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evobatman posted:How long was it from the pilot was shot until a full season was ordered? Wasn't it like 4-5 years? The pilot was ordered in mid-1997 and the first season went to air in January '99, so it wasn't all that long, especially by Sopranos output standards.
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Jan 18, 2019 20:28
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Mahoning posted:Hugh at Livia's funeral. Some of the best lines in the whole show. I love that and I love Hesh being called upon to share a fond memory of Livia and offering 'I guess what struck me most was... she didn't mince words'. Then catching Janice's expectant stare and helpfully expounding '...between brain and mouth, there was no interlocutor'.
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Feb 21, 2019 20:52
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Jerusalem posted:I wrote and rewrote the above several times trying to keep it down to a somewhat reasonable size, so hopefully in amongst the rewrites I didn't lose a chunk of stuff that renders the rest of it a mess. I'm trying not to just do a straight recap but also avoid veering off into lengthy sidetracked discussions of what I think the ducks represent or anything. I actually really like the pilot for what it is, a more broadly comedic showcase of what the series could offer before David Chase really knew what sort of tone and content he'd be able to sell. In that spirit I can sort of forgive stuff like Carmela catching Meadow sneaking out, which we regret to inform you was cemented as canon by the reappearance of the Lawn Defence Kalashnikov in season 5. I probably have a harder time with how big they went for the Mahaffey beatdown scene; I know vicariously persecuting the American upper-middle class is a cornerstone of the series, but I know Chase at least regrets the doo-wop music. It's easily my favourite show, but as far as some of the writing in Sopranos embarrasses me it's side effects of how unequivocally caricatured the characters tend to become the further they are from the middle-aged/Italian-American/hetero-male axis that the series is filtered through. Sticking to what's corny rather than Actually Problematic, I am going to go left-field and say I really didn't care for the bit at Johnny Sack's daughter's wedding where they discuss the Rusty hit at the table and we're treated to some old people ear-trumpet schtick. I feel like a fair chunk of the millennial character dialogue would also qualify were I prepared to remember it. The narration is definitely inelegant but fine for one episode as a device for concisely introducing the cast and setup, and I definitely like the duck dream more than you do, which I think is sold on the little details and Tony's aversion to get to the point of it. Plus it's laying out the central stakes of the show and I don't know how better to arrive at that inside of 60 minutes. I think Melfi is pushing him only because he's all but begging her to, but if you want to read it as Melfi needing to prove that there's meaningful potential in attempting to treat Tony, I think that works fine too.
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Mar 10, 2019 14:51
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I know as fans of the show we've concentrated on its successes, but I'd like to offer a short tribute to the user-researched content of IMDb's Goofs page. Due warning: your appreciation of the series may be forever tainted by these revelations.IMDb Goofs: Character Errors posted:- None of the characters based or from New York speak with a New York accent.
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Mar 17, 2019 17:21
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Tony tells Johnny Sack that the guy he hurt lives with his mother, so if he was made it wasn't doing much for him. I think it's totally fitting that the 'no hitting made guys' thing is broken as flagrantly as every other piece of their code. In general it's obviously judged by morale, like, as Jerusalem just mentioned Mikey had been overstepping constantly in the power vacuum of Jackie's illness and the other captains were quite happy to see him take a kicking, whereas in Ralphie's case their expectation was implicitly that if you stuff that much money in Tony's pocket you're entitled to occasionally beat your pregnant girlfriend to death in a parking lot. It really is the grimmest plotline in a series full of them.
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Mar 22, 2019 00:15
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Dawgstar posted:I just realized it might be a callback to Tony and Davey Scatino. Sure, Tony "tries" to keep Davey out of the Executive Game, but scorpion/frog. I think it is a deliberate parallel, but it's funnier with Chris because he's too dumb and self-absorbed to appreciate any hint of tension between JT being his friend and the debtor that he mercilessly abuses and exploits. Although then again we see Johnny Boy manage that contradiction in the episode just covered. It was a different time!
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Mar 28, 2019 03:18
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Borrowed Ladder posted:One of the most memorable lines of the entire series to me is when Grasso says 'YOUR rear end'! It's so weird. Tony has just, in Italian, issued him a specific threat regarding the composition of his rear end. I think Grasso responding in English was to help the audience infer what Tony said but maybe it didn't work.
