The Sopranos

Season 6 Episode 21

Made in America

Aired Unknown Jun 10, 2007 on HBO
out of 10
User Rating
775 votes

By Users

Episode Summary

Tony seeks to find a peace with the Leotardo crew while dealing with rumors a member of his own crew may have flipped; A.J. makes a decision regarding his future; Junior's slide into dementia continues.

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  • Brilliant Ending- It's all there if you pay attention.

    Patsy Parisi has always hated Tony, for the murder of his twin brother. In one episode he even tries to shoot him at his home, but runs back into the bushes without Tony ever seeing him.

    After Christopher dies, there is no heir apparent, no one to avenge Tony should he be hit. Christopher was by the time he died easily the most dangerous guy in the gang. From that point on, Tony's empire is built on sand.

    Christopher's death opens up a power vacuum at ground level, quickly filled by the ambitious Patrick Parisi. Patrick has started dating Meadow, and knows which restaurant they are to meet at (NOT Vesuvio).

    AJ walks in with the bodyguard, who knows what is about to go down. Aj sits at the table with his family, the bodyguard sits nearby watching nervously for Meadow to arrive. When she doesn't show up, he gets up and goes into the men's room. Tony gives him a look, then shrugs 'I guess he's gotta go'.

    Patsy comes out of the men's room and walks up to Tony. Tony look s up and Patsy shoots him.

    He shoots AJ, he shoots Carmela, she shoots Meadow on the way out. Janice, Paulie and Uncle June are already dead.

    This echos the restaurant scene in the Godfather, which Tony dreamed about in "The Test Dream".

    Remember Patsy's parting words to the car remember; the last face you see won't be Tony's - it'll be mine"

  • It makes sense

    Basically after Melfi (finally) discovers that Tony is not a patient who will be cured - the show can end - and that's precisely what happens and correctly. The family is loveable, yet highly flawed, and that's what the final episode shows. Nothing has changed. The episodes ending, the black screen, the family doing what they always do. It just carries on until it can carry on no more. And because Chase is realistic, he isn't going to kill everyone off or rescue everyone. A great episode that couldn't have been any other way.moreless
  • "Not Pew. LE Pew. Pepe le Pew is my name."

    I'm surprised at this epic blunder's 7.7 rating, since it stunk so bad it's a wonder the odor of decay didn't waft out the TV set. His Chaseness blew this like the wind on a not-so-grand scale. It's remarkable how on here the thumbs-down contingent [which I'm] are in such agreement over this televised morass of disjointed continuity, genuine tension [there'd already been many times when Tony was getting up in Paulie's 'other' face and it looked/felt like he wanted to kill him] and a clumsy, graceless end to one of the most absorbing shows on TV - especially the last 20 years. Being of the same frame of mind on so many points good and [mostly] bad, I won't list those other than my lipcurling contempt for that stupid music that underscored The Final Scene, which had as much atmospherics as the national anthem in a strip club. I don't recall offhand if Journey ever did anything I liked, but this one 'ain't' it. I was WTF just through that banal noise, which fit as well as a small peg in a large hole, let alone the Blackout. But after a little thought [and a lot of Curse You David Chase], I thunk up a couple of alternate endings. They keep that hokeyus maximus ending intact [although it'd have been cleaner if it had been the instant Tony got to sit upright] but leave less to the imagination. A few more dollops of detail [and better music] could only have improved the "surprise," yet still leave Questions Unanswered:

