Ascension does not have to be now. Everyone has a different life path and Journey.
WE ARE ALL ONE. ONE HEARTBEAT. ONE ENERGY. KARMA IS THE LAW OF THE UNIVERSE.
"I GET IT!" - everything, all Life, is Truly One.
THE SOPRANOS OF OUR TIME AND 2001: A SPACE ODYSSEY OF 1968 ARE CONNECTED INDEFINITELY IN TIME AND SPACE AS A WARNING FOR 9/11. THEREFORE, IT IS OUR FIRST TRUE EVIDENCE OF COMMUNICATION WITH OTHER TIME PERIODS.
OK here goes,
Without a doubt in my mind, The Sopranos is forever linked in space & time to Kubrick's 1968 2001: A Space Odyssey as a warning about 9/11.
It is our first true evidence of communication with other time periods.
This is not going to be an especially long analysis. I am going to focus on only what is important to tie the concept together. I will undoubtedly be taking insightful ideas from various Sopranos forums and discussions, including TheChaseLounge.Net, MoS, SopranosAutopsy.com, and a SINGLE THREAD about a question on reddit.com, that to my knowledge, HAS NEVER BEEN SUCCESSFULLY ANSWERED BEFORE. I will post the entire thread to this analysis as well as cite every member's work that has contributed to my revelation.
I WILL ALSO MAKE IT MY EVERY ATTEMPT TO ALLOW ALL PEOPLE, NOT JUST THOSE WHO HAVE WATCHED THE SERIES, TO APPRECIATE THE FULL CONTEXT OF WHAT I'M ABOUT TO WRITE.
I believe that David Chase experienced a spiritual journey (out of body experience, soul travel) in relation to seeing 2001: A Space Odyssey.
I came across finding out about - David Chases's admiration for the Film from our very own member SilvioMancini through his excellent thread (Bells, Duality, Metaphysics, schrodingers Cat Oh my!), which I will be referring to numerous times.
Here is the link of that thread: viewtopic.php?t=2930.
I am going to break everything down step by step. First of all, the film above was created in 1968. However, look at and appreciate the title of the film (it was made in 1968 yet it's alluding to the year 2001 through some kind of Space Odyssey). Also, we try to understand the full breadth of knowledge associated with Chase. David Chase is considered, by critics, to be our generation's true great writer. He is our generation's Shakespeare or our generation's Kubrick.
Stanley Kubrick made 2001: A Space Odyssey, and he is frequently cited as one of the greatest and most influential directors in cinematic history.
Kubrick's 2001: A Space Odyssey simply just defies expectations.
From Wikipedia: "The scientific realism and innovative special effects in 2001: A Space Odyssey (1968) were without precedent in the history of cinema, and the film earned him his only personal Oscar, for Best Visual Effects. Steven Spielberg has referred to the film as his generation's 'big bang,' and it is regarded as one of the greatest films ever made."
The page even further praises the film in the next paragraph. "Today, 2001: A Space Odyssey is widely regarded as one of the greatest and most influential films ever made. In 1991, it was deemed 'culturally, historically, or aesthetically significant' by the United States Library of Congress and selected for preservation in the National Film Registry."
Our understanding of physics, the universe, quantum mechanics, spirituality, the occult, hidden messages, etc. have been shown to us so beautifully & intelligently throughout the The Sopranos.
The Sopranos also just simply defies expectations. For example, reading through SilvioMancini's thread was an unbelievable and daunting task. David Chase makes connections (not just to the film, but to EVERYTHING), and these connections are literally too much to handle. He does this through the use of physics, such as the theory of quantum entanglement, which is still quite difficult for me to understand.
Another way he accomplishes these connections by science is demonstrated, for example, by the use of Freud's theory Reversal Into The Opposite, which FlyOnMelfisWall so intelligently articulated for us from (5.11 The Test Dream).
Here is the link to her essay, which I will be referring to numerous times as well: viewtopic.php?f=45&t=2503&hilit=Tony%27s+vicarious+Patricide.
From Wikipedia: "The Sopranos is widely regarded as one of the greatest television series of all time...The series also won a multitude of awards, including Peabody Awards. In 1999 and 2000, The Sopranos earned two consecutive George Foster Peabody Awards. Only three other series have won the award in consecutive years: Northern Exposure [Also with David Chase], The West Wing, and Breaking Bad.”
From a Different Wikipedia Page: "The George Foster Peabody Awards (or simply Peabody Awards) program, named for American businessman and philanthropist George Peabody, honor the most powerful, enlightening, and invigorating stories in television, radio, and online media."
