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New Poster that was shown on Check out the Cover Story of the issue of Entertainment Weekly
The Sopranos -- Farewell Image Spot -- HBO
Video Clip
Sopranos' Swan Song Comes To South Florida --
Seminole Hard Rock Hotel and Casino Finally! Your official Emmy episode cheat sheet!
LA Times -- July 25, 2007 Lorraine Bracco fans can come in off the window ledge. She really does have hope to win an Emmy in the final season of "The Sopranos"! Turns out she submitted "The Blue Comet" episode to Emmy judges, not "The Second Coming," as initially planned. There's been a lot of confusion over Emmy episode selection. The reason: The TV academy had a series of deadlines for episode declaration — the first back in April, more than a whole month before the TV season was over and Emmy eligibility ended. Contenders could switch their episode later, but the academy wanted to get an early head start on record-keeping. However, sometimes networks or celeb reps forgot to update The Envelope about later switcheroos, like Bracco's. Well, finally, hooray, ATAS gave us the official, final list of episode entries. These are the acting samples to be evaluated by voters screening DVDs at home while deciding who wins in each category. These submissions are crucial to know when trying to predict ultimate winners. Note: No changes were permitted after episode declarations were made at the end of May. Initially, ATAS said contenders could switch after nominations were announced, but the academy ended up having the change of heart. Too complicated, no doubt. Our thanks to ATAS for providing The Envelope with this info: LEAD ACTOR IN A DRAMA SERIES
James Gandolfini, "The Sopranos" ("The Second
Coming"), HBO LEAD ACTRESS IN A DRAMA SERIES
Patricia Arquette, "Medium" ("Be Kind,
Rewind"), NBC LEAD ACTOR IN A COMEDY SERIES
Alec Baldwin, "30 Rock" ("Hiatus"), NBC LEAD ACTRESS IN A COMEDY SERIES
America Ferrera, "Ugly Betty" ("Pilot"), ABC
SUPPORTING ACTOR IN A DRAMA SERIES
Michael Imperioli, "The Sopranos" ("Walk Like
a Man"), HBO SUPPORTING ACTRESS IN A DRAMA SERIES
Lorraine Bracco,
"The Sopranos" ("The Blue Comet"), HBO SUPPORTING ACTOR IN A COMEDY SERIES
Kevin Dillon, "Entourage" ("The
Resurrection"), HBO SUPPORTING ACTRESS IN A COMEDY SERIES
Jaime Pressly, "My Name Is Earl" ("Jump for
Joy"), NBC
'Sopranos' picks up 15 Emmy nominationsStory Highlights (CNN) -- Bada bing, indeed. July 19, 2007 "The Sopranos," the much-hailed HBO series that concluded its run in June, received 15 Emmy nominations Thursday to lead all series for the television awards. The final episode ended with a sudden cut to black that deliberately left viewers in the dark -- and more than a few upset -- regarding the fate of its lead character, mob boss Tony Soprano (James Gandolfini), who had been buffeted by waves of trouble throughout the series' seven-season run. Five "Sopranos" regulars were nominated for acting honors, including Gandolfini, Edie Falco, Aida Turturro, Lorraine Bracco and Michael Imperioli. The show also was nominated for best drama, an award it won in 2004. Emmy was even more generous to the HBO movie "Bury My Heart at Wounded Knee," which received 17 nods to lead all programs. Watch Kyra Sedgwick and Jon Cryer announce the nominations » But the awards did have its snubs, some of them surprising. "Lost," which won best drama two years ago, was left out of that category entirely, as was last year's winner, "24." "Friday Night Lights," a critics' favorite that has suffered from low ratings, received two minor nominations. And "The Wire," which has been hailed by some as even better than "The Sopranos," received zero recognition from the Academy of Television Arts and Sciences. For best drama, "The Sopranos" will be competing against "Grey's Anatomy," "Boston Legal," "House" and "Heroes." "Grey's Anatomy" had 10 nominations, including four for its regular actors and two for guest stars. One of the "Grey's" nods went to T.R. Knight, who was caught in controversy last year when co-star Isaiah Washington made an anti-gay slur, allegedly directed at Knight. Washington was let go from the show at the end of the season. Though last year's winner, "24," didn't get a best drama nod, its star, Kiefer Sutherland, is up for best actor in a drama. He and Gandolofini compete against Hugh Laurie ("House"), Denis Leary ("Rescue Me") and James Spader ("Boston Legal"). Best actress in a drama nominees are Falco, Patricia Arquette ("Medium"), Minnie Driver ("The Riches"), Sally Field ("Brothers & Sisters"), Sedgwick ("The Closer") and Mariska Hargitay ("Law & Order: Special Victims Unit"). On the comedy side, "Ugly Betty" topped nominees with 11 nods, including best comedy and a pick for star America Ferrera. The show will go against "Entourage," "30 Rock," "Two and a Half Men" and last year's winner, "The Office." "Entourage" creator Doug Ellin was pleased with his show's recognition, since the show often pokes fun at Hollywood itself. "It may seem sometimes like we're making fun of Hollywood, but really we're just trying to take a comedic look at how things are done here, because this is how it really is for people sometimes," Ellin told The Associated Press. Ferrera's competition includes Felicity Huffman ("Desperate Housewives"), Tina Fey ("30 Rock"), Mary-Louise Parker ("Weeds") and Julia Louis-Dreyfus ("The New Adventures of Old Christine"). Best actor in a comedy nominees are Tony Shalhoub ("Monk"), Ricky Gervais ("Extras"), Steve Carell ("The Office"), Charlie Sheen ("Two and a Half Men") and Alec Baldwin ("30 Rock"). "Dancing With the Stars" earned eight nominations, the most among reality shows. "American Idol" received seven. "Bury My Heart at Wounded Knee" was adapted from Dee Brown's 1970 best-seller about the Sioux nation and its massacre in 1890 at Wounded Knee Creek in South Dakota. Executive producer Dick Wolf, better known for his "Law & Order" shows, told the AP that he couldn't have been more pleased with the recognition. "Anybody who says it's not nice or it doesn't mean anything to get this many nominations, it's the ultimate sour grapes because it sure feels great," he said. HBO received the most nominations of any network, with 86 bids. ABC earned the most among the commercial broadcast networks with 70, one more than NBC's 69. The 59th annual Primetime Emmy Awards are scheduled for September 16 from Los Angeles' Shrine Auditorium. The show will air on Fox.
Best Supporting Actress in a Drama Series Nominations: Supporting Actress in a Drama Series: Rachel Griffiths, Brothers & Sisters, ABC; Katherine Heigl, Grey's Anatomy, ABC; Chandra Wilson, Grey's Anatomy, ABC; Sandra Oh, Grey's Anatomy, ABC; Aida Turturro, The Sopranos, HBO; Lorraine Bracco, The Sopranos, HBO.
HBO's 86 Emmy Nomination Listing YouTube Video Clip of the Major Nomination Announcements
1. Outstanding Cinematography For A Single-camera Series
The Sopranos • Soprano Home Movies
• HBO • Chase Films and Brad Grey Television in association with
HBO Entertainment 2. Outstanding Directing For A Drama Series
The Sopranos • Kennedy And Heidi
• HBO • Chase Films and Brad Grey Television in association with
HBO Entertainment 3. Outstanding Drama Series
The Sopranos • HBO • Chase
Films and Brad Grey Television in association with HBO Entertainment 4. Outstanding Guest Actor In A Drama Series
The Sopranos • HBO • Chase
Films and Brad Grey Television in association with HBO Entertainment 5. Outstanding Lead Actor In A Drama Series
The Sopranos • HBO • Chase
Films and Brad Grey Television in association with HBO Entertainment 6. Outstanding Lead Actress In A Drama Series
The Sopranos • HBO • Chase
Films and Brad Grey Television in association with HBO Entertainment 7 - 8. Outstanding Single-camera Picture Editing For A Drama Series
The Sopranos • Soprano Home Movies
• HBO • Chase Films and Brad Grey Television in association with
HBO Entertainment
The Sopranos • The Second Coming
• HBO • Chase Films and Brad Grey Television in association with
HBO Entertainment 9. Outstanding Sound Mixing For A Comedy Or Drama Series (one-hour)
The Sopranos • Stage 5 • HBO
• Chase Films and Brad Grey Television in association with HBO
Entertainment 10. Outstanding Supporting Actor In A Drama Series
The Sopranos • HBO • Chase
Films and Brad Grey Television in association with HBO Entertainment 11 - 12. Outstanding Supporting Actress In A Drama Series
The Sopranos • HBO • Chase
Films and Brad Grey Television in association with HBO Entertainment
The Sopranos • HBO • Chase
Films and Brad Grey Television in association with HBO Entertainment 13 - 14 - 15. Outstanding Writing For A Drama Series
The Sopranos • Kennedy And Heidi
• HBO • Chase Films and Brad Grey Television in association with
HBO Entertainment
The Sopranos • The Second Coming
• HBO • Chase Films and Brad Grey Television in association with
HBO Entertainment
The Sopranos • Made In America
• HBO • Chase Films and Brad Grey Television in association with
HBO Entertainment
Click here to view the complete list of nominations
WMGK Radio Podcast -- The John DeBella Show Guest: Lorraine Bracco Date 6/14/2007 Category John DeBella Description: Lorraine Bracco from "The Soprano's" Click on the link above and then click on the Download button to listen to this Audio Clip
Think Tony Soprano's dead? You may be right June 15, 2007 -- CNN Entertainment News Online Article Story Highlights • "Sopranos" creator David Chase has said, "It's all there" • HBO notes that some theories have come close • Key clue may be in Bobby Bacala dialogue LOS ANGELES, California (Reuters) -- Fans of "The Sopranos" are seizing on clues suggesting the controversial blackout which abruptly ended the TV mob drama meant that Tony Soprano was rubbed out, and HBO said Thursday they may be on to something. One clue in particular, a flashback in the penultimate episode to a conversation between Tony and his brother-in-law about death, gained credence as an HBO spokesman called it a "legitimate" hint and confirmed that series creator David Chase had a definite ending in mind. "While he won't say to me 100 percent what it all means, he says some people who've guessed have come closer than others," HBO spokesman Quentin Schaffer told Reuters after speaking to Chase. "There are definitely things there that he intended for people to pick up on," Schaffer said. (Watch viewers try to make sense of the end ) Chase himself suggested as much in an interview Tuesday with The Star-Ledger newspaper of New Jersey when he said of his end to the HBO series, "Anyone who wants to watch it, it's all there." In the final moments of Sunday's concluding episode, Tony, the conflicted mob boss who has just survived a round of gangland warfare, sits in a diner with his family munching on onion rings as the 1980s song by rock band Journey, "Don't Stop Believin'," blares from a juke box. Tension builds as a suspicious man wearing a "Members Only" jacket eyes Tony from a nearby counter before slipping into a restroom. Then, as Tony looks toward the restaurant's entrance, the screen abruptly goes blank in mid-scene -- with no picture or sound for 10 seconds -- until the credits roll silently. Stunned viewers, many initially believing something had gone wrong with their cable TV reception, were left wondering whether Tony ended up "whacked" or whether his sordid life went on as usual. Even star James Gandolfini wasn't sure. "You have to ask ('The Sopranos' creator) David Chase that. Smarter minds than mine know the answer to that," Gandolfini told the New York Daily News. "I thought it was a great ending. You decide." The jarring, fill-in-the-blank finale, concluding a show widely hailed as America's greatest television drama, sparked a furious debate about whether Chase had conceived of an actual ending and whether he left the audience any clues. The biggest hint, according to a consensus taking shape on the Web, is a scene from an earlier episode in which Tony and his brother-in-law, Bobby "Bacala" Baccalieri, muse about what it feels like to die. "You probably don't even hear it when it happens," Bobby says while they sit fishing in a small boat on a lake. That scene is recalled briefly in a flashback played at the end of the penultimate "Sopranos" episode, as Tony is lying in the darkened room of a safehouse clutching a machine gun to his chest in the midst of a mob war. "I think that is one of the most legitimate things to look at," Schaffer said when asked about theories that the Bobby Bacala flashback was meant to foreshadow Tony's death. Moreover, he said the man in the "Members Only" jacket could be interpreted as a symbolic reference to membership in the mob. "Members Only" also was the title of the episode in which Tony's demented Uncle Junior shoots him in the gut. The "Members Only" guy was played by the owner of a real-life pizza parlor, Paolo Colandrea. Schaffer denied reports that Colandrea had appeared earlier in the series as the nephew of Tony's New York gang rival, or that there ever was such a character. He also dismissed reports that Chase had filmed more than one ending to the finale.