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Mar 30, 2019 12:49
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JethroMcB posted:"Character spends an entire episode having extensive interactions with imaginary figure" is maybe my least favorite TV drama trope - doubly so when the hallucination takes place in a public setting or pulls in other, real characters. It's a testament to how good the rest of this episode is that I can give it a pass here. I haven't explicitly rewatched the episode with this in mind but I'm pretty sure it's implied that Tony imagines getting up and going outside and meeting Isabella when he's actually just lounging in bed dosed up to the eyeballs.
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Apr 8, 2019 23:00
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Jerusalem posted:Suddenly a loud bang kicks everybody into action, nobody moreso than Furio who immediately hurls himself onto Don Vittorio's body, knocking over his wheelchair but also shielding him from any potential harm. It almost instantly becomes apparent that this was simply firecrackers going off, but the boy who did it is hauled over and slapped around, his wailing mother punched in the face when she tries to intervene. Local police peel on out of there, wanting nothing to do with this, while Don Vittorio and Annalisa quickly get out of there too for the Don's safety. The restrained kid who lit the firecrackers cries out that he wants to be part of the crew, and an angry but also calm Furio snaps that this isn't the way to do it and slaps him around. Two of the crew see Tony and Paulie's shock at how brutal the treatment is and laugh, saying not to worry, this is "Naples University." But while Tony is shocked, he's also impressed. Not by the brutality, but the complete lack of hesitation on Furio's part in putting his life on the line to protect a senile old man simply because he is The Boss. This is a very good writeup of what is also one of my favourite episodes but I have to say I don't share that reading of the last part; it's absolutely the brutality that impresses Tony, or I suppose as a compromise, brutality in the line of duty rather than the straightforward violent loss of self-control exhibited by underlings like Chris and Paulie (or himself, usually). But most of all that Furio doesn't hesitate to raise his hands to a defenceless kid, which leads directly into how he deploys him next episode. Tony's far more preoccupied with effective extortion and punishment than his own physical safety, particularly this season, but pretty much also up until the final episodes. UNRULY_HOUSEGUEST fucked around with this message at 16:18 on Apr 21, 2019 |
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Apr 21, 2019 16:12
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Also if anyone's intrigued by the Neapolitan mob (the Camorra) as featured in this episode there's a very good Italian film, Gomorrah, based on a nonfiction book considered damning enough that the author now lives under 24 hour police protection. There's also a followup TV series, albeit more fictionalised, covering one powerful Camorra clan on the verge of catastrophe. I think it compares more to The Wire than The Sopranos, albeit an even bleaker version of The Wire where the police simply aren't coming along to intervene. The Sopranos seems very much a product of a country where the Cosa Nostra are fading into outlaw mythology (even if they refuse to die), and Gomorra of a country where their regional counterparts have rotted the country to the core. As such there's not a lot of humour or humanisation to be found in Gomorra, bar the interior decorating, but I find the cold anger and authenticity of it very compelling.
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Apr 21, 2019 16:50
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Jerusalem posted:Season 2, Episode 5 - Big Girls Don't Cry Haha, Furio's talking about Sophia Loren in Two Women, not, uh... two women. I do appreciate that the draw of cable TV was still pretty much a toss-up between classic cinema and soft porn at this point, present show excepted. I also thought it was a bit of a shame to undercut the ending of this episode so soon with Christopher's imminent fuckaround with Jon Favreau, although that plotline is pretty funny and has its own payoff. UNRULY_HOUSEGUEST fucked around with this message at 13:12 on Apr 23, 2019 |
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Apr 23, 2019 13:08
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crispix posted:And my favourite: To be fair the last one is a subtle sting on Davey's wife talking about how the business is safe under her name while Artie's eagerly serving her the fruits of Tony pillaging it, so I'm into it. (edit: beaten) I think it helped that I'm from the UK so most of the brands were too unfamiliar to register as product placement, which is an alien concept here to begin with. That said the weirdest I've taken in is the scene that is Ray Curto and his FBI handler in a car outside the hugely prominent Office Depot, then they talk about getting batteries for his wire from the Office Depot, the number one spot to shop if you're looking to betray all your friends to the federal government. Jerusalem posted:Nothing quite beats him telling Tony in a later episode he's gonna go work on a ranch Almost ashamed to admit this, but the first time I watched that I was so naively grateful for Davey to be getting the gently caress out of there that when Meadow drops a line later on about him winding up in a Nevada mental institution, my reaction was "What! But he went out there to be a cowboy... oh, right, this makes total sense". UNRULY_HOUSEGUEST fucked around with this message at 17:05 on Apr 25, 2019 |
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Apr 25, 2019 16:59
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ruddiger posted:It'll be hosed up if the prequel reveals the cop was given the go ahead to kill Dickie from Tony. Tony's like 16 years old in the prequel, so, definitely agree.