David Chase has also received The Laurel Award for Lifetime Screen-Writing Achievement in 2008 (The Sopranos ended in 2007, and the following year he has received this prestigious award). Receiving The Laurel Award is considered the highest honor for any writing in Television.
More specific description of this award: “The Laurel Award for Screenwriting Achievement (also known as the Screen Laurel Award) is a lifetime achievement award given by the Writers Guild of America, West. Since its inception in 1953, it has been presented every year at the WGA Awards to a veteran screenwriter of high stature. The official description reads that it 'is given to that member of the Guild who, in the opinion of the current Board of Directors, has advanced the literature of the motion picture through the years, and who has made outstanding contributions to the profession of the screen writer."
Just to provide one (of the many, many) examples of the Critical Acclaim the Series has received, in 2013 the Writer's Guild of America named The Sopranos the Best-Written Television Series of ALL TIME. And it has since remained at that position. It is frequently cited as one of the Greatest Television Series of All Time by numerous other groups and/or disciplines.
Just to provide one (of the many, many) examples of the Critical Acclaim the Film has received, in 2010 the The Moving Arts Film Journal named 2001: A Space Odyssey the Greatest Film of ALL TIME. And it has since remained at that position. It is frequently cited as one of the Greatest Films of All Time by numerous other groups and/or disciplines.
I am just trying to establish a connection here that both works (and thus their creators) have been extremely influential.
Every single Episode of The Sopranos is “Open To Interpretation” from a wide variety of different disciplines. The Final Episode [Made In America] is especially difficult to understand or comprehend.
Every single Part (or Section) of 2001: A Space Odyssey is “Open To Interpretation” from a wide variety of different disciplines. The Final Part [Jupiter And Beyond The Infinite] is especially difficult to understand or comprehend.
It has been nearly two decades since the The Sopranos first aired.
It has also been over a decade since the Finale appeared, and people are still trying to figure out what happens in the End.
It has been over five decades since the Film 2001: A Space Odyssey first aired, and people are still trying to figure out what happens in the End.
So now we know that Kubrick and Chase are cited to be the most influential of their respective times, so we trust that their respective works are so truly important to us.
People have known for a long time that everything is connected through the Universe, Stars, and Planets; and that traveling through different Dimensions/Time-Zones is possible, this is absolutely NOT a surprise to us. Numerous people who experienced spiritual journey via soul travel have written books about it. Examples include the ancient Egyptian writings in the Book of the Dead to the novels of recent times such as The Western Lands, and to authors of recent times such as Harold Klemp.
[I have also been recently introduced to the following website: http://www.astraldynamics.com/astral-projection/. The individual’s name who documents his experiences of astral projection on this website is Robert Bruce. It just one example and I am sure there are more out there. I am including it just to demonstrate that astral projection (out of body experience) is true both by accounts of people in our time, as well as written records dating back many years. It’s not something new and it should NOT come as a surprise to us that we maintain the capability to travel through different dimensions.]
However, there is no direct evidence to show spiritual journey into different dimensions through soul travel except for written/oral accounts, in which case you must trust the word of the speaker/writer.
I PLAN TO PROVE THAT THE SOPRANOS OF OUR TIME AND 2001: A SPACE ODYSSEY OF 1968 ARE CONNECTED THROUGH TIME AND SPACE INDEFINITELY AND THEREFORE OUR FIRST TRUE EVIDENCE OF THE FACT BY GIVING A FINAL ANALYSIS OF THE FINAL EPISODE OF THE SOPRANOS, TITLED "MADE IN AMERICA." I WILL UNDOUBTEDLY BE USING INSIGHTS ARTICULATED BY PREVIOUS POSTS, AND I WILL CITE WHERE RELEVANT.
This next part that I am about to write is very important and I believe is the key to finally proving the connection. When David Chase was interviewed about the relationship between the two works, he said something to the effect of: They are related in one way, for example, because it had a lot to do with our favorite scene in 2001: A Space Odyssey and with three scenes that it correlated with in The Sopranos. Two of the scenes that it correlated with in The Sopranos he named. One of them he said he doesn't recall.
AS WE KNOW DAVID CHASE BY NOW, IF HE SAYS HE DOESN'T RECALL THAT MEANS HE RECALLS IT ALL TOO WELL, and it is the final key to solve. It also pertains to the SINGLE THREAD on reddit.com that I named above, that to my current knowledge, HAS NEVER BEEN SUCCESSFULLY ANSWERED BEFORE, even after being posted on TheChaseLounge.Net.
