grumpy_new_yorker
New member
Same reason they like goodfellas, casino and scarface.
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pralims said:I mean lets keep it real....i watched every episode and whenever a black person is on screen they are portrayed in a way that makes them look stupid or unable to put a sentence together. the black people are either drug dealers o rin some sort of anger rehab. Even the half balck guy was killed for dating "the bosses" daughter. the mother had a black housekeeper and the first thing tony says is."please no guns around my mother" and th mother thinks shes stealing.
Why do we continue to support this show? i know its only entertainment, but i would rather not have any blacks on the show rather than low wage earning, drug dealing criminals. The only sucessful black was half jew? wtf
pralims said:I mean lets keep it real....i watched every episode and whenever a black person is on screen they are portrayed in a way that makes them look stupid or unable to put a sentence together. the black people are either drug dealers o rin some sort of anger rehab. Even the half balck guy was killed for dating "the bosses" daughter. the mother had a black housekeeper and the first thing tony says is."please no guns around my mother" and th mother thinks shes stealing.
Why do we continue to support this show? i know its only entertainment, but i would rather not have any blacks on the show rather than low wage earning, drug dealing criminals. The only sucessful black was half jew? wtf
stoneface;4398255 said:though I honestly dont feel the show was blatantly trying to be racist, imo.
blank_griffin;4398214 said:Sopranos >> The Wire.
But because of the authenticity of the story telling in Sopranos, and the fact that it is common knowledge the Cosa Nostra did not particularly like people of color.. well basically, you can put two and two together.
John Gotti hated niggas, that is a fact.
And his predecessors were the same.
But having said that there are a few instances in the Sopranos where they give niggas high positions like the dude on the Board for the housing scheme Tony wanted to exploit.
And when Tony got pulled over by a black cop he complained to his inside man about it and he had him fired. Then it shows Tony go back and try and make amends and get his job back.
But reality is most of the show portrayed niggas in a negative light.
pralims;4398443 said:Cop was made to look like weak...and made to look like tony had more authority and thats why he was fired
pralims;4398443 said:the housing dude....was shown in a light to go against his people and sell them out
BIGRuss;492321 said:Same reason they like goodfellas, casino and scarface.
http://www.avclub.com/articles/guy-walks-into-a-psychiatrists-officedo-not-resusc,43261/It's here that I want to take a step back and, again, talk about the ways this series compares to The Wire and Deadwood. Deadwood - perhaps my favorite series of all time - takes the broadest possible view of humanity. We're all one unit, struggling together toward similar ends and all affecting each other in ways we don't fully understand. The Wire is a bit more bleakly deterministic - most of the people on it will never see even a modest victory - but it, too, observes all of the people in its universe as complex, complete people, as pieces that are connected in complex and interesting ways many of them will never know about. The Sopranos takes the narrowest view of its world and humanity possible. These people are venal and self-obsessed, and they will never change. The only way they - or we, really, since they are the people we view this world through - will notice the protestors or Melfi's patient who commits suicide is if someone (Melfi, in this case) forcibly throws open the window and makes us and them look at that sight. Someone dies on Deadwood or The Wire, and you feel it. It reverberates. Someone dies on The Sopranos and they're outside of Tony's immediate field of vision? They don't even exist.
One of the criticisms I and other critics have held against The Sopranos has always been that it doesn't really develop characters outside of its central mafia world. When the series tries to head off to Hollywood or visit the African Americans Chris works with in the projects or drop in for dinner at Melfi's house, it often feels hilariously awkward, as though the series has completely left its wheelhouse. It's rare to hold that complaint against an episode of Deadwood or The Wire, where the writers easily slip between the classes within their fictional cities. But on this rewatch, I'm less and less convinced this is the case. The characters we meet from outside of the mob world are so often bare stereotypes or simple plot points because the point-of-view characters we observe this world through see them that way. The only one of the protestors who gets much development at all is the preacher, and that's because he's the only one Tony can really understand, since both men are corrupt, to some degree. Men fighting for something better than what they have? Not really something Tony can grasp. But a man taking advantage of others to line his own pockets? Tony sees bits and pieces of that every day in his line of work. The Sopranos misses the "little people" so thoroughly because the SOPRANOS miss the little people so thoroughly. They're just people standing in the way. (In this way, The Sopranos is probably just as trenchant and complex a criticism of pure capitalism as Deadwood or The Wire.)