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Jul 10, 2019 00:30
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Jerusalem posted:Beautiful shots like this make me wonder what Sopranos would be like if it had modern tv cinematography to play with. It feels a little unfair since Sopranos was basically one of the shows that lead the revolution in quality prestige drama and the intimate grime and squalor really works to showcase how scummy these guys are in spite of their wealth and conspicuous consumption, but shots like this one are sadly largely the exception rather than the rule. Especially in these later seasons where the lighting was often a lot darker than it was in earlier seasons. Like what are you comparing it to. I think the show looks very good and I really can't think of anything better on TV. There's never a flat looking or ill framed shot. The darkness I think is both a tonal thing and just having the money for complicated lighting setups.
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Aug 26, 2019 19:40
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Jerusalem posted:I've always found this scene disturbing, which perhaps is a little hypocritical of me given the level of violence we see between men on the show too. It isn't so much the violence towards a woman itself that is problematic for me, but the way they choose to introduce and define the female character as a tough-as-nails and highly-respected badass who almost immediately is reduced to a quivering mess offering sexual favors to stay alive. It feels almost unnecessarily mean-spirited, and while there is plenty of scope for a character who talks tough but falls apart when put under pressure the fact that this happens to one of the only women mobsters feels misguided. Especially given she was only introduced in the previous episode so her falling apart lacks any real impact and makes her look like a bit of a joke. Does anybody else feel this way or am I just overreacting? Definitely with you on this, especially when I think her only other scene is getting murdered an episode or two down the road, which again plays out with a weird sexually degrading tone, as if she's being exposed as and punished for being a woman of loose morals or overstepping her bounds or those two things intertwined. It's definitely not just the depiction of misogyny I don't care for, because as hard as the show's season 3 focus on Mafia misogyny was to watch, I thought it was pretty successful in challenging how Tony and the guys view and value women. Here I have no idea what they were going for and it's one of my least favourite sequences of the whole series. I think there's a thin thread in the show that the flipside of Johnny Sack's devotion to his wife is that he loathes prostitutes and goomars and any disreputable type of woman, so perhaps it was supposed to be part of that, but also the Lorraine character is incredibly thinly and contemptibly drawn so the whole thing is just ugly for no apparent reason. I also didn't love this episode bringing in a new Barbara who looks and plays the part totally differently to season 2/3 Barbara, although that's an entirely minor point, I just liked the original actor and wish they'd done a little more with her. On the plus side the landscaping war and the episode's ending are both brilliant - I've alway thought Dominic Chianese is one of the more undervalued actors on the show, and it's all the more impressive when you see him out of character and he's such a dignified old gent. UNRULY_HOUSEGUEST fucked around with this message at 20:45 on Sep 23, 2019 |
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Sep 23, 2019 20:34
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Dawgstar posted:Yeah, that was Albert's actor. Got busted trying to sell ketamine to an undercover cop but his case got thrown out because the judge ruled the DA didn't have jurisdiction. I don't know how this is more obscure than the Ally Boy thing, but Tony Darrow, who was Larry Boy, was arrested by the FBI in 2009 because he engaged two honest to god Gambino goons to go after a guy who apparently owed Darrow $5000, and said goons did not leave the guy in the condition in which they found him. He pled guilty and got sentenced to 6 months irl house arrest.
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Oct 24, 2019 23:53
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I always thought that Artie represented the life not lived for Tony, and his ambivalence about how things could have turned out for him if he never went down the path of violent crime (mirrored in how Artie sees in Tony all the hypermasculine prowess he envies). That's why he's in the dead men's car and why he's the one to offer Tony a way out, which is obviously a concept revisited the next time we get a dream sequence this long.Solice Kirsk posted:He's his only actual friend. This is broadly true but I will say that season six makes clear that Silvio still sincerely regards Tony as a friend, whereas Tony has built up so much emotional remove and mistrust for his mob associates that Silvio has to get riddled with bullets for him to revisit that sense of brotherhood. When Tony finds out Silvio murdered Burt Gervasi rather than give him up to New York, he's basically bemused, like he doesn't see the angle.