I will post the entire thread when I am reviewing that scene later below. Also, even though David Chase says as an example, one way that The Sopranos and 2001: A Space Odyssey are related is by that scene, he is being humble. They are related in infinite ways, just as the Universe is related to the Stars and to the Planets and to our Souls.
I want to take the time out now to point out that I AM NOT IN ANY WAY SOLELY RESPONSIBLE FOR THIS FINAL REVELATION. I have only provided the last bits & pieces. This is a culmination of truly intelligent work of so many dedicated people throughout so many years. And I want to take out special significance for those not familiar with our deeply respected online community: FlyOnMelfisWall is the true measure of the embodiment of the series. Without her, there would be no TheChaseLounge.Net, no "Tony's Vicarious Patricide," and true understanding of the series as we have understood it. I also want to mention a sincere thank you to all of the Honorary Members, Moderators, and Administrators of TheChaseLounge.Net, which I am not. A very special thank you to MoS (MasterofSopranos) and SopranosAutopsy.com, which have helped us so much as we all deeply respect "This thing of Ours" and are connected in infinite ways.
FlyOnMelfisWall has so brilliantly articulated how we are One with the Universe in Tony's peyote-driven revelation in Las Vegas through the use of Physics (such as the use of Centripetal Force and more), The Second Coming by Yeats, Tony's patricide through his nephew who weighed so heavily symbolically with him in Tony's mind (and which later lead to the revelation that Tony fulfills the Oedipus Myth), the use of real and surrogate fathers and uncles, son's and suns, the desert atmosphere, and so much more. Once again here is the link of her essay: viewtopic.php?f=45&t=2503&hilit=Tony%27s+vicarious+Patricide.
I have copied and pasted the following from the thread by SilvioMancini and his representation of the infinite connections between The Sopranos and 2001: A Space Odyssey.
Heres an interesting Observation made by a blogger who goes by Theotherforever on another Sopranos blog.
A. Bobby Bacala likes to hunt with a bow and arrow.
B. AJ goes into the pool.
C. Janice's son is named Harpo/Hal.
D. Hal Holbrook plays John Schwinn, formerly of Bell Labs.
E. Tony Soprano's breathing patterns are very noticeable.
F. AJ appears wearing his Dad's bathrobe.
G. Meadow is late due to her switching Birth control.
Compare the above to Stanley Kubrick's 1968 film-
2001: A Space Odyssey
A. One astronaut is named "Bowman."
B. Another astronaut is named "Poole."
C. HAL9000 is the name of the space ship's computer.
D. HAL was made to "speak" at Bell Labs.
E. Bowman's breathing is also very noticeable as he tries to rescue Poole.
F. Astronaut Bowman sees himself wearing a bathrobe.
G. A Star-Child is BORN.
The above is just one minor connection. The connections that SilvioMancini demonstrates in his thread appear as if they are infinite, Connecting the two works to the Universe and Planets, and to Each Other. Once again here is the link to his thread: viewtopic.php?t=2930.
Upon researching 2001: A Space Odyssey I found this:
THE "GOAL" OF THE VIEWER IS TO “BUILD TECHNOLOGICAL ADVANCEMENTS” - I go into detail about this in my 4th post below, in which I ultimately try to decipher Stanley Kubrick's purpose in the making of this Film. And I also debunk this statement of "Building Technological Advancements," which I found on Wikipedia, and I believe is a FALSE Statement, even though it's on Wikipedia. Everything about this is in my 4th post below.
******KUBRICK WARNED US****** -- we should be doing the EXACT OPPOSITE of furthering technological advancements, and we should be trying to get in touch with our SPIRITUAL Side. Technological advancements, at this point - leading up to and since 2001 - have been HINDERING our very own Evolution, and in fact technological advancements at this point leads to MORE terrorism, MORE wars, and LESS deep/meaningful connections with others and with ourselves.
The Opening Montage of the Final Season of The Sopranos includes a shortened version of a spoken word essay ("The ancient Egyptians postulated seven souls...") by William S. Burroughs from his novel The Western Lands.
*For interpretation of the Montage and/or novel and how it relates to the Series (yet again even more Connections by David Chase of the Universe to his Series), I will be referring people to read the thread by Silviomancini, as the explanations are far too long for me to copy here. Once AGAIN, here is the link: viewtopic.php?t=2930.
The final episode is so difficult to understand because some of it just doesn't make sense. Tony keeps on seeing himself talking to other people. In addition, the timeline doesn't make sense, as if we're seeing into the future or into the past in certain scenes.
