

    Liked by 1 person

  15. I think Dr. Melfi would have a lot to say about the above reply…

    Liked by 1 person

  16. Another fine selection playing on the Vesuvio Juke as our Favorite Mob Wives have Lunch. “No hay problema” (No problem) by Pink Martini plays through out the scene as Carmella reports her mostly clean bill of health. The Hilary Clinton discussion is something I didn’t pick up on originally. We know in future seasons Angie running Big Pussy’s Body Shop and of course Carmella’s real estate license.

    And in a case of maybe digging too deep….The painting behind Christopher and Tony didn’t look like Tigers to me at 1st glance. Instead they made me think of a portion of a painting by Michael Angelo. The Creation of Adam. Just the portion of the hands reaching out to touch. Tony would be God and Christopher would be Adam.

    Is it me but other than her Lingerie Gloria is always wearing dark or black clothing?

    Liked by 1 person

  17. Mr. Wakaflaka

    Am I going crazy, or did all of you not notice at the end Patsy’s tires were slashed while he obliviously hums his way driving back? (Hello Gloria)

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  18. The statues in the museum are very much like the miniatures in Malfi’s office on the window sills.

    Liked by 1 person

  19. I just want to say that this is incredibly well written and you deserve some type of medal.

    Liked by 1 person

  20. Hey this is the first comment I’m leaving here, really enjoying the episode breakdowns on this site. A friend of mine pointed out and something I always see through the show, is that tony is evolving into his mother and more and more embracing her world view. This episode is especially poignant in that regard as I believe tony wants Jackie jr. gone. Has anyone noticed the similarities between Tony pressuring Ralph to kill Jackie jr.(his surrogate son) and Livia pressuring Junior to kill Tony(her actual son)?

    Liked by 1 person

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