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Nov 18, 2019 21:23
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Dawgstar posted:That would have been... interesting. Is there a good movie where Liotta projects menace? David Proval auditioned for Tony and is a lot smaller than Gandolfini but he could at least absolutely make himself the scariest dude in the room. Liotta's certainly menacing in Something Wild, which was his breakout role. I don't think he could have done everything Gandolfini could do with the role, but then again who could.
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Jan 30, 2020 21:19
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Pope Corky the IX posted:I always wondered about that "Yeah, when Anthony walked through the plate glass window" line as sort of ominous. Not that Tony actually put AJ through a window, but there was more to it than that. There's just something about the way he says it, that expression on his face that's usually when he's reciting a "truth" I always just took it as Tony's ongoing discomfort that he raised an oblivious moron. I thought the gay made man issue was a really interesting one to explore, albeit flawed in the delivery (mainly just Gannascoli is not a skilled enough actor to carry the plotline, nor could the writers take the idea that seriously, apparently). Not just as a challenge to Tony's purported new 'live and let live' attitude and his general series-long arc of mentally casting off every aspect of the old school mob code, but just generally it's sort of horrifically fascinating that having to guard against being perceived to be gay is a relatively new post-gay rights phenomenon, while here are these guys in this very pre-modern secret men-only club where you constantly hug and kiss and avow your love for one another, making it practically impossible to close that door once it's opened. To me Phil is someone who at least fears he might be gay and that there was some deeper reason he had formed a close bond with Vito, but because he's totally psychologically unequipped to deal with it you get the emergence from the closet and the crude mock-consumation with the pool cue (followed by having to order the TV channel changed in case oiled musclemen turn him queer). Tony's biggest foes in the mob world are always men who are hopelessly in the grip of their own insecurities.
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Feb 26, 2020 00:26
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Carlo's actually hanging around in the background in most episodes from season 4 on, but even as a huge fan of the show I'd really struggle to recall anything he says or does between his intro scene and getting uptight about Vito's outing in season 6. I remember reading an interview with Matt Weiner (head writer for later Sopranos seasons, who went on to create Mad Men) where he recalled having told people about their writing a big exit for Eugene Pontecorvo and being surprised that no-one knew who the gently caress that was after three years - in Mad Men he ended up making way more of an effort to give the ensemble characters their own subplots and memorable moments, rather than just tossing them the occasional odd job or Greek chorus type punchline, and it definitely worked.
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May 15, 2020 19:23
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codo27 posted:If only Jimmy could have hung around long enough for someone to come up with a good comedy role for him. I mean like, an actual comedy film. He's very good in the Iraq war satire In The Loop. BiggerBoat posted:Listening to the last episode of Talking Sopranos and Steven R. Schirripa said that without a doubt Jimmy was a rat. I never really thought it was that ambiguous given it's the only reason for Jimmy to get out of a heavy FBI charge immediately, then start idly cueing up useless conversations about recent crimes with Tony and the other top ranks, plus how he reacts to Silvio calling him out reads far more as his getting caught than getting slandered. It did still let Tony wishfully think that it was an either/or situation between Jimmy and Pussy ratting.
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Jul 9, 2020 19:55
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Ainsley McTree posted:It’s really a bummer they wrote furio off the show, I loved him. I know it's not good to buy into gossip and Federico Castelluccio seems a nice enough guy around fans, but I'm pretty sure there was some tension with Chase and the rest of the cast. His absence from the final seasons, when even dead characters usually cameo in dream sequences, flashbacks, waking hallucinations etc., is a little conspicuous, and he doesn't seem to ever be around the main cast in reunions either. I did read that a tipping point was him bringing a girlfriend to set and her then spilling plot details. I also think he probably was the fabled cast member who prompted them to stop having group dinners to send off actors who were written out. That said, as much as I liked Furio as a character, I think having him abruptly flee the country and where that leaves Tony and Carmela was a solid payoff, so it works for me as a creative choice whether or not there's anything to the rumours.
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Oct 12, 2020 19:42
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JethroMcB posted:Guest director made an extraordinarily bad call, but the dude directed Leaving Las Vegas so nobody had the guts to overrule him I think Figgis got more blame than he deserved for this as he (as I understand is standard for TV directors) didn't get final edit and by his account he hadn't even seen how the transition looked until it aired. He does talk on the commentary about wanting a way to see both Carmela and Wegler's faces in one shot so perhaps he'd suggested or began work on it but it's really up to the editors. At least it's only a few seconds. I was more bothered by the switch to handheld in 'Chasing It', which I thought was extremely loving weird to throw in there when you're a few episodes away from ending a 7 year run.
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Oct 12, 2020 20:17
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Pope Corky the IX posted:Some of the brilliance with Chris (and others) is that when they’re trying to be funny, they’re not. For instance, when Chris and Ade are on a double date with Little Paulie and Tina, Tina tells them her coat is made out of fox, prompting this exchange: Dead on, nothing in the show has made me laugh harder than Christopher calling Vito a "fuckin' parade float" and hurling a sandwich at him
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Oct 14, 2020 20:27
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https://www.youtube.com/watch?v=d9Em4ckh878 New trailer makes me dare to dream that the film might actually be good UNRULY_HOUSEGUEST fucked around with this message at 18:45 on Sep 8, 2021 |
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Sep 8, 2021 18:33
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Mike N Eich posted:I would say the Sopranos takes on the human condition in a much more sophisticated way than the Wire does, while the Wire takes on societal structures in a way that the Sopranos is mostly uninterested in exploring (other than perhaps the Mafia itself). I think the characters in the Sopranos feel real and human in a way that I'm not sure any other TV show I've ever watched has. Yeah I definitely wouldn't characterise the drama in Sopranos as 'goofy and schlocky', even if there's a huge dose of comedy to it. The Wire goes in for broad jokes or comedy-drama fairly often, like most of Bird's trial, Hamsterdam, the serial killer plot, but honestly with a worse success rate. I do respect it for its own distinct ambitions and lord knows it handles racial issues more deftly than Sopranos
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Oct 15, 2021 19:12
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Randallteal posted:
Girls and Atlanta did this albeit I think you only heard a tiny piece of the song over title cards. Still, even going out on different credits songs must have been novel enough when Sopranos first aired, if not totally unprecedented
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Dec 30, 2022 21:58
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Pope Corky the IX posted:Yeah, the guy playing Sil is a loving cartoon. And I couldn't possibly care less about Hollywood Dick and they didn't give much time for that to happen anyway. The prison brother was much more interesting. Yeah, I liked Ray Liotta's performance(s) but I don't think the film has earned a spot alongside the series, because it's not nearly as good, is trying to do several muddled things in too little time, and it just doesn't fit. Junior on the show is fighting one long losing battle for dignity as an ageing, unmarried mafioso who never really came into his own, but that's a distinct thing from the film where he's spending every waking second of his life being insulted to his face and never confronting anyone or directly retaliating, which TV Junior does all the time. It feels like they started off from how pathetic he was at the very end of the series and worked backwards. I'm going to try and hold off trying to do actual fanfiction about it or anything, but to me if they were going to do the film it would have been better focused on Livia, Junior, Johnny Boy and Tony, or ideally Junior temporarily sort of standing in as the man of the house when Johnny Boy was in prison, given he seemed to have a closer emotional relationship with Tony and Livia than Johnny did. Also Tony's childhood isn't depicted to be as remotely as hosed up as all the flashbacks and anecdotes and psychological baggage in the series imply. His happiest memory was his mother laughing at his father falling down the loving stairs! As for Young Sil I don't remember totally hating the performance but it's just a lot to ask for anyone to recreate Sil and Paulie without it reading like a caricature, especially in a tiny amount of screentime. I think what really got my hackles up was, if I'm remembering this right, they faded in the show theme song over Tony at Dickie's funeral, which was moronic. UNRULY_HOUSEGUEST fucked around with this message at 20:19 on Apr 26, 2023 |
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Apr 26, 2023 19:34
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Jesus if that literally happened I must have shut my eyes. I do remember them making Christopher a baby when Tony's a teenager apparently just to set up that bit where he gets handed to him and starts crying, when in the show their age gap is what, a decade tops?