I BELIEVE THAT WE ARE EXPERIENCING TONY'S SOUL IN DIFFERENT DIMENSIONS (TIME & SPACE/DISTANCE) IN THE FINAL EPISODE, AND POSSIBLE REINCARNATION AFTERWARDS.
I would like to refer back to SilvioMancini's thread and discuss the interview with David Chase about the relationship between 2001: A Space Odyssey and The Sopranos. I would also like to discuss SilvioMancini's ANSWER AND RESPONSE TO US IN THAT THREAD about David Chase's interview, which I believe is PARTIALLY CORRECT in terms of its significance.
Chase: Filmically, that show ["Made in America"] had a lot to do with our favorite scene in 2001 when the astronaut wakes up, that episode was believe it or not sort of based on that.
Terrence Winter [writer/producer]: [you mean] seeing himself in the frame.
Chase: Projecting himself into his own future.
Chase: “Tony, all the way through [the final episode] would come somewhere, see the person he was going to talk to, cut back to him and then cut to him walking into his own point of view and he would then arrive and start talking. And that time got shorter and shorter and shorter. Janice was the longest and then there was another one that I don’t recall (emphasis added) and then there was Junior which was even shorter. Then it went from Tony looking at Tony, back to Tony seeing himself. I sort of got that from 2001.”
THIS IS SilvioMancini's RESPONSE TO DAVID CHASE'S INTERVIEW TO US IN THE THREAD: “The OTHER scene Chase refers to I can't find a high-quality photo to post, but it's at the very beginning when he meets Agent Harris with Paulie. As he approaches Harris's car, this is the first time this pattern is established."
I BELIEVE THAT SilvioMancini is partially correct AS TO THE SIGNIFICANCE PERTAINING TO THAT SCENE. Yes, this IS THE OTHER SCENE, BUT MORE IMPORTANTLY IS HOW TONY GOT TO THAT SCENE, which was very weird to some viewers, as if his life was interrupted for a moment to get there, and then resumed again. In other words, IT WAS OUT OF SEQUENCE.
I am now going to include the entire thread from a post on reddit.com, that to my knowledge, HAS NEVER BEEN SUCCESSFULLY ANSWERED BEFORE, EVEN AFTER BEING POSTED ON TheChaseLounge.Net.
(Here is the link: https://www.reddit.com/r/thesopranos/co ... n_america/)
Submitted 1 year ago by somerton
I originally posted this on the Chase Lounge forum. I've never seen anyone mention this so I thought I'd ask you guys:
OK, so as we all know the episode starts with Tony waking up in bed in the safe house. Vanilla Fudge's "You Keep Me Hangin' On" is on the radio, the sun is shining into the room indicating it's likely morning... and CUT. We're now at the airport as Tony and Paulie wait for Agent Harris, but it is now dark -- what happened? Did the show cut ahead to that night?
It doesn't seem so to me. The next scene is early morning, Tony and his burly guard driving to Carmela's safe house by the water, with the same exact Vanilla Fudge song on the car radio -- only now it's slightly ahead of the part of the song we previously heard.
The airport scene seems to cut irrationally in between these two scenes, disconnected in time.
Theoretically, it would make much more sense for Tony to wake up to Vanilla Fudge, rush out the door to his family's safe house with the bodyguard, and get there quickly enough that the same song was still on. Keep in mind that the full/album version of that VF song is just under 7 minutes. This would make much more sense than the option we're being fed by the way the scenes are presented in sequence: i.e., Tony spends an entire day off-camera after waking up at the beginning, sees Harris at the airport that night, and goes to see his family the next morning as the same VF song plays on the radio.
Chase is clearly playing with us here, as he does until the end of the episode. But why?
[Another observation: The song plays yet again during Phil's infamous death scene near the end of the episode, and I find it persuasive regarding Tony's death that the same song would play during the opening scene of Tony filmed as if in a casket, and another scene being played in the car Tony's in -- and then also be playing in the death scene of his arch-nemesis Phil, again presumably on the car radio. The part of the song playing during Phil's death scene seems to be similar or identical to the part playing when Tony's driving to the safe-house; in any case, both scenes have the song cut out at the same exact spot, which is when it appears to be amping up into some kind of intense organ crescendo. Also, recall how Tony and Phil have previously been compared/doubled throughout the series in a suggestively morbid way, such as Nancy Sinatra saying "Are you two going home together?" in "Chasing It."]
