(“You mean he’s not a spy?” his daughter strains to understand.) Only be thankful his erstwhile boyfriend, the small-town cook and firefighter, got to dump him and accuse him of cowardice beforehand. Real (made) men consider loyalty and allegiance worth celebrating only in relation to who whacked whom.Ī queer in the ranks couldn’t be tolerated, and here “The Sopranos” wallowed in more vile homophobic language than any television effort on record. In gangster culture, apparently, men are allowed to hug and kiss and profess their love as Tony and Christopher (Michael Imperioli) did, recalling Adriana’s murder. Of course it had to end that way, as Phil Leotardo (Frank Vincent) comes out of the closet, literally, to oversee the deed. Of course he was beaten to a pulp by the rigorously homophobic thugs. The extended trip to a quaint gay-friendly New England town by terrified Vito (Joe Gannascoli), a peek into a dreamy what-might-have-been, is fittingly cut short by his decision to return to the Jersey environs of his real families – at home and work. No matter how touched Carmela is by the art, architecture and history of Paris – an appreciative Carm has a big heart when it comes to statuary – we are reminded that she is touring the City of Light courtesy of her husband’s blood money. Digital Replica Edition Home Page Close Menu
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