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Apr 26, 2023 19:47
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ulvir posted:that part is really obvious, i just want to confirm that my impression of the confession was correct as well You can certainly frame his motivations in the context of their prior relationship, but in terms of the line he took I'm not sure how likely it is that Carmela would have heard any different from any other priest in the Church. We saw in season 3 what happened when she sought out marriage advice from another priest, even, and it was still just 'marriage is a sacrament, work things out with your husband no matter what sort of man he is'
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May 8, 2023 17:14
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ulvir posted:I think I just assumed a priest would handle it less viciously than this, “yes, you did wrong, here’s how to atone” in a slightly more compassionate way, maybe? I see that, but I have to admit I don't remember thinking his response was particularly harsh, except relative to how indulgent he usually is. I was more thinking, why is she going to him with this anyway, what the gently caress did she expect him to say? She's not in the confession booth because she doesn't feel the least bit guilty about it. At best she's trying to reconcile conceiving of herself as a Catholic while beaming about engaging in something bluntly un-Catholic, at worst she's rubbing it in Father Phil's face, probably a bit of both. To me if you peel that scene back the subtext is Carmela telling him that Wegler is the sort of sensitive, intellectual, romantic partner that he failed to be for her (maybe because he's gay??), and Phil is woundedly reminding her that the rules don't actually allow for that for either of them. (To be clear I think these characters are all terrible for reasons unrelated to the dubious moral codes of Catholicism and I do like and feel pity for them anyway)
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May 9, 2023 19:56
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Gaius Marius posted:Does anyone know if the series was good. The movie was great. I was sort of wary of the series because the film is so good at deglamorising the Camorra characters and their world and the series is set up more like a standard mob drama, but it does start off really well in terms of making very compelling drama out of totally detestable characters. Unfortunately every season is a little worse than the last until it descends into pure pulp. I'd recommend up to the end of season 3, which could have easily served as a final season anyway. I should note it's super bleak and there's very little humour outside of how gaudily the gangsters furnish their apartments inside of their shithole ghetto power bases.
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Jun 27, 2023 01:21
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ruddiger posted:Is Gomorrah season 3 the one that ends with Gennaro sitting all by himself in that underground bunker? No that's 4, 3 is Ciro taking the bullet for Genny and getting dumped off the yacht. I thought 4 had a ton of loving problems and the show had more or less run out of things to say even if that was a strong note to end on. Maybe it doesn't sound much of a recommendation to suggest people only watch part of a series, but there's so much fantastic stuff in it until then, if it had kept to that it would easily be one of my top shows of all time.
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Jun 27, 2023 20:37
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Dr Kool-AIDS posted:I don't really think they were fake. I think he got caught up in group action that felt good at the time, but it's not something he's really comfortable with or would do on his own. Maybe if he kept hanging around with the wrong people and getting jaded to violence it would become normal to him, but I think at that point in his life he still has a conscience. He's a character who's pretty easy to hate, but he's not even close to being one of the worst people on the show. He doesn't gleefully take part in that anyway, he follows the group around but he stands there looking shocked while they lay into the guy. I think that's getting mixed up with the earlier scene where they use acid on the feet of a debtor, which he is thrilled about. The contrast must be intentional but I think the point is the earlier scene he feels like a gangster and the later one he feels like a racist thug, and being a vaguely liberal suburbanite who mostly knows the Mafia from films, he hasn't really connected the dots between his father's world and gratuitously violent ethnic tribalism
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Nov 13, 2023 14:01
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PostNouveau posted:The show's pretty bad at picking music, and the one that always kills me the most is using this over the christening of Christopher's kid Easily one of the worst takes in the near five-year history of the thread
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Nov 15, 2023 00:19
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Matt Zerella posted:Nah you're not a rube at all. It's a tour de force of so many funny things everyone remembers about the show. Absolutely. I think people tend to remember episodes as 'the one where one particular thing happens' but the AJ plot is some of the best family material in the series and ropes in the other characters really well. The scene where AJ gets sent to Livia and she eagerly confirms to her grandson that life is an empty void and we all die alone is an absolute classic The Hollywood stuff in D-Girl (and the whole series) is a lot broader than usual but I do actually like the arc of Christopher seeming like a looming danger to the naive Amy and Favreau characters and he ends up getting chewed up for an authentic-sounding mob anecdote and spat out. It also vaguely recalls the actually-good B-plot of A Hit Is A Hit (the stuff with Tony briefly befriending Cusamano and his white collar set and getting burned) and I'm up for any time the show has Christopher relive a Tony plot
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Feb 21, 2024 20:13
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