MY THEORY IS THAT IN THE LAST EPISODE, "MADE IN AMERICA," TONY'S SOUL TRAVELS BACK TO 2001 AS HE IS SITTING IN THE AIRPORT WITH FBI AGENT HARRIS AND TWO VERY CLOSE PLANES FLY BY AS THEY ARE TALKING TERRORISM. THIS WOULD PROVIDE AN EXPLANATION FOR THE REDDIT.COM POST ABOVE, WHICH HAS NEVER BEEN SUCCESSFULLY ANSWERED BEFORE. IT IS THE SCENE WHICH DAVID CHASE STATES HE DOESN'T RECALL. (However, we know it truly means he recalls it all too well).
The above paragraph is just my theory, and I don't know if it is true. HOWEVER, AND WITHOUT A DOUBT IN MY MIND, THE FOLLOWING SEEM TO BE TRUE:
1. I believe that we are experiencing Tony's soul in different dimensions (time and space/distance) in this episode.
2. There is something very special about the scene with FBI Agent Harris.
I am including below a section From MoS [MasterofSopranos] for further explanation of that scene:
“It (9/11) changed the whole show……In fact, [the effect of 9/11] was actually developed consciously in the last episode of the entire series. [The final episode] is really about that feeling of foreboding.” (David Chase in a 2009 interview at Emmylegends.org, responding to a question about the effect of 9/11 on the show).
Terrorism, 9/11 and the United States war in Iraq are consistently referenced in the final season. However, in the final few episodes, and specifically in the final episode “Made in America,” the references pile up at a feverish pace. This is mainly illustrated through A.J., who begins to have a new understanding of the Middle East and becomes obsessed with Al Qaeda and the possibility that weapons of mass destruction could be unleashed in the United States. In the final episode, A.J. tells his father he wants to join the army to fight terrorism in Afghanistan. Numerous symbols of the war in Iraq, 9/11, and America’s dependence on oil crowd the episode.
Tony meets FBI agent Harris near an airport and a jet is shown flying eerily close to Tony’s SUV, echoing 9/11. The engine ominously roars as the jet attempts to land at an angle, referencing the numerous videos of the second plane coming in at an angle and striking one of the Towers. Tony then talks to Agent Harris about the Arabs that Christopher did business with. Harris relays to Tony that he is stressed because he believes terrorists may have been testing the F.B.I.’s response time at Newark Airport. The snow falling in the scene echoes the debris from the burning Towers or the ash covered downtown Manhattan. A second plane is heard overhead while Tony is talking to Harris, referencing the two planes that struck the World Trade Center (only two planes are shown and heard in the scene). In the very next scene, Tony visits Carmela at the family safe house and Carmela is concerned about the “toxic” smell of the house, a reference to the toxic odors of downtown Manhattan in the weeks and months following 9/11.
Some points I need to make before moving on to my Next Posts Below:
I have come to the Conclusion that there is Indeed a Very Special Connection Between The Sopranos, 2001: A Space Odyssey, and 9/11. I was able to Find more Connections Between - 2001: A Space Odyssey and 9/11 - by digging deeper, but not much. And I will NOT Be Stating Most of these Connections here, simply Because Most of these Connections seem to be (to me at least) - "Theories" that people have conjured up - Instead Of Anything That I Would Consider As Deep/Meaningful. I will state only TWO CONNECTIONS that I Considered worthy of Posting Here:
1. THE MONOLITH IN THE FILM 2001: A Space Odyssey IS DESCRIBED (AND SORT OF LOOKS AKIN & OF SIMILAR CHARACTER) TO THE TOWER BUILDINGS. If people reading this have never seen the Film 2001: A Space Odyssey nor the Television Series The Sopranos, DO NOT WORRY about understanding all of everything that I am talking about here. I go INTO DETAIL about Both Works (in relation to this Discussion & Spirituality & Knowledge/Science Only, and nothing more) in the Posts below in this whole thread.
2. I DIDN'T KNOW IF IT WAS APPROPRIATE TO STATE THIS OR HOW IT WOULD MAKE OTHERS FEEL. IT CERTAINLY MADE ME FEEL AWKWARD EVEN JUST THINKING OR WRITING ABOUT IT. AND IT WAS VERY DIFFICULT FOR ME, BUT HERE GOES - One of the suicide terrorists (as a pilot in one of the airplanes) was born in the year 1968 [when the FILM was Made & Aired] and obviously died in the year 2001; David Bowman died in the year 2001 in the Film itself. And also, obviously the year 2001 is referencing the Title of the Film itself. Also, [this is very difficult for me to state and it is what I was absolutely not looking forward to, but I feel is necessary] - one of the deadliest attacks was the Oklahoma City bombing in 1995, in which the individual behind that event was also born in 1968, and also died in 2001.
So, the year 1968 Refers to - the Birth of the Film and the Birth of those above mentioