It’s hard to imagine The Sopranos as anything other than the groundbreaking TV series it was, given the many TV memorable moments it's responsible for. However, creator David Chase recently revealed that his original vision wasn't for a series but a feature film. In one of HBO’s best documentaries in a long time, the recently released Wise Guy: David Chase and The Sopranos, the creator laid out his idea and, after hearing more about it, I could honestly see this alternate version of the iconic mob series being just as compelling.

Before HBO greenlit the series, David Chase originally envisioned the story as a film focused on Tony Soprano and his complex relationship with his mother, Livia. This idea drew heavily from the eventual showrunner’s own experiences with his demanding mother, giving the story an intensely personal touch. With Chase's background as a TV writer and his dream of creating something for the big screen, it's interesting that his first vision for the beloved series was as a feature film.

Had things gone differently, we might have seen a very short version of the story that was ultimately produced. Thankfully, HBO saw the potential for something bigger.

It’s interesting to wonder if the Jersey mobsters would have been as impactful in a movie format. Would the project have stood among the best movies of the 2000s? Could it have become one of the mob movie greats? While it’s hard to say for sure, it’s tough to imagine the show reaching the same legendary status without the extended format that allowed its rich characters and intricate storylines to fully develop. One thing’s for sure, though, it would've been something to see Tony Soprano on the big screen.

The central theme of family—both biological and chosen—was always at the heart of the I’ll Fly Away veteran producer’s concept, and it’s clear from his description that the movie would have shared many of the same elements that made The Sopranos series such a success. Tony’s dual struggles of being a mob boss and trying to keep his family together were foundational to both the film idea and the eventual show. That's a major reason why I believe the motion picture could've been a hit.

The relationship between Tony and Livia, portrayed by Nancy Marchand, remained one of the most critical elements of the TV series, even though it was originally meant to be the driving force of a 2-hour movie instead of a sprawling, six-season narrative. Marchand's passing in 2000, however, forced a shift in The Sopranos' storyline.

Livia’s death changed the trajectory of the show, but David Chase has always maintained that Tony’s relationship with his mother remained the heart of the story. It’s bittersweet to think about how the series might have unfolded had Nancy Marchand lived longer. Had the IP remained a film, at least Livia’s story could have reached a more complete resolution.

A film would have been compelling, but it's hard to argue against the deeper, layered storytelling of the show, which is now cherished. With its abrupt ending, Livia and Tony’s story reflects the unpredictability of life itself—a conclusion that feels far more fitting and satisfying in hindsight. Of course, you may disagree. Some folks still don’t agree on The Sopranos ending but, in my view, it makes the Emmy-winning drama one of the shows that actually ended well.

Though we’ll never see David Chase’s original film version, this newly revealed backstory offers a glimpse into what could have been. All in all, I'm entirely okay with the legendary series fans ended up with.

Wise Guy: David Chase and The Sopranos is available now on one of the best streaming services. All you’ll need is a Max subscription to enjoy.

The Sopranos is one of the defining TV shows of the past two decades, which is saying a lot. And David Chase's acclaimed mob drama, which turned 25 this year. still captivates audiences via its examination of mafia life in the 20th and 21st century. Family man and mobster Tony Soprano became an endearing character to audiences through his relationships with those around him and even through his highly questionable actions. As much as the show has been praised, it would seem that it's not entirely airtight in its depiction of the mafia, as Chase revealed one major inaccuracy with the series

Since the show completed its six-season run in 2007, David Chase has occasionally spoken about it, sharing behind-the-scenes details that provide insight into his team's creative choices. It was during a roundtable discussion for the show’s 25th anniversary with Empire (via Screen Rant) that Chase revealed one important way in which the show differs from actual mob life, and it involves the violence on the show:

Honestly, nine deaths out of thirteen hour-long episodes season isn’t that bad, considering how many deaths occur in mob movies that run two hours or more. An element that helped make the show so great and allowed it to stand the test of time is the sheer amount of character deaths. (And a number of fans still aren't over some of them.) The Many Saints of Newark producer does bring up an interesting point. But whether or not the carnage was true to life probably matters little, given audiences have been entertained and probably don't think about just how realistic the amount of killing is.

Of course, David Chase was definitely right in saying that not everyone made it out alive, as many major characters met gruesome demises. One of the most iconic Sopranos episodes involved the murder of beloved character Adriana La Cerva. I won't discuss additional major deaths, in case there are readers who still haven't checked out the show. But what I will say is that if you watch, don't be surprised if some of the killing remain in your mind for a while.

Near killings that weren’t part of Tony’s crew -- but were still important to episodes -- remain important as well. One such example is the case of the Russian commando that Paulie and Christopher may or may not have killed in the famous episode "Pine Barrens." Of course, there's also the ominous fate of James Gandolfini's Tony, which has been widely debated since the series finale aired all those years ago. But, overall, the unpredictability of the show is partially what makes it so compelling and, if that means that the body count had to be exaggerated by David Chase and co., then this fan is fine with that inaccuracy.  

Whether you've seen the show in its entirety or want to take a drive with Tony down the New Jersey turnpike for the first time, you can check out the Sopranos cast's work by streaming the show with a Max subscription. You can also check out the 2024 TV schedule for news on newer drama series.

On January 10, 1999, audiences were first introduced to Tony Soprano via a panic attack the character had in the first episode of The Sopranos. Right off the bat, James Gandolfini, who played Tony and passed away in 2013, was enigmatic, complex, and violent; even if audiences didn’t know the whys and hows, they were hooked by him alone. Twenty-five years later, The Sopranos has garnered an even larger fanbase and people have developed an even deeper appreciation for the intricacies of the late actor’s character. According to the show’s creator, David Chase, while James Gandolfini wasn’t cruel and ruthless like Tony, he had his own complexities that became obvious during his audition for the role.