'Sopranos' Lorraine Bracco ... A bitter child custody battle threw her into bankruptcy Fame & Fortune: 'Sopranos' Lorraine Bracco By Bonnie Siegler • Bankrate.com -- June 10, 2007 Editor's note: As the smash HBO TV saga "The Sopranos" airs its final episode tonight, Bankrate marks the occasion with a series of Fame & Fortune interviews with three of its stars. Today: Lorraine Bracco. Previously: Steve Schirripa and Steven Van Zandt. Talk about getting into character. For her role as Delores del Ruby, the tough-talking, whip-cracking leader of the cowgirl rebellion in Gus Van Sant's "Even Cowgirls Get The Blues," Lorraine Bracco took bullwhipping lessons in her backyard. As Dr. Jennifer Melfi, the psychiatrist who listens and counsels mob leader Tony Soprano weekly on "The Sopranos," Bracco took a lot of characteristics from her own sessions of "talk therapy" and incorporated them into Melfi. In her tumultuous past, which includes three failed marriages and a custody battle that led to personal bankruptcy and depression, Bracco could have used some time with Dr. Melfi herself. The very public divorce and custody battle with actor Harvey Keitel finally gave Bracco sole custody of their daughter, Stella. Life was on the upswing but suddenly everything hit her like a ton of bricks when she was later diagnosed with clinical depression. That was 1999. Now, the 52-year-old actress -- who chronicles her story in the candid, best-selling book "On the Couch" -- feels alive again and passionate. Reveling in the last season of "The Sopranos," the Brooklyn-born actress is beaming with determined optimism. Despite a career spanning more than two decades, including an Oscar nomination for "Goodfellas," Bracco is not your stereotypical star. But her "Goodfellas" role led "Sopranos'" creator, David Chase, to remember Bracco for his HBO mobster hit. Along with her breakout role on "The Sopranos," Bracco has her own wine company. The bumps seem to have smoothed out in her life, though she still shows some true grit. Bankrate: It was 1999 that you noticed your life was joyless and you were diagnosed with depression? Lorraine Bracco: Yes, it was when "Sopranos" came out and was a huge success, my daughter had graduated NYU and it was then when I said, "Oh my God, I'm not really jumping for joy and why is that?" Bankrate: Do you know what triggered the depression or was it an accumulation of circumstances? Lorraine Bracco: We feel it was an accumulation of fighting and flight mode, so that when everything kind of settled down and was good, that's when I realized something was wrong. I do think I had depression before this point, though. I always said I lost a year in denial, basically, not believing my friend who said, "Lorraine, I think you should go talk to somebody." Bankrate: You've said that going through all this actually helped you form the character of Dr. Melfi. How do you think your depression mirrors that of Tony Soprano? Lorraine Bracco: I think it's different but I think a lot of the things that Dr. Melfi says to Tony are very amusing to me because I will be saying to myself. "Oh my God, this is so good." I get a good kick out of it. When I first started "talk therapy" with my therapist, I basically said I don't want my problems to lead my life -- I want my dreams to lead my life. I want that to happen for myself. I deserve that. Bankrate: You sure do deserve it. Can you talk about the lean times of your bankruptcy? Lorraine Bracco: It was a very embarrassing situation. I was getting foreclosure notices and everyone wanted their money. And I couldn't find any work at the time. I had mortgage, taxes, food and everything else to pay at the end of the month, including lawyers. I was never one of those top-paid actresses, but I was working steadily for a while. Bankrate: You went through a difficult time but you still have your sense of humor. What did you learn going through all this? Lorraine Bracco: That I won't spend a lot of money on lawyers and legal fees ever again. I now have a great bulls**t detector in me, which comes out of necessity. Bankrate: You have recovered financially, though, from your personal bankruptcy. Lorraine Bracco: Yes. And I worked hard, too. Right now I have a place in the Hamptons and if I could live anywhere in the world, it would be right where I am today. I shop for fresh fruit and vegetables there. I have my dog, a little Jack Russell, Chandler, and I'm very happy. My daughter named him after Chandler Bing on "Friends." And I'm a good companion right now. I've aged, I've mellowed and I think my core is very strong. I have forged a life that is warm and comfortable, loving and caring of others. Bankrate: And you have your own wine company, Bracco Wines, as well as a successful acting career? Lorraine Bracco: I'm not just another actress selling perfume or hair products. I lived in France for 10 years and I always had great food and great wine while living there (while a model in Paris). I feel that when you go into the wine stores, it can be very intimidating. I felt that I've been drinking wine for a while and it's not a snobby thing for me, so I thought that going to Italy and picking out wines would make it very easy for women to know that if they bought a bottle of Bracco wine that it would be a good glass of wine -- red or white -- and they wouldn't have to stress over it. And it's fun. It's something I enjoyed very much when I was younger living in France -- tasting new wines, new foods, traveling -- and I find that it's kind of come full circle for me. Bankrate: So what would you put your white wine with? Lorraine Bracco: Shrimp, any kind of fish, any kind of light dinner. Caesar salad would be good with it. And with red? Meats, cheeses, lamb. Bankrate: What are you thankful for? Lorraine Bracco: All the good and bad experiences I've been through. I'm thankful for my health. Bankrate: "The Sopranos" ends today. You know the ending already but where would you have liked Dr. Melfi to go out in this last season? Lorraine Bracco: Just hoping that Tony Soprano understands her dedication to her work and to him ... that she believed he could be a better person.
The final analysis
06/09/2007 -- Katherine Imbrie -- The Providence Journal Online Article Whacked, or not whacked? For legions of die-hard fans of The Sopranos, that’s the only question that matters this weekend. The HBO television series that has become a cultural benchmark in the eight years since it opened with a bang on Jan. 10, 1999 will conclude tomorrow night at 9 with a show that will answer that question — likely with an even bigger bang. At this point, the betting is that the series’ six-season, 86-episode run will end in a bloodbath and the demise of Tony (James Gandolfini) — but as any fan knows, The Sopranos always surprises. The final surprise has been kept top secret since the show’s last episode was filmed just a few weeks ago. Only then did many of the cast members find out what The End would be, and none of them has been doing any talking since. That would spoil the fun. Tonight, several members of the cast, including Gandolfini, Steven Schirripa (Bobby), Tony Sirico (Paulie), Steven Van Zandt (Silvio), and Michael Imperioli (Christopher), will appear in a special by-invitation-only event at Foxwoods marking the series’ conclusion. Tomorrow, they’ll all fly to Florida for another party celebrating the airing of the final episode. Hanging out “with all the boys” at these events will be just one woman star of the series: Lorraine Bracco. Ever since Episode One, when Tony walked into her office seeking treatment for his recurring panic attacks, Bracco has played his psychiatrist Dr. Jennifer Melfi, calmly steering him towards what she hoped were helpful insights into his family relationships while keeping clear of any overt references to his “family business” — the mob. But in recent episodes, the doctor has had cause to reexamine the remedial value of her “talk therapy” approach to treating the patient she has begun to describe as a sociopath. This happened after her own psychiatrist (played by Peter Bogdanovich) suggested to her that for criminals like Tony, talk therapy might be nothing more than a cheap way of validating their continued bad behavior. (And, it must be said, Tony’s behavior has been getting worse, the body count climbing in nearly every episode this season.) The point hit Dr. Melfi particularly hard when, at a dinner party of fellow psychiatrists, patient-client confidentiality was breached, and the consensus around the table was that she might only be making matters worse by continuing her sessions with the big, bad boss of New Jersey. So, she cut him off — gave the show’s hero a list of references to other doctors and sent him packing. Describing her character’s action in a phone interview earlier this week, Bracco said it’s one of the things she loved about playing Dr. Melfi: The woman is strong. Was it easy for Melfi to show the office door one final time to Tony, a man she had been treating for more than eight years and whom she had advised through a marital separation, various parental crises, and more than one close brush with death? “It was heartbreaking,” said Bracco. “But what I love about this character is that she had the strength to say that she’s not going to do that anymore. It’s what I love about what David (Chase) does: He always puts her in the moral issue. And she always takes the high road.” Melfi showed similar strength of character in an episode several seasons back in which she passed on an opportunity to use Tony’s stature as boss to avenge a painful personal experience of her own. In that scene, Bracco’s face let viewers see the tug of her realization that, because of her special relationship with Tony, she had the power to use him to pull the trigger on the brute who raped her and was going to get away with it. She didn’t do it. So it’s a significant change that, in last week’s episode, Melfi’s stone face betrayed little but contempt for her long-time patient. Clearly, the doctor has had enough of Tony. So has Gandolfini, who has said in interviews that although he’ll miss working with the cast and crew, he’ll feel relieved of a burden when the series ends. (He alone has been in every single episode.) And so also has the show’s creator, David Chase, who wanted to end the show after the fifth season but was persuaded by HBO to do a sixth and final one. As for Bracco, she said she isn’t sure what her next project will be — “It depends on whether I get another great script” — but she certainly values her experience on The Sopranos, both professionally and personally. Having suffered from depression herself (a subject which she explored in an autobiography, On The Couch, published last year), Bracco said she learned a lot by playing a psychiatrist on TV: “For one thing, I’ve become a better listener.” But, she was asked, wouldn’t it be depressing for Dr. Melfi to realize that with all those years of talk therapy, she might only have been enabling Tony to be an even badder guy than he was to begin with? “No, I don’t think so,” said Bracco. “I’ve always believed in therapy as a good tool to help him. I think she (Melfi) made his marriage better. She was helpful to him.” The revelatory idea that therapy might actually worsen a sociopath’s criminal behavior was not new to Bracco when it came up in the script: “Four or five years ago, David (Chase) and I were at a psychiatric conference where he received an award for the show. The sociopath study was discussed there, and I think it’s fascinating that he remembered all that we learned at that conference and used it this way.” Bracco spoke in glowing terms of her personal relationships with Chase and Gandolfini. “My bond has really been with David and Jimmy, because I don’t really have on-screen time with many of the other cast members.” Most of her scenes are one-on-one with Gandolfini in her office. So, she said, she welcomes this final weekend of celebration and nostalgia with the rest of the cast as the show comes to its end, whatever it is. Will all the loose ends in the series be wrapped up in the final show? The wild Russian last seen escaping in the snowy Pine Barrens of New Jersey? Lustful Furio, banished to Italy? And what of the Soprano kids? Baleful A.J.: Hope for a turnaround, or not? And Meadow’s once-promising career — at a full stop? It’s likely we will never know the answers, never see all the ends tied up in a neat package. “That’s David’s brilliance as a writer, his big vision,” said Bracco. “The show doesn’t follow the path of regular TV scriptwriting. It’s true to life, and so you don’t know how it will all turn out.” And so, fans will have to be content to find out what they can tomorrow night about the fate of the Sopranos. Whacked? Or not whacked. That is the question.
A conversation with Dr. Melfi See Kate Imbrie’s story on the finale of The Sopranos above Ten minutes to 9, Monday night. My guy, Phil, and I have stumbled upon a surprisingly good movie about Beethoven — no, NOT the one about the St. Bernard, the one about the composer and his tragic life and lost love. Looks like we’re going to watch Gary Oldman in Immortal Beloved till 9, when the penultimate Sopranos episode will be repeated. (Of course, we had seen Episode 85 when it first aired the night before, and like everyone else who loves the show, can hardly bear to wait to find out what happens in the ultimate episode, The End, tomorrow night.) My cell phone rings in the kitchen, and away I go to see who it is, not wanting to miss the twist that sealed poor Ludwig’s fate. I didn’t recognize the area code, but answered it anyway. It was Lorraine Bracco. LORRAINE BRACCO! my brain said, taking awhile to jumpstart from 18th century Germany and its most famous musician to 21st century New Jersey and its most famous family show. Bracco is, of course, the 51-year-old actress who plays Tony Soprano’s psychiatrist Dr. Melfi on the Sopranos. (Besides his late mother, you notice, only she calls him "Anthony," which gives you some idea of the kind of relationship they have.) It wasn’t a total surprise to get this night-time phone call from this particular star: My editor had been working to arrange a phone interview for the last couple of days. But we hadn’t been able to connect with the publicist, and so I had sort of given up on it. But here was Bracco on my phone, and me without a pen or paper handy, and the Mac screen in the other room in its usual E-mail mode. I raced in there, opened up a Compose Mail screen and tried to compose myself so that I might sound like a responsible reporter and not a starstruck geek. It didn’t help that with the cell phone in speaker mode (so that I could type while talking), the sound is kind of tinny. We got going. About 10 minutes along, Phil pushes the door open and sticks his head in. I could tell he was a little perplexed that I had abandoned him and Beethoven so abruptly to take a phone call. "Hey honey," he said, "It’s on. The Sopranos is starting. Didn’t you want to see it again?" In mid-sentence with Dr. Melfi, I could think of nothing to do except wave him away furiously, mouthing, "Go away!" I felt badly about it, but what could I do? My brain was already on overload. We finished the interview soon after that, when Bracco announced she had to go. She was calling from California. I strolled into the TV room just in time to see Dr. Melfi kissing Tony off in her office. "GUESS WHO I WAS TALKING TO ON THE PHONE?" I said. It felt good to be able to drop the "real reporter" bit and let out the starstruck geek, at least in the privacy of my home. And I got the reaction I knew I’d get: "Lorraine Bracco! HOLY SMOKES!"
Can't Miss Television -- MSNBC -- June 3, 2007
“The Sopranos” ends its magnificent run next Sunday night with the finale of the acclaimed series. Almost from the opening frames of the pilot, fans latched onto this show and made it a cultural phenomenon. Yet as much as diehards are grateful to creator David Chase and his colleagues for treating us all to some of the best television ever, he’s not completely off the hook, because there’s a lot of pressure to end on the perfect note. But Chase is known as a guy with a taste for the unconventional, who likes to leave the occasional loose end hanging. Boy, mob life is a killer. (HBO, Sunday, 9 p.m.)
Forget dangling
chads!
Gold Derby by Tom O'Neil -- LA Times -- June 2, 2007 TV academy leaders have just enacted one of the craziest changes ever to Emmy voting — a bizarre accommodation to "dangling" TV episodes . . . and to TV's top hoodlums. In effect, it's a big smooch and a hard shove forward for two thugs who don't need it: Tony Soprano and Henry VIII. HBO and Showtime exec made an extra-sneaky sacrifice this year while plotting their grand Emmy strategy. They decided to air the last few episodes of this season's "The Sopranos" and "The Tudors" after the cut-off date for awards eligibility in exchange for having fresh new episodes on TV just when voters are checking off their ballots. Unfortunately, that meant that the big, grand series finale of "The Sopranos" wouldn't be eligible for Emmys, but, hey, HBO chiefs gambled that the tradeoff would be worth it. Ditto for "The Tudors," which arrives just as "Sopranos" takes its final bow. These after-deadline episodes would not be eligible for ANY Emmys — even next year — under recent rule changes. Here's what the TV academy says, "If episodes associated with a series are fewer than the minimum number needed to qualify them as a stand-alone series in any given awards year (six for drama and comedy, three for all other series), those 'dangling' episodes are not eligible in any awards year." "The Sopranos" and "The Tudors" have two episodes "dangling" after the cut-off so they wouldn't qualify for next year. But, wait, now, ah, things have changed! On May 16, the academy's Board of Governors voted to permit dangling episodes to compete within the current year. That means that ATAS just OK'd giving those shows an unfair advantage over competitors. Do you think it's not a big deal? Think again. In years past, HBO shrewdly marketed "Sex and the City" at the Emmys by launching new seasons precisely at the start of every new voting period — early June. The result was rather confusing to voters. While they watched a new season on TV they were voting on the last one, but such a quibble was just a quibble. "Sex and the City" ended up with gads of nominations (56) and a few top wins, including best comedy series, actress (Sarah Jessica Parker) and supporting actress (Cynthia Nixon). "It's quite obvious that this is for pro-Sopranos," says our forums poster iskolar. Other poster Paul Han agrees: "I think this tells you all you need to know about who's going to sweep the drama categories this year. Talk about your all-time two headed coins. Heads 'Sopranos' wins, tails the field loses."
Fuhgetabout 'The Sopranos'? No Way By Linda Moss -- Multichannel News, 6/4/2007 In The Sopranos, Home Box Office gave viewers a pot-bellied antihero who was a merciless murderer, petty thief, unfaithful husband, unloved son — and a neurotic basket case. Nonetheless, Tony Soprano became a role model for broadcast and cable networks alike, blazing the trail for a series of unconventional TV characters to follow. Small screens have been populated by flawed protagonists, once found almost exclusively in literature and movies, ever since Soprano first started meeting with his shrink in 1999. On Fox's big hit House, acerbic Dr. Gregory House is a pill-popper with a cane — no Marcus Welby. Fox's Jack Bauer on 24 isn't above almost gleefully torturing his enemies, including his own brother. On FX's The Shield, Vic Mackey is a bald, squat Los Angeles cop who committed a murder in the show's premiere episode. Also on FX, Rescue Me's Tommy Gavin is a crude, brawling alcoholic New York firefighter who gives the FDNY a bad name. Blame sociopathic crime boss “T” for that rogues' gallery. GROUND BREAKER The last original episode of The Sopranos airs Sunday (June 10), and the Emmy Award-winning series leaves a legacy of stretching boundaries, for HBO, cable and TV in general. The series made a mark, breaking new ground in terms of the types of characters now being portrayed, warts and all, on the boob tube. And more widely, its success prodded broadcast and cable networks alike to be more daring and creative with their scripted dramas. “The Sopranos has moved the bar for quality, and it's moved the bar for depth and insightfulness,” said FX Networks president John Landgraf. “The Sopranos is just a beautiful towering piece of art. I really adore it. I'm really going to miss it … [it] opened the door that a lot of us have gone through, and done really memorable work on the other side of that door.” But HBO must now move on and overcome two big losses: not only of The Sopranos, its biggest hit show and a one-time cultural phenomenon, but also the departure of the brilliant executive who helped shepherd that property, Chris Albrecht. Albrecht, HBO's CEO, was abruptly ousted last month after being arrested for allegedly assaulting his girlfriend in Las Vegas. HBO's strategy is to replace The Sopranos, which garnered 18 Emmys and 96 Emmy nominations since its 1999 debut, with a handful of shows. The goal is for those series, in combination, to attract the broad viewership The Sopranos drew. As a subscription service that doesn't sell ads, HBO doesn't have to fret about ratings per se. But it does have to produce programming that satisfies each segment of its subscriber base, so they feel they're getting their money's worth from their HBO subscription and don't cancel it. But it's not easy to produce hit TV shows — or outsized characters such as Tony Soprano, played with fine-tuned brooding by hulking James Gandolfini. At the height of its popularity, The Sopranos, set in the gritty blue-collar suburbs of northern New Jersey, resonated with audiences in a way that some TV writers and programmers predict can't be repeated. “It can never happen again,” said Landgraf, because of today's audience fragmentation and abundance of high-quality, hour-long dramas. PETTINESS, WITH A TWIST Even the premium service concedes that another Sopranos isn't likely to emerge anytime soon, and it's planning accordingly. “I don't think anybody in cable has ever had, or probably ever will, a series of that magnitude,” said HBO vice president of program planning Dave Baldwin. “These don't come along very often. It's not a factory where you can churn these shows out.” TV historians and critics attribute The Sopranos' success to the genius of writer/creator David Chase, who served up one of America's favorite movie subjects, the Mafia and organized crime, for TV. But Chase thumbed his nose at the epic gravitas of movies like The Godfather, instead presenting an uncourtly mob boss, who does deals in a strip joint and outside a butcher shop, and has the kind of family issues that viewers could relate to. In Tony's case, that included a Machiavellian mother, a nagging wife, a ne'er-do-well son and panic attacks that lead him to a shrink's couch. “The mob has always been a popular American dramatic topic,” USA Today TV critic Robert Bianco said. “And it was such an original twist on that, the idea of a mobster as this kind of mundane petty punk with mother problems. “That central dynamic — that battle between Tony and his family, in particular his mother — really is what drove the show to the heights that it reached in the second season when it came back, which is when people really caught on to it.” There was humor as well, with Tony “more like Homer Simpson than Don Corleone,” according to Robert Thompson, professor and director of the Bleier Center for Television and Popular Culture at Syracuse University. Chase served it all up with plenty of flashes of shocking violence, nudity and tough language, and avoided the tidy, traditional storytelling arcs of network TV — as only could be done on a non-ad-supported service. “Every episode is its own little world,” TV Guide critic Matt Roush said. “Sometimes you follow through, and sometimes you don't. It's messy, like life is messy.” TV historian Tim Brooks, Lifetime Television's executive vice president of research, said that HBO, “in that rarefied environment protected from advertiser pressure … after many false starts and many shows that didn't make it, came up with a show that combined character study, violence and intensity that was unmatched.” And, according to Brooks, “The broadcast networks, and cable for that matter, were very envious of that.” In fact, in 2001 then NBC-president Bob Wright wrote a sour-grapes letter to his network executives and TV studios, asking whether the Peacock Network could learn any lessons from The Sopranos. Wright groused that broadcasters were at a programming disadvantage, compared with cable, because of strictures on depicting violence and sex. “It [The Sopranos] forced broadcast television to improve the quality of its dramas,” Bianco said. Brooks said that he considered The Sopranos so influential that he broke his rule and included it in the eighth edition of his The Complete Directory to Prime Time Network and Cable TV Shows, where he normally only included shows “seen by most Americans.” HBO is only in about one-third of U.S. TV homes. “It has been a beacon for development of serious drama, of testing boundaries,” Brooks said. Tony Soprano set the stage for the cutting-edge scripted dramas, like The Shield, that FX has built its brand on. And it laid the groundwork for Fox's House, according to Alan Sepinwall, TV critic for The Star-Ledger in Newark, N.J. “I don't think you'd see a show like House without The Sopranos, because one of the things it proved is that if the writing is good enough, and the acting is good enough, the traditional rules about likeable characters and relatability don't necessarily apply,” Sepinwall said. The mob show's impact on HBO was immeasurable. “It brought us a great scripted drama at the time when scripted drama was dying on the networks,” Baldwin said. A huge plus was that The Sopranos' audience was so broad, reaching “many, many different demos,” that HBO used it to establish a beachhead on Sunday evenings, going head-to-head with the broadcasters “on the biggest night in television,” according to Baldwin. “Practically every important audience segment that purchases HBO is represented in a big way in The Sopranos audience,” he said. “And that's how you build to an overall large audience.” HBO's strategy going forward is to satisfy those varied audience segments with several shows, rather than one hit like The Sopranos. “Losing this show means that we have to work a little bit harder to get back good programming for all of those audience segments … that were so easy to get with one show,” Baldwin said. “We have to do that with multiple shows. Not that it's an impossible task, but it's a matter of planning and timing.” That tack makes sense, but may not be so easy to pull off, according to Thompson. “What you're essentially saying is, 'Can we survive with five modest hits, as opposed to one monster hit?' ” Thompson said. “Yes, that model would work. The question is that [getting] five modest hits is easier said than done.” It's true that The Sopranos viewership has been trending down. The first seven episodes of the second part of the sixth season, the show has averaged 7.5 million viewers, with a total of 10.9 million viewers for its plays across the week. The season's first half last year averaged 8.9 million viewers on its premiere play on Sunday nights, and 13.1 million for the full week. Still, Thompson raised the issue of how many HBO customers will churn out this year, in the aftermath of the end of The Sopranos, since he believes the show was “an anchor” that drew viewers to the premium service. “Is there going to be a subscription Armageddon the day after this thing plays?” he asked. “That's a big question.” HBO officials deny that there will be subscriber defection, citing past history. They pointed out that HBO's distribution has been on an upswing since The Sopranos debuted, making overall year-to-year gains even during the period, more than a year, from June 2004 to March 2006 when the show wasn't on. HBO has 28.7 million subscribers now, according to SNL Kagan, versus 23.7 million in 1998 just before the show started. Even though The Sopranos' popularity may never be duplicated observers say not to count HBO out, even without Albrecht. “HBO does have an aura and should be able to exploit that in the future,” Roush said. “If they keep taking risks, the risks will eventually pay off … They'll get attention, whatever they do.” At least one TV critic, Sepinwall, doesn't think that HBO's newest series, John From Cincinnati, has the potential to be a broad hit. The show is a surreal tale about a seemingly jinxed multigenerational family of champion surfers whose lives are changed by a mysterious visitor. Sepinwall described it as “very obtuse, more like an art film.” In the meantime, Tony and his crew will live on, in syndication on A&E Network, and in their influence on the TV landscape. “The whole season is about Tony trying to come to grips with his legacy,” Roush said. “I do think this is one of the cultural benchmarks for dramatic television, much like Hill Street Blues helped TV grow up back in the '80s. … The Sopranos took it to a new level.” NEXT WEEK: A Sopranos Scrapbook
Post from Ben S. on the IMDb Message Board
... very interesting Here is some information I found: Sociopath --------------------------------------------------------------------------------
Of the more distinguishing traits, some argue
the sociopath to be less organized in his or her demeanor, nervous and
easily agitated – someone likely living on the fringes of society, without
solid or consistent economic support. A sociopath is more likely to
spontaneously act out in inappropriate ways without -------------------------------------------------------------------------------- Psychopath -------------------------------------------------------------------------------- Conversely, the psychopath tends to be extremely organized, secretive and manipulative. The outer personality is often charismatic and charming, hiding the real person beneath. Though psychopaths do not feel for others, they can mimic behaviors that make them appear normal. Upon meeting, one would have more of a tendency to trust a psychopath than a sociopath. Because of the organized personality of the psychopath, he or she might have a tendency to be better educated than the average sociopath, who probably lacks the attentive skills to excel in school. While psychopaths can fly under the radar of society, many maintaining families and steady work, a sociopath more often lacks the skills and drive for mimicking normal behavior, making “seemingly healthy” relationships and a stable home less likely. -------------------------------------------------------------------------------- Criminal perspective -------------------------------------------------------------------------------- From a criminal standpoint, a sociopath’s crimes are typically disorganized and spontaneous, while the psychopath’s crimes are well planned out. For this reason, psychopaths are harder to catch than sociopaths, as the sociopath is more apt to leave ample evidence in his or her explosions of violence. Hence, while similar psychological traits might fall under the antisocial personality heading, from a social and criminalist point of view, the differences between a psychopath and a sociopath may be significant. According to experts, persons with a non-criminal history can also display lesser or varying degrees of either personality type. -------------------------------------------------------------------------------- Source: http://www.wisegeek.com/what-is-the-difference-between-a-psychopath-and-a-sociopath.htm
Meet Cast Of The Sopranos At End Of Series Party Final Episode Viewing Party June 10 -- Seminole Hard Rock Hotel & Casino Win Tickets To Meet Cast Members (CBS4) HOLLYWOOD If you’ve ever wanted to rub elbows with Tony Soprano or even Paulie Walnuts, fuggedaboutit. But you can rub elbows with the actors who play these popular HBO mobsters at a “Sopranos” series finale party which will take place right here in South Florida. Every Sunday in May (6, 13, 20, and 27th), the Seminole Hard Rock Hotel and Casino will hold a drawing in which the winner receives tickets to the final episode viewing party on June 10th. It’s called “Tony’s Swan Song Giveaway”. Those drawings will take place at 7:00 p.m. but you must be a Seminole Players Club Cardholder which are free to all visitors. Each week, someone will win three “Tony’s Swan Song Prize Packages” which include two tickets to watch the last episode of ‘The Sopranos” at Hard Rock Live at the Seminole Hard Rock Hotel & Casino. The package also includes dinner for two with pre-selected cast members from the show. Scheduled cast members attending include: James Gandolfini (Tony Soprano), Lorraine Bracco (Dr. Jennifer Melfi), Michael Imperioli (Christopher Moltisanti), Tony Sirico (Paulie Walnuts) Steve Van Zandt (Silvio Dante), Steve Schirripa (Bobby Bacala), John Ventimiglia (Artie Bucco), Vincent Curatola (Johnny “Sack” Sacramonti) and Arthur Nascarella (Carlo Gervasi).
Ring of Fire -- Air America Radio -- Interview -- April 21, 2007
Click here to listen
to Lorraine being interviewed by Robert F. Kennedy
Actress Lorraine Bracco, who plays psychiatrist Dr. Jennifer Melfi on "The Sopranos", celebrates the show's final season, now under way on HBO. Bracco is also the author of a how-to book on emergency preparedness and an importer of fine Italian wines.
The Power of the Sopranos Women
They may not be Mob Bosses but the women of "The Sopranos" make the show April 13, 2007 — If you are going to have coffee at an Italian restaurant, who better to have it with than the women of "The Sopranos"? At Fiamma, a chic Italian eatery in downtown New York City, I sat down with Carmela, Meadow and Dr. Melfi — or more specifically, Edie Falco, Jamie-Lynn Sigler and Lorraine Bracco. Click here to go to the ABC's Nightline Page ... includes a WMP Video Clip and Screen Captures
Final-season therapy with Soprano's shrink
By Florangela Davila -- Seattle Times TV writer -- April 8, 2007 When "The Sopranos" signs off the airwaves June 10, it's arrivederci to Dr. Jennifer Melfi, the leggy, bespectacled, dusky-voiced shrink. Eight years ago, Tony Soprano took one look at her and thought, Bada bing! Without a Melfi, we'd have never, literally, gotten inside Tony's head. Without a Melfi, "The Sopranos" might have been just OK. So as the HBO series' final nine episodes approached (they begin airing tonight), we put Dr. Melfi actor Lorraine Bracco, 52, on the couch. She was interviewed over the telephone at the end of March, having just arrived in Las Vegas for some R-and-R. Q: It's only been a short while since you filmed the last episode. How are you feeling? A: We're still in it. We're not done yet. One more day. Q: Are you getting sad? A: Yeah, I am. I don't really want it to end. In my world, if I was the ruler of the universe, we'd be doing this for a much longer time. But I'm not the ruler of the universe. Q: So you haven't yet had a chance to steal anything from the set. Melfi's chair, maybe? A: (Laughs.) I really do want my chair! Q: And these final episodes? Did the story turn out how you expected? A: I think that's one of the reasons why it's been so interesting a show, because it's never been what we expected. Q: Why do you think the public has fallen so hard for "The Sopranos?" A: It's great writing. Great acting. No commercials. To me, that's a win-win situation. Q: I've read that after "Goodfellas" (for which Bracco was nominated for an Oscar), you wanted to try something different. That you didn't want to be Carmela? A: Correct. Q: And what was so appealing to you about the Jennifer Melfi character (she's been nominated three times for an Emmy, four times for a Golden Globe)? A: I loved that she was a character against him (Tony). A female character that was very strong. That was very smart. And I knew that she would always be a great addiction for him. Q: And have there been moments when the words on the page just made you cheer or made you flinch? A: All the time. Those politically incorrect moments. You know the show crossed religion, color, ethnic groups. No one's been spared. Q: You've been very open about your own struggles in your book, "On the Couch." Personal, financial, emotional struggles. (A turbulent marriage to Harvey Keitel; an affair with Edward James Olmos). Can you talk a little bit about how your experiences helped you for this role? A: I'm curious to look at it, as a whole. But I don't think I can really see it clearly right now. I need some time to look back in retrospect. Q: We've seen the attraction between Melfi and Tony. His kiss. His fixing her car. But when she could have really used his talents for snuffing people — to go after her rapist — she declined. What are we to make of this relationship? A: We've grown together. I think he's made progress. He acknowledges that, and that was very nice for me. I could have told him about the rapist, but what would that have made me? That would have made me a gangster, and that episode (in Season Three) was all about Melfi's morality. And she wasn't going to cross that patient/doctor line. That boundary. She was going to stay true to the oath she took when she became a psychiatrist. Q: For the most part, except for that bit when we saw Melfi with her son and ex having dinner, and when she was with her own shrink, we just see you in your office. In your chair. Did you ever get jealous that you didn't get to kill anyone on the show? Or have more scenes in which you're stuffing your face? A: (Laughs.) It would have been good to eat. When I first met David (Chase, creator of the show), I said, "Listen. If you're going to make a mockery of therapy and if you make her some sort of psychosexual man-killer, I'm really not interested in that." And he agreed. And so I knew that that was not in the stars. Q: But if you could have been any other character, who would it have been? A: I would have liked to have been Uncle Junior. I just thought he had the greatest lines. And he was written so unbelievably well. Such an incredible character. And I've fallen in love with Dominic Chianese. Q: There are a couple of books psychoanalyzing the show. Have you ever read any of them? A: I've seen them. Q: Can we play a little word association with some of the characters? A: I'll try. Q: Carmela. A: Forceful. Q: Christopher. A: Weak. Q: Meadow. A: Young. Q: A.J. A: Confused. Q: Janice. A: Certifiable. Q: Junior. A : Great! (Laughs.) I love him. Q: Did you ever wonder if your character would actually last through the duration of the series? A: I don't think anyone really knew until David sat down and wrote out the arc for the season. Q: Those of us who have fallen hard for the show have had to endure some long breaks in between seasons. A: It's like Livia would say. Poor you! (Laughs). Q: How did you spend your time during breaks? A: I traveled. I have children (two: daughters Margaux Guerard and Stella Keitel). It was easy to do things or not to do anything. It was great. Q: Is your character's legacy going to be that you've prompted more men to get into therapy? A: That's true. So that would be kind of cool. Q: Not to make light of depression, but how are we to cope when this is all over?
A: I've said that we all need to do group
therapy. That we need one final session in Melfi's office. That Q: Do you know yet with whom/where you'll watch the finale? A: I don't know. Q: But it'll be with a bottle of Bracco wine? (She launched her own line in 2005.) A: Absolutely. A nice barolo.
The long goodbye
Amid filming the final episode, Lorraine Bracco gets sentimental The Toronto Star Online Interview -- Apr 08, 2007 You can forgive Lorraine Bracco if she seems a bit distracted over the phone. This can't be easy for her. "It is an emotional time," she allows, taking a break from production on what I very quickly gather is the last Sopranos ever – written and, for the first time since the pilot, also directed by David Chase. "You know, every day, there's like this little hit ... This is our last day in the studio at Silvercup. This is the last scene at the Bada-Bing. This is Little Stevie's last scene. This is the last thing I'll ever say as this character ... "Every day now, it's always `This is the last something.'" We still have another nine episodes to look forward to. For the Sopranos themselves, it's all about to end – not with a bang, but with a whimper. "It's not like this big explosion at the end of the day," Bracco confirms. "It's more like, `Oh my God, I can't believe it!' And it's not just me. It's (the people in) makeup, and hair, and sound ... you know, everybody." Indeed, there are maybe only two people on the planet who are actually happy to see the show go – Chase and his burly, bear-like lead actor, James Gandolfini. "I think Jimmy is tired, and David is tired. You have to understand, they work 16, 18 hours a day on this thing. I mean, they're tired." As far as Bracco is concerned, she could keep on going forever – but then, as Soprano shrink Dr. Jennifer Melfi, she's been in an average of maybe one scene per episode, tops. And virtually all of them opposite Gandolfini. Understandably, then, she says she'll miss him the most. "I really only worked with him, so he was always my key ingredient. "You know, going to the psychiatrist is not about the psychiatrist; it's about the patient. So, you know, translating that into acting ... there was also the thing of being an Italian woman up against (Tony), which was always a very interesting dynamic. "I mean, I love the show, I love the characters, I love the actors ... it's been incredible. I'm just so lucky." Her favourite story, as it is for so many, is the Steve Buscemi-directed comedic third-season episode, "Pine Barrens," which has Christopher and Paulie wandering lost in the woods, trying to find and finish off an injured Russian. On the dramatic side, I suggest, there has rarely been a more powerful hour of television than the earlier episode, three weeks prior, called "Employee of the Month," in which her character is brutally raped in a parking garage, and she wrestles with the temptation to turn to Tony for revenge. "Why, thank you very much," she gratefully responds. "That was a hard one for everyone, I think. I remember the guy who played the rapist was really a fireman. But he wanted to be on the show, he loved the show so much that he took the part. "But he's a fireman, and what do firemen do? He risks his life ... whenever there's danger he risks his life to go in and save someone. But here he is, hurting me, and at one point he did finally break down and go, `Oh my God, I save people. I don't do this.' It was very emotional." More intense, perhaps, but no less impactful than the separation anxiety she's going through now. Bracco admits she hasn't really yet had a chance to think it all through in the long term. "I don't know, really, what I'm going to do. I'm going to regroup in my life. I mean, I've been very spoiled. The thing with that is, I've just been offered a bunch of pilots, which was very flattering, and, you know, always makes a girl feel good ..." As does the public recognition. "People are always yelling out to me on the street, `Hey Doc!,' which I think is just adorable."
Tony's shrink off the couch, into vineyard
JOSHUA PREZANT/FOR THE MIAMI HERALD There is a certain reserve to Dr. Melfi, the shrink Tony Soprano tells all his deep, dark stuff to while she sits there in her short skirts, coolly aware that the crime boss is a hair trigger away from a lustful lunge. You might say Melfi is one of TV's best ice queens. Lorraine Bracco, the woman who plays her, is another story. Reserved she is not. Here she comes, running out of Giorgio's Bistro in Hollywood in a white button-down and capris and waving you toward a parking space. You were supposed to meet her at her beachfront condo just down the street, but at the last minute she decides she's famished, and there's not enough to eat at home. She wants you to taste her new Bracco-label wines, but you can't just walk into a restaurant | |