    Besides shortening up Miss Meadow's excruciating parking problem, to me having just closeups of the two doors opening - the entrance and the men's room - then a cut to old dude [who just sat upright] then Pull the Plug still keep us hanging like a client of Judge Roy Bean. A little of the "uh oh, who's that?" instead of just . . . nothing. Or, to satisfy the bloodlust of certain devotees [but why some of y'all want to see Tony get whacked, ya sickos?], pop goes the blackout and then after a few seconds' pause, the sound of a single shot [pic of (name your choice)], then 1/2 shots [pic, maybe of 2/3 bagged] then last a bit of a fusillade til the echo fades, credits roll. [It wasn't til after I thought of such sequence, leaving Tony for last as it might be, that I was reminded of the Sharon Tate horror.] I'd line up Miss Janice and them two useless brats I've loathed from jump to be first in that firing line [serving suggestion: instead of Miss Meadow coming through that door, there's a shot on her sprawled on the pavement before it]. And somewhere in there instead of Brat #2's incessant whining - the chief reason he should be in the Top 3 to get it - could've been inserted at least an answer to the Russian question. Most of the other issues noted do need repairing as well - and why not a TWO-hour ending to encompass more "wrapping up?" "Divorce Court" notched 1000 episodes and there was just a regular half-hour, no like special commemorative week of specially spicy cases or some such. Scrooge would be proud. But whether Daveyboy dropped this dud on purpose or not, the sendoffs given to TV shows these days are really mostly laid eggs; they either trip over or choke on their own hype so that the Beeg Finish ain't no such thing. But no resolutions will ever happen, as so many hoped when this Lame-O Supreme-O first stank up the air, and we are left with a lot of what-ifs and a thinned-out supply of daggers from having plunged so many into No Fight For Old D. C.'s back. Well, we shouldn't let the fact that this Jackson Roykirk of the airwaves pushed out an orb instead of putting on a show like "M*A*S*H" - which last days were far worse than The Sopranos, so no excuse there - and continue to savor the pungent flavor of the rest of the Chronicles of Tony. In the, um, end that's what's most important - that only one fraction of the total had so many noses pinched as of over a fresh-turned Pine Barrens stiff. "Bada-Bing!"moreless
  • the end :-(

    My favourite show of all times!!!

    I really tried watching other shows with no prejudice, but I am now sure that no other shows will even come close to this master piece!

    Every character and almost every actor was so realistic and great and all of them funcioned just perfect. Okay, I never liked A.J. and Janice, but they also had their bright moments.

    And what can I say about the ending? At first I was furious, I felt like the let down on us. Then I tried to visualise what kind of ending would be a perfect one? Directors obviously knew the answer before I did, so this WAS a perfect ending for a PERECT SHOW!

    Sopranos, thank you for your existance!!moreless
  • What a good episode that was! It is like one of those things that you decide the ending. All I care about is that Phil got what he had coming!!! Phil gettin whacked and then the ride smashing his head was classic.moreless

    What a good episode that was! It is like one of those things that you decide the ending. All I care about is that Phil got what he had coming!!! Phil gettin whacked and then the ride smashing his head was classic. That was AWESOME! I was hoping that Phil would have got it before the show ended. I actually watched The Sopranos up to Season 4 and then my brother moved away and I didn't watch Season 5 & 6 via Netflix lol.

    I am glad that I waited out the few years and then what them all. I remember I seen the ending on YouTube before they started to take off Copyrighted videos.

    This is by far one of the best shows ever!

    Everyone talked about the ending being dumb, but it was a perfect ending with it fading to black.moreless
Edie Falco

Edie Falco

Carmela Soprano

Frank Vincent

Frank Vincent

Phil Leotardo

James Gandolfini

James Gandolfini

Tony Soprano

Jamie-Lynn Sigler

Jamie-Lynn Sigler

Meadow Soprano

Robert Iler

Robert Iler

Anthony Soprano, Jr.

Tony Sirico

Tony Sirico

Peter "Paulie Walnuts" Gualtieri

Donna Pescow

Donna Pescow

Donna Parisi

Guest Star

Jenna Stern

Jenna Stern

Dr. Doherty

Guest Star

John 'Cha Cha' Ciarcia

John 'Cha Cha' Ciarcia

Albie Cianflone

Guest Star

Arthur J. Nascarella

Arthur J. Nascarella

Carlo Gervasi

Recurring Role

Angelo Massagli

Angelo Massagli

Bobby Baccalieri, Jr.

Recurring Role

Carl Capotorto

Carl Capotorto

Little Paulie Germani

Recurring Role

Trivia, Notes, Quotes and Allusions


  • TRIVIA (0)

  • QUOTES (12)

    • (cat jumps on table at the Satriale's hangout, to Paulie's disapproval)
      Walden: He was at the safe house. We brought him over.
      Paulie: Get him the fuck out. These are snakes with fur. The old Italians'll tell ya, you can't even put 'em around a baby. They suck the breath right out.
      Benny: Well, you're the only baby here, so we're ahead of the game.

    • Meadow: (explaining her desire to practice law) The state can crush the individual.
      Tony: New Jersey?

    • Paulie: One time at the Bing, I was alone to meet Eddy Lind. I saw the Virgin Mary.
      Tony: Why didn't you say somethin'? Fuck strippers—we coulda had a shrine; sold holy water in gallon jugs. We coulda made billions.

    • Paulie: "In the midst of death, we are in life." Heh. Or is it the other way around?
      Meadow: I think it's the other way around.
      Paulie: Either version, you're halfway up the ass.

    • Tony: George was good enough to broker this meetin' for us. You just gonna sit there?
      Little Carmine: It didn't have to be this way.
      Butch: We agree. It's gone too far. Phil—I don't know—he's changed. You got my word. We'll back off.
      Tony: My price is you help us get a location of Phil.
      Butch: I can't go there, but you do what you gotta do.

    • A.J.: (on Rhiannon) We're just friends.
      Tony: (disgustedly sarcastic) I know. Nice work.

    • Carmela: Oh, I didn't tell you. He spent $200 on a set of CDs that teach Arabic.
      Tony: Jesus Christ, come on! "Shishkebab"—what else do you need to know?

    • Meadow: (to Tony) If I hadn't seen you dragged away all those times by the FBI, then I'd probably be a boring suburban doctor.

    • Paulie: You can take 2007 and give it back to the Indians.

    • (in the safe house with his crew)
      Tony: The situation isn't all bad. I haven't had a green vegetable all week.

    • Janice: I need to watch my weight; I need to snag another husband.

    • Tony: (on Rhiannon) I wouldn't kick her out of bed for purging cookies!

  • NOTES (6)

    • The episode won an Emmy Award for Outstanding Writing for a Drama Series.

    • The German episode title is "Die Sopranos schlagen zurück", meaning "The Sopranos Strike Back".

    • Music: "You Keep Me Hangin' On" by Vanilla Fudge; "Don't Stop Believin'" by Journey; "Denise" by Randy & The Rainbows; Four Seasons by Antonio Vivaldi; "It's Alright, Ma (I'm Only Bleeding)" by Bob Dylan; "I Dreamed, I Dream" by Sonic Youth; "Pretty Little Angel Eyes" by Curtis Lee; "I Heard It Through the Grapevine" by Creedence Clearwater Revival; "The Jam" by Larry Graham; "Scratch Your Name" by Noisettes; "The Lifeboat Party" by Kid Creole & The Coconuts; "All That You Dream" by Little Feat

    • The final scene, set at Holsten's in Bloomfield, NJ, almost had to be moved somewhere else when town council and the mayor decided to deny a filming permit to The Sopranos because they felt it depicted Italian-Americans poorly. The location shoot was saved when the township's lawyer decided they actually had no say in the matter due to the zoning of the building and timing of filming.

    • Maureen Van Zandt is added to the main cast for this episode.

    • Though credited, Lorraine Bracco and Michael Imperioli do not appear in this episode.


    • When Janice talks to Junior about Bobby's death, his response is "Ambassador Hotel," confusing Bobby's death for Robert F. Kennedy's 1968 assassination.

    • As he pulls up alongside A.J. jogging, Tony starts to hum "Gonna Fly Now", the main theme from the Rocky movies used during Rocky's jog through Philadelphia.