David Chase, whose characters served as the basis for the Sopranos prequel, recently provided intriguing insight into how some aspects of his own life influenced parts of the show, like Tony’s therapy sessions with Dr. Melfi or the controversial ending of The Sopranos. Then, when asked about James Gandolfini, the creator had nothing but kind words to say, making it clear that he still admires the actor’s genius, and immediately saw the talent he had from the first audition on. But, while gifted, the actor did make it hard to move forward in the audition process in a few ways, primarily because he was too hard on himself.

Here’s what the show creator elaborated on when asked if James Gandolfini’s audition was impressive by TV Insider:

Additionally, Chase mentioned how important it was for fans to care about Tony so that they – both fans and creators – could really dig deep into the human exploration parts of the show. With that type of expectation, it’s no wonder why the actor was so tough on himself. He understood how complex of a role it was, and only wanted to provide the best of himself that was possible. Thankfully, it seems he actually exceeded expectations more than he probably realized.

The Sopranos is a rare type of gem that other shows on television can only try to emulate. Many still consider it to still be one of the best shows that can be streamed on Max and are even still haunted by the (possible) shocking death that turned the lights out on the series for the last time – which is impossible for most shows to achieve today. Even if we never get anything else like it, fortunately, you can check out The Sopranos in its glorious entirety with a Max subscription.

Though HBO’s classic show The Sopranos had aired its series finale well over a decade ago, it’s still widely regarded as one of the best shows of all time. The series is full of characters that fans either love to hate or hate to love, but series regular Lorraine Bracco apparently had her frustrations with her own character. Bracco was a mainstay from the very first episode to the final season, and now she gets honest about what she didn’t like about where the show took her character. 

Lorraine Bracco played Tony Soprano’s therapist, Dr. Jennifer Melfi, who appeared on the show consistently throughout its six-season run. Melfi had a number of notable scenes, including one of the show’s most brutal in which she is sexually assaulted by a mugger. The character is last seen in the penultimate episode of the final season, in which she abruptly drops Tony as a client after learning about an article that states sociopaths take advantage of therapy. 

The Emmy-nominated actress just made an appearance on the Talking Sopranos podcast, which is hosted by series veterans Michael Imperioli and Steve Schirripa. Bracco open up on the podcast about her frustrations regarding how her character cut ties with Tony. Here it is in her own words:

In addition to discussing her disagreement with how her character’s exit was handled, she offered up an alternative idea. In the same Talking Sopranos episode, the actress pitched an idea that may have smoothed out the abrupt ending she believes her character received:

Some fans may totally agree with her here, and with good reason. Tony Soprano is a hot head, that it’s very possible he would have been outraged that the end of his seven-year relationship with his therapist had come down to an end 

If anyone would be one to give some solid advice on scripts of gangster project, Lorraine Bracco would be a good contender. She’s worked on a number of gangster films and series. Aside from the iconic HBO series, she's starred in the iconic Goodfellas, and she was also a narrator on I Married a Mobster, which recounts the true stories of mob wives. 

Chances are, if you’re a diehard Sopranos fan, you’ve already binged the whole series before you also watched The Many Saints of Newark, which headed to theaters and streaming back in October. If not, you can still binge the OG series on HBO Max now. 

The Sopranos is arguably one of, if not the, greatest American television show to ever exist. The HBO mafia hit came to an end in 2007 and one of the best mysteries is still being talked about today: what became of James Gandolfini’s Tony Soprano. And now the creator, David Chase, is revealing how the original ending handled his fate as opposed to the alternate ending, the one that was used.

In the final minutes of the series finale, all seemed well as the Sopranos meet at a diner, listening to “Don’t Stop Believin’” by Journey. Meadow arrives late, having parking troubles, and when she enters the diner, the bell rings, Tony looks up and the screen cuts to black. No fade out, no voice overs, nothing. It was a risky move and fans are still upset they never saw what actually happened, which is the supposed death of Tony.

In a new interview with The Hollywood Reporter, David Chase explained the original scene he had in mind:

It's definitely interesting to know that there was a different ending for The Sopranos and it could have made all the more difference for how people would view the series. The cut to black ending was all people talked about at the time in 2007 and David Chase mentioned that it was simply because people wanted to see what had happened to Tony, they wanted confirmation:

There have been plenty of series finales that either didn’t satisfy fans or didn’t get that same reaction that other episodes have gotten. The Sopranos series finale was beautifully done and the ending only proved how risky the series is. While it’s not the original ending that David Chase planned on, it only made fans want more and talk about the series even more. Not everything works as planned but sometimes it’s for the better.

Major spoilers for The Many Saints of Newark lie ahead.

The Many Saints of Newark returns viewers to the universe of The Sopranos and, with the film, comes a number of familiar faces from the acclaimed HBO drama. However, it also introduces a number of new characters into the mobster-filled universe. One of these major additions is Harold McBrayer, played by Hamilton and One Night in Miami’s Leslie Odom Jr. By the end of the film, Harold is left in an interesting spot, with his ultimate fate left unclear. Odom Jr. has since provided some thoughts on his character’s future, and they’re pretty ominous. 

Harold McBrayer is introduced as an associate of Dickie Moltisanti in the late ‘60s, during which it’s established that the two have known each other for years. Shortly after the Newark riots, a murder warrant prompts Harold to move to North Carolina, which Dickie approves of. When he returns to New Jersey four years later in the early ‘70s, Harold has no interest in reteaming with Moltisanti and opts to start his own gang instead. This puts the two at odds, as both aim to take out the other. In the end, Dickie is killed, but under Junior Soprano’s orders, while Harold and his family start new lives in a White neighborhood. 

Leslie Odom Jr.’s character is very interesting, and it’s honestly difficult to take your eyes off him whenever he’s on screen. While watching the film, I was most interested in learning more about Harold’s backstory. I recently had the opportunity to speak with Odom Jr. about his work in the film and, during our chat, he explained that he didn’t have many discussions with co-writer David Chase and director Alan Taylor about Harold’s history. However, the actor did develop a backstory of his own:

As previously mentioned, Harold ultimately achieved that goal. He also no longer has to worry about the presence of Dickie Moltisanti. However, when speaking about what may have happened to McBrayer after the events of the movie, Leslie Odom Jr. noted that his character may not be in the clear:

It’s totally possible that Harold could’ve lived a long life post-Many Saints of Newark. But as the actor mentioned, this is David Chase’s world and true happy endings are few and far between. Considering how great a character Harold is, it would be great to see him show up in another Sopranos-related project. Chase did just recently sign an overall deal with HBO, so such a project could be a possibility. And based on Leslie Odom Jr. 's love for the character, chances are he’d be down to reprise his role

The Many Saints of Newark is currently playing in theaters and streaming on HBO Max until October 31.

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One of the fun aspects of The Many Saints of Newark is that it brings back classic characters from The Sopranos. In the film, viewers are presented with younger versions of fan favorites like Tony Soprano, Silvio Dante and Paulie “Paulie Walnuts” Gualtieri. Interestingly, director Alan Taylor previously confirmed that the movie cut a present-day scene featuring Edie Falco’s Carmela Soprano. Taylor recently opened up to CinemaBlend about the response to that major revelation and also shared thoughts on the OG stars he would’ve loved to bring into the film.

Fans of The Sopranos were likely surprised, and a bit disappointed, after learning that the Emmy winner had been cut from the finished film. However, when I recently spoke with Alan Taylor myself, he indicated that plenty of thought went into that creative decision. Taylor explained that Carmela was specifically meant to open the film, before some changes took hold:

Alan Taylor directed a number of episodes of the original HBO series and, through his work, he likely forged solid relationships with a number of the stars. When discussing the familiar faces he’d love to reteam with, he named a few key actors. This included one particular legend that I think we all wish we could watch again:

While I didn’t know James Gandolfini personally, I’d like to think that he’d be proud of the work that’s been done by Alan Taylor, David Chase, Michael Gandolfini and the rest of the cast and crew. The Many Saints of Newark not only works as a tribute to the New Jersey city, it also perfectly encapsulates the essence of the show that birthed it. The celebrated series is available to stream on HBO Max, which you can sign up for using this link.

David Chase has since expressed interest in doing another motion picture set within this universe, so there’s a chance that some of those actors could return down the road. I’d love to see a story set after The Sopranos’ series finale but, then again, I wouldn’t mind seeing another period piece, either. Here’s hoping we see more of the DiMeo crime family and the people in their orbit.

The Many Saints of Newark arrives in theaters and on HBO Max on October 1.

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HBO’s The Sopranos followed the exploits of modern-day mob boss Tony Soprano, but the upcoming prequel film, The Many Saints of Newark, will shift the focus to a different protagonist. The late ‘60s/early ‘70s movie thrusts the previously unseen Richard "Dickie" Moltisanti into the spotlight. The character is played by American Hustle andFace/Off alum Alessandro Nivola, who was faced with the task of establishing one of the franchise’s most elusive characters. But any pressure he may have felt was seemingly alleviated by a funny piece of advice Sopranos creator David Chase gave him early on.

The late Dickie Moltisanti was referred to on a number of occasions over the course of The Sopranos. James Gandolfini’s Tony in particular mentioned several times that Dickie was something of a mentor to him when he was growing up, which is why he took his son, Christopher, under his own wing. Given that his character had been treated as an urban legend of sorts up to this point, Alessandro Nivola didn’t have much to go off of when he joined the film. But during his preparation, there was one thing he was humorously advised not to do:

So the lack of concrete information on Dickie ultimately worked in the actor’s favor. And as a result, he was able to help create a distinct and layered character that seamlessly fit into this universe. Sure, it’s not hard to believe that this man would be the father of Michael Imperioli’s Christopher, but the two performances couldn’t be any more different. This stems from the fact that Dickie is battling demons that are quite different from the ones his son would face decades later:

On The Sopranos, Christopher suffered from an inferiority complex and, while his role in the DiMeo crime family gradually increased, he still wrestled with whether he wanted to remain a part of it. He was also weighed down by a serious battle with addiction throughout the show’s run. In the movie, Dickie becomes involved in a gang war with his former associate, Harold McBrayer (played by Leslie Odom Jr.). And as he retaliates, Moltisanti must consider how his actions are rubbing off on young Tony.

Alessandro Nivola does a masterful job of portraying every side of Dickie and, when fans see the movie, they’ll surely have a greater understanding of the man who made Tony Soprano. You can see it for yourself when The Many Saints of Newark arrives on October 1 in theaters and on HBO Max, which you can sign up for using this link.

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A very light spoiler for The Many Saints of Newark lies ahead.

The Many Saints of Newark manages to expand on the universe David Chase launched years ago with The Sopranos. While the film isn’t a contemporary story, it still feels like a natural extension of the HBO series. This can partly be attributed to the fact that the movie is helmed by veteran Sopranos director Alan Taylor. The filmmaker had no problem stepping back into the franchise, but his directing experience here did differ from his past work in two key ways.

Alan Taylor directed some of the biggest episodes of The Sopranos, including Season 1’s “Pax Soprano” and the show’s fateful penultimate episode, “The Blue Comet.” I recently had the opportunity to speak with Taylor about his work on The Many Saints of Newark and asked him what he was hoping to accomplish in the movie that he couldn’t in the TV series. For him, one of the biggest differences came from the increased production budget:

The director certainly isn’t wrong about the benefits of the larger budget. The scene in which Johnny Soprano is arrested originally appeared in the show’s seventh episode, “Down Neck.” While it was done well there, it definitely looks even better in The Many Saints of Newark. And believe me when I say it’s only one of a number of striking scenes in the film.

Aside from production values, there was also another major change for him this time -- his working relationship with David Chase. One of the reasons The Sopranos worked so well is that at the end of the day, it was fueled by Chase’s singular vision. Though as Taylor explained, this sometimes meant the writer/producer had to step in and take control on certain occasions:

With this, working on the motion picture was seemingly a breath of fresh air for the director. In this case, he was able to have more personal dialogues with the creator, as opposed to getting notes from the writers’ room:

The Thor: The Dark World director certainly made the most of the creative freedom that he had. As a seasoned film director, he certainly applied a number of his big-screen sensibilities to the theatrical Sopranos entry. Of course, his past work on the show is also quite impressive, and you can stream the episodes on HBO Max, which you can sign up for using this link.

This new story that Alan Taylor and writers David Chase and Lawrence Konner tell will surely give hardcore fans more of the Sopranos content they’ve been craving since the show finished its run in 2007. And it’ll also change the way audiences view certain aspects of the franchise…

The Many Saints of Newark opens in theaters and begins streaming on HBO Max on October 1.

The highway traveled between television shows and movies isn’t always a two-way street. For every Star Trek: The Wrath of Khan, which augmented a classic Star Trek episode to fit a larger screen, there are far too many Bewitched, Get Smart, and The Dukes of Hazzard… feature-length extensions of small-screen fare that didn’t warrant the jump.

Attempting to extend the life of something as revered as The Sopranos seems, on paper, like a disastrous idea. David Chase’s Shakespearean tragedy about a New Jersey crime lord (played to perfection by the late James Gandolfini) and the countless colorful characters in his court ranks among the best of the modern television series -- and there are plenty who’d argue it is THE best show of all time. Rolling Stone, for example, placed it atop the list of television’s greatest shows, ahead of Mad Men, Breaking Bad, The Wire, and Seinfeld.

Even if you share the adoration for Chase’s amoral gangster opera, there’s no denying that any creator wading back into waters he had previously let settle can only, at best, create waves. But the ones generated by Chase and Lawrence Konner’s script for The Many Saints of Newark only help fill in gaps of Sopranos storytelling we never knew we needed addressed, while also taking us right up to the birth of television’s most formidable antihero.

Wisely, David Chase made The Many Saints of Newark a prequel.

For starters, there’s no continuing from the final, highly controversial closing shot of The Sopranos season six, episode 21. If you know, you know -- and you’ll never think of Journey’s seminal anthem “Don’t Stop Believin’” the same way again. So instead of going forward, Chase, Konner and director Alan Taylor (Game of Thrones) move backwards to a time when iconic wiseguy Anthony Soprano is a restless teenager, and the family we grew to know and fear was in the prime of their time.

The Many Saints of Newark primarily is the story of Dickie Moltisanti (Alessandro Nivola), an influential character we heard mentioned many times on the seminal HBO series but who had died long before the story in the show got underway. Through Dickie and his connections in the mobbed-up New Jersey neighborhood, we meet a gaggle of recognizable names played by younger cast members: Tony’s manipulative mother, Livia Soprano (Vera Farmiga); Tony’s neurotic Uncle “Junior” (Corey Stoll, excellent in the part); Janice Soprano (Alexandra Intrator); and key members of Tony’s eventual “crew.”

The backbone holding all of this together is the racial division in Dickie’s New Jersey town, a heated boil that culminates in riots that Taylor shoots with intensity. The Sopranos never shied away from violence, and the bursts of anger in this feature film, while earned and in character, are still shocking given that we’re a few years removed from this unique level of blue-collar hostility that Chase infects his storytelling with.

The Many Saints Of Newark works better for fans of The Sopranos.

There are interesting talking points raised by David Chase and Lawrence Konner’s screenplay, but the impact of The Many Saints of Newark hits harder if you know and care about the family – and the “family” – at the heart of the story.

Take the opening scene, for example. Taylor’s camera glides through a cemetery, and the voices of the dead chatter away about instances in their lives, both good and bad. It’s here we meet our occasional narrator, Christopher Moltisanti (Michael Imperioli)... but unless you invested in The Sopranos, that name and his dialogue won’t register. Later, baby Christopher is passed around a family gathering, and begins to wail uncontrollably when he’s scooped up by teenage Tony (played masterfully by Gandolfini’s son, Michael). Sopranos fans will nod knowingly, because Tony kills Christopher in the show’s season finale. Casual viewers won’t get the reference.

Which is okay if The Many Saints of Newark excelled as a standalone Mafia movie, and it doesn’t. Taylor captures some better-than-average gangster cliches, but the emotional investment in the violent stakes only increases if you know and love the television program that preceded it in real life, but arrives after it on the story’s central timeline.

The Many Saints Of Newark definitively solves the mystery surrounding the ending of The Sopranos.

For real, stop reading now if you haven’t seen The Sopranos and still would like to some day.

David Chase ended The Sopranos with a smash cut to black as Tony (James Gandolfini) ate dinner with his family at Holsten’s Diner. Fans and critics analyzed the scene through and through, debating whether the abrupt ending signaled Tony’s death. (There was a guy in a Members Only jacket who went into the bathroom behind Tony, and might have retrieved a weapon a la Michael Corleone in The Godfather.) Personally, I always believed Chase was killing off his leading man, though I also loved the ambiguity of the resolution because it allowed loyal viewers to bring their own interpretation to the scene.

The Many Saints of Newark returns to Holsten’s. And it’s the circumstances that bring young Anthony to the diner that I believe completely answers Chase’s unanswered question. It’s the scene I’m most excited for fans of The Sopranos to see when this movie opens. In general, my grade for Saints applies to this who absorbed The Sopranos and were curious about the backstories of some of the show’s icons. If you aren’t that person, maybe take a star off.

The Many Saints of Newark was all about bringing the Sopranos legacy to the silver screen. There was just one hitch to this plan – Warner Bros.’ controversial HBO Max release strategy. Of course, not everyone was on board with this plan. Most filmmakers voiced their disdain for the plan, but one voice hadn’t said much until now. The Sopranos creator David Chase finally aired his frustration over The Sopranos prequel going straight to HBO Max.

David Chase’s writing and nuance made Tony Sopranos one of television’s greatest characters. The Many Saints of Newark was meant to bring the mob boss's origin story to the big screen. So Warner Bros.’ hybrid release plan seemingly wasn’t Chase’s cup of tea. The Sopranos mastermind said about the prequel’s day-and-date release:

David Chase’s feelings about the HBO Max release seem fairly understandable. The Many Saints of Newark was Chase’s way of bringing everyone’s favorite mob family to the big screen after years of trying. So Chase had every right to be upset over the film being released to streaming. It wasn’t meant to be on television, according to the Sopranos creator. But The Sopranos prequel is one of many Warner Bros. releases facing the same fate as Chase pointed out. After giving his initial thoughts, the writer-producer had more to say about HBO Max.

David Chase wasn’t done airing out his grievances over the HBO Max release. He told Deadline that he wouldn’t have committed to The Sopranos prequel if he had known about Warner Bros.' hybrid release plan. Chase admitted he wanted to walk away but couldn’t as the prequel was a good movie. Despite his dissatisfaction with the plan, the creator conceded the current movie experience is evolving. He seemed to still hold out hope that moviegoers will return to the theater eventually.

Chase seemed to understand the shift in Hollywood but still prefers the theater experience like many filmmakers. David Chase doesn’t have much to worry about given recent numbers from similar releases. Moviegoers won’t have to wait much longer as The Many Saints of Newark will arrive in theaters and on HBO Max on Oct. 1.

Whether you just finished your first binge of The Sopranos or you were one of the many who saw The Sopranos Ending the day it happened, the controversial (and highly lauded) final episode of the hit HBO drama still has people talking about it even today. Because that’s the thing about ambiguous endings—either people are going to love them, or they’re going to feel they wasted their time watching a show because they wanted a definitive conclusion. And series creator, David Chase, made it pretty clear back in 2007 when the show ended that he wasn’t interested in the latter.

Major Sopranos spoilers ahead!

But let’s just say that we had gotten a definitive conclusion. In this scenario, we see Tony either getting pumped full of lead or put in the back of a squad car (because really, what other options were there for his character?). Would anybody still be talking about the show thirteen years later if that had happened? Possibly, because it was a pretty damn good show, and a lot of people are still talking about Breaking Bad even though that conclusion was pretty clear cut (though, some people denied what they saw).

But really, people probably wouldn’t still be discussing The Sopranos if it didn’t have that ambiguous ending. Which is why I’m writing this article today. Now, there’s going to be some speculation in this piece, but also some evidence from David Chase and other writers from the show. So, let’s get sleuthing.

How Did the Series End?

The sixth and final season of The Sopranos was an interesting one. Told in two parts, the first half of Season 6 saw Tony in a coma, wandering around in his subconscious. He eventually woke up, and he started to have a bit of a turnaround after his near-death experience. It wouldn’t last, though, as the second part of the season saw the New York crew getting upset over asbestos disposal, putting them at odds with Tony’s New Jersey crew, but Tony comes out ahead.

Or so we thought. That’s where the final episode, “Made in America” leads us to. Tony goes to a diner and waits for his family to arrive. While he waits, he puts on Journey’s “Don’t Stop Believing.” People enter, and Tony keeps looking up, since that’s the life of a Made man, always looking over your shoulder. One by one, people come through the front door. His wife, Carmela, enters, then a shady looking guy, then his son, AJ (who wants onion rings). The shady guy looks back from the counter, and Tony’s daughter, Meadow, struggles to parallel park outside (I can relate).

The shady guy gets up, walks past Tony’s table to go to the bathroom (and if you ever saw The Godfather, you know that’s not good). Some more people enter, rubbing their hands as they ogle what looks like some tasty cake. Meanwhile, Meadow is STILL struggling to park. The onion rings finally arrive, Meadow almost gets hit by a car as she rushes across the street, the bell at the door rings, and the screen cuts to black abruptly as Steve Perry sings “Don’t stop!”… and then... well, that’s it. The end. Thanks for watching!

How Did Sopranos Fans React To The Finale's Cut To Black?

Oh, man. I was there. I remember watching the final episode with my friends, and I’ll never forget that my buddy, Nick, got up from his seat after the screen went black and apologized profusely when we all groaned. He thought his cable box went out, and apparently, he wasn’t the only one. This was before everybody just checked the internet to see what everybody else was saying, and we genuinely thought that something had happened. That’s because it didn’t just go to black and then the credits came up. No, no. The screen went black for a full 11 seconds before the credits came up. And 11 seconds is an eternity when you’re on the edge of your seat.

But when the credits did come up, that’s when the debates began: Wow. Tony died. No, he didn’t. Of course he did, why else would the screen go black? I don’t know, maybe to leave the audience hanging. But… but… that’s stupid. It doesn’t make any sense. Why does it have to make sense? Because it just does! Hey, what about the guy in the jacket? Did he ever come back out of the bathroom? Wait, wasn’t Meadow the last person to come into the diner? No… Wait. Yes, she was! Can we watch it again?...

And so on, and so forth. Honestly, my friends and I still debate what happened at the end of The Sopranos to this day, just like we debate what happened at the end of Inception. And the cool thing is, none of us can really be wrong. Or right, for that matter. But that’s another issue entirely.

So… Did Tony Soprano Die?

Short answer? No. The screen just went black, and that’s what we have to go on. Long answer? Well, it’s complicated. Here’s what series creator, David Chase had to say in an interview with Deadline:

Chase went on to explain that the plan was to use that death scene "whenever the show went off the air," but then he changed his mind. That could imply that Tony does not die in the actual ending we got because that originally planned scene of Tony's death was never filmed. But I’m sure you’re probably saying, but that doesn’t mean that he wasn’t killed, right? It just means that David Chase chose not to show him get killed. Well, in that same interview, Sopranos writer, and Boardwalk Empire creator, Terence Winter, had this to say:

So, really, that just tells me that from the writers’ point of view, it doesn’t really matter if Tony died that night or not. He was bound to either die or end up in jail eventually, which in a way just means that it’s really up to the viewer to decide if he was killed that night or at some other time. Because according to the writers, Tony does end up dying or getting caught at some point in the future.

It's Open To Interpretation

Personally, I prefer to think that Tony didn’t die that night. Not because I didn’t want him to die or didn’t think he deserved to die. But I think it makes the ending much more effective if Tony didn’t die. Because come on, what’s worse for a person? Getting a quick shot to the head, or having to live the rest of your life knowing that somebody out there wants to kill not only you, but possibly even your entire family? If Tony doesn't die from a bullet, he'd probably die from stress alone.

And I love that the ending is that ambiguous. When I saw The Irishman I thought of The Sopranos right away, since there's a great scene in that movie when Robert DeNiro’s character, Frank Sheeran, goes into a restaurant and kills “Crazy Joe” Gallo right in front of his family. The scene was great, but the effectiveness only lasted a few seconds, while I've been thinking about The Sopranos ending for years now. That's the power of that ending.

But what do you think? Do you believe Tony died that night? Or do you think it’s better that we never know? Also, how do you think the ending of The Sopranos compares with other popular shows like Dexter and Breaking Bad? I personally love ambiguous endings since the conclusion can mean anything you want it to mean, but I know a lot of people can’t stand them. Sound off in the comments section below. And remember: Don’t stop believing.

This poll is no longer available.

Few, if any, endings in the history of television have ever been discussed and debated as much as that of The Sopranos. Some love the ambiguity. Some feel like fans were deprived of a real ending. Turns out, even the original ending Sopranos creator David Chase had in mind would have probably caused the same split reaction.

The reveal came as part of some conversations that were bundled together in a package called The Sopranos Sessions by Alan Sepinwall and Matt Zoller Seitz. In the time since the initial publication, many fans have picked up on his usage of the phrase "death scene," assuming it cements what the more ambiguous ending would have led to.

That's obviously a fair conclusion to jump to and one that David Chase has basically said before. I would imagine the majority of Sopranos fans think Tony died and would have died in this ending as well, but the fact that Chase was always planning to leave the door open is, to me, the more interesting part.

Tony Soprano is, without question, one of the greatest television characters of all-time. He's so complicated and such a contradiction on so many levels, but he's also often so full of life. Even when he's down, as we see in the numberous therapy scenes, he's a force of nature. With the help of James Gandolfini, who will never, ever get enough credit, he sucks all of the energy in the room.

Tony the only thing you can look at or fully take in because he's captivating. He owns every conversation, and even when he's not talking, you're glancing at him to see how he's reacting, whether the camera is fixated on him or not.

So, whether Tony Soprano was technically meant to die or not, it truly matters that Chase was never interested in us actually seeing him dead. For those of us who love The Sopranos, he will always be alive in our memories, even for those of us who think he was about to die when we last saw him. I love a good conclusion, but I can't accept one that makes me see Tony Soprano without that signature charisma and energy.

PSA: If you haven't seen The Sopranos but bizarrely decided to read this article anyway, quit whatever you're doing and start binging it. (You too, Edie Falco!) Then re-read this article and you'll understand exactly what I mean.

HBO2 is planning on running a special marathon of The Sopranos' final season, and you can check out all the other great shows coming soon via our midseason premiere schedule.

HBO's The Sopranos is widely considered one of the best shows in television history, and it is one of a few series that are credited with kicking off that medium's current golden age. The series ended in 2007 with TV's most controversial finale this side of Lost, but fans have always hoped for some sort of movie or return to the world brought to life by series creator David Chase. Now, more than a decade after it went off the air, The Sopranos is getting a prequel movie from David Chase, tentatively titled The Many Saints of Newark.

New Line has purchased the script for The Many Saints of Newark, written by David Chase and Lawrence Konner. The prequel will be set in New Jersey in the 1960's during the Newark riots. The race riots will provide the backdrop for the conflicts between the African-American and Italian gangsters. According to Deadline, David Chase will serve as producer and will also have a hand in choosing who directs the script that he co-wrote. There are no real plot details yet, but the time period will allow for the film to explore some of the history of the crime family that we spent six seasons with. Tony Soprano's father, Giovanni "Johnny Boy" Soprano, was only seen in flashbacks and dream sequences in the series, but this prequel may allow fans to really get to know the man that Tony had such a complicated relationship with. The Many Saints of Newark may also give us a chance to meet younger versions of Tony's mother, Livia, and the always-entertaining Uncle Junior.

As The Many Saints of Newark will be a feature film and not an HBO TV movie, I am curious how it will be marketed and if the title might be changed to include that Sopranos name for brand recognition purposes. It's been 11 years since The Sopranos went off the air, and while I'm sure this movie will stand on its own, the real sell here is for the expansion of The Sopranos mythology. Thanks to binge-watching and streaming, the show's fans have only grown in number since the series went off the air. You don't see a lot of these type of "wise guy" gangster stories anymore, and especially not on the big screen. Martin Scorsese's The Irishman is on the way, but as a Netflix film that may only be a limited theatrical release.

Returning to the world of The Sopranos and organized crime on the big screen is definitely something to be excited about. And there is no way I would want to see this from anyone but David Chase. Now if only we can get that Deadwood movie in front of cameras. We'll keep you updated when we hear more about casting, director and release date for The Many Saints of Newark.

The Sopranos was one of the most pivotal series in modern TV history, and it's almost hard to believe that the show has been off the air for more than a decade. Now that we're in an era of reboots and revivals, the natural question is whether The Sopranos could ever come back to the small screen. Creator David Chase has weighed in on the one way the show could come back, saying this:

The series finale of The Sopranos is infamous for ending without actually giving viewers any closure, and it seems that David Chase isn't interested in any kind of revival or sequel that would pick up after the action of the finale. Still, he sounds like he's on board for a series that takes place before the narrative of The Sopranos picked up. This isn't even the first time that he's floated the idea of a prequel. Chase was discussing a potential prequel as recently as 2014. At that point, he mentioned that he was interested in exploring the racial tensions and drug influx of the late 1960s and early 1970s.

David Chase didn't go into any detail on what kind of prequel he's imagining nowadays, but there are plenty of characters from The Sopranos whose histories could be wonderfully fleshed out via a series set earlier. If we're not going to get an answer on what that ending was actually about, I'd say that we deserve a prequel to at least bring us back to the Sopranos universe. Chase actually also explained in his chat with EW why he's against a revival or reboot:

The actors of the first run of The Sopranos made the characters entirely their own, and it's hard to imagine recastings that wouldn't pale in comparison to the folks who originated the the roles. Besides, star James Gandolfini has passed away since The Sopranos went off the air. Given how hotly fans have debated the ambiguous ending over the past ten years, any reveal of what actually happened might not go over especially well. An earlier era can be explored with characters who are related to the Sopranos leads without actually featuring any of those original (and potentially divisive) characters.

The comments from David Chase about a potential prequel are entirely hypothetical at this point, so we shouldn't start planning watch parties. Still, HBO is clearly on board with spinoffs of hit franchises. Maybe the time is right for a return to the world -- if not the time -- of The Sopranos.

We can only wait and see. Luckily, there's plenty of great TV to watch in the meantime. Check out our Netflix premiere schedule for a look at your streaming options and be sure to drop by our summer TV premiere schedule.

As the creator of one of the most critically acclaimed dramas of all time, The Sopranos, David Chase has to talk about his crown jewel just about every time he sits down for an interview. And anytime someone starts talking Sopranos, it’s inevitable for the polarizing ending to come up. But it’s not often Chase talks about that other ending that was shot. He does here though, when asked about alternate takes.

David Chase was totally getting his J.J. Abrams on by putting together a fake ending for The Sopranos as a smoke screen distraction for the REAL ending. In the scheme of things, I have to wonder if Tony having an argument with someone inside the iconic strip club would have been a better way for the show to bow out than the way it did. I mean, it didn’t really bow out so much as just fade into dark nothingness. So an argument, regardless of its reasoning or outcome, probably would have been received slightly better than the ringing bell of the diner’s door. At least from some people.

Even though The Sopranos finale aired in 2007, it still feels like a completely different era in TV, especially when it comes to fans trying to get spoilers. Chase talks of people invading and stealing scripts, which undoubtedly still happens, but today’s leaks more often come from digital screeners getting passed around or cameras on drones taking videos and images from sets. I bet Tony could have done some really interesting shit if he had a couple of drones.

After all this talk of endings, you might be wondering what, if anything, is happening on the front of the potential prequel to The Sopranos that’s been rumored for years. Unfortunately, there’s nothing good to share on that front, as Chase told Deadline that while he’s “disinclined” to say he’ll never do it, he doesn’t think it’ll happen and he definitely hasn’t had an idea good enough to turn his mind around on the matter. So we’ll just continue hoping that idea rears its pazzo head at some point.

Now if only there was a way for this story to end like the The Sopranos di…

HBO has really done a lot for the gangster genre, between The Sopranos and Boardwalk Empire. However, in the future, there may be room at the subscription cable network or elsewhere for Sopranos creator David Chase to push out a prequel series to the popular HBO drama, set in a slightly different era.

Ever since The Sopranos aired its epic and widely discussed series finale back in 2007, rumors have persisted about a possible movie or prequel series. As recently as 2012, Chase has said he’d love to do a project about Tony’s parents and Uncle Junior in the early days, and a couple of years later, the timeline may still fit. Here’s what Chase had to say to the AP about a prequel.

This time around, Chase made no mention of familiar characters popping up in that environment, but the timeline could definitely work out, depending on what direction he would want to take the potential series in.

Unfortunately, there are no current plans for Chase to pick up The Sopranos’ mantle and move forward with a prequel idea. But the good news is the writer, producer and occasional director still has a prequel to his most famous series on the brain. And if his brain is still churning over what a prequel could be about and when it would be set, that means it isn’t dead yet, just dormant. Maybe, like the recently revived Twin Peaks, it will eventually get off the ground.

Obviously with James Gandolfini gone and the rest of the cast, including Steven Van Zandt and Edie Falco, moving on to other projects, catching up with the Soprano family wouldn’t work—even considering what Chase has had to say about that controversial final episode. The question is whether or not Chase should revisit the mafia once more, at all.

While the prequel isn’t off the ground, yet, if you want to rewatch The Sopranos, the Complete Series is out on Blu-ray for the first time this week.

Most of television’s most buzzed about questions were eventually answered on the air. Who shot J.R.? Who murdered Laura Palmer? Will Kevin and Winnie Cooper end up together? Unfortunately for Sopranos fans, will Tony Soprano survive was not one of those answered questions. The final episode memorably cut to black as Journey was belting out “Don’t Stop Believin’” and the Soprano family was eating onion rings at a diner. In the years since, fans have debated what the hell happened and creator David Chase has stayed silent, at least until now.

When it comes to Tony Soprano’s fate, the answer is not dead. Seriously, that’s what he told Vox. Here's the exact answer to "is he dead?"...

So, Tony is not dead. As for what the hell else happened, you’re just gonna have to continue speculating and passing around wild theories because David Chase is not talking. For all we know, he may never offer another shred of Sopranos-related details.

In that way, he’s like the anti-JK Rowling. He’s not interested in updating fans on where the characters may have gone or even in mapping out directions they may have taken. He’s content to leave the past in the past and doesn’t really understand why fans should ask him what happened to Tony or what happened to that Russian in “Pine Barrens”. Life is full of mysteries. All of our questions are rarely, if ever, answered. So, why should television be any different?

Of course, it’s David Chase’s viewpoint that is on the fringe. An overwhelming majority of people don’t want to see this during a finale…

That being said, it’s only fair to acknowledge that the whole reason why so many were miffed at the Sopranos for its ending is because they loved the show so much. If it was a one-season disaster and was quietly cancelled, people wouldn’t still be asking David Chase about his ending so many years later. In fact, they probably would have forgotten the show even existed.

It’s possible Chase will come out sometime in the next few days and further clarify what Tony is doing now that the story has gotten so much press. Don’t count on it though. He’s found other ways to spend his time.

UPDATE: David Chase’s representative has issued the following statement regarding the reported comments:

David Chase has already left an impressive legacy in television medium. Beginning with The Rockford Files from 1976 to 1980 to Northern Exposure from 1993 to 1995 and leading to The Sopranos from 1999 to 2007, he has left a mark on the small screen that will not soon be forgotten. But, strangely, he has never found time in his career to direct or produce a feature film (in fact, his only movie work in his career is as an uncredited screenwriter on the 1972 horror Grave of the Vampire). Those days have come to an end, however.

For a while now Chase has been working on his feature directorial debut, the period rock n roll drama Not Fade Away, and with the movie set to come out in December it has sent out its first trailer. Watch it below and see it in HD over at Apple.

Set in 1964 New Jersey, the film chronicles the gathering of a group of friends who decide to start a rock band together. The lead cast is largely unknowns, but Chase. who also wrote the script, has James Gandolfini, Brad Garrett, Bella Heathcote, Isiah Whitlock Jr. and Christopher McDonald playing supporting roles. Paramount Pictures has come aboard to distribute the movie, and will be giving it a limited theatrical release on December 21st. To learn more from Not Fade Away be sure to take a trip over to our Blend Film Database.

If you're following the coverage from the Toronto Film Festival-- including mine!-- you know that the 2011 Oscar season has really already started. But if you want to get a jump on the next one, here's a date to mark on your calendars-- October 19, 2012. That's when Paramount is planning, according to Deadline, to release a little movie with the production title Twylight Zones. More significantly, it's the directorial debut of David Chase, who completely transformed television when he created The Sopranos.

Not only that, but the movie will reunite Chase with Sopranos patriarch James Gandolfini, in a cast that also includes Brad Garrett, Christopher McDonald and Lisa Lampanelli. The story also brings Chase back to Jersey, in a story about a group of friends who form a garage rock band in the 60s. Gandolfini, obviously not really of rock star age, plays a parent on the wrong side of the generation gap "who has worked hard to give his son everything he didn’t have but now feels some jealousy about the free-wheeling life the boy gets to experience." Basically it's James Gandolfini playing a regular guy, not the terrifying badass we're used to; that enough is reason to start the countdown.

It's very rare to see a first-time director with such amazing credits already to his name from television, and it will be fascinating to see Chase transform his signature style to the more compressed feature format. Obviously paramount thinks so too-- the October 19 release date puts the film, which is technically untitled, smack dab in the middle of Oscar season. Sure you're excited about The Descendants and War Horse right now for Oscar prospects-- but to get ahead of the game you gotta start talking David Chase.

We already knew Sopranos creator David Chase was getting started on his first feature film. Now, according to Production Weekly, that film has a title: The Twilight Zones.

Those looking to see Tony and Carmella get the family together in an old bus and start touring around the country performing groovy 70’s rock will be sorely disappointed. Filming will begin this summer on the oddly-named production, and will focus on a group of guys forming a band (presumably “The Twilight Zones") in the 1960’s. Chase incorporated music extensively into The Sopranos and was meticulous in his choices of songs. With his new movie, he has a chance to put that knowledge to good use in telling the story of how a band forms and succeeds (and gets whacked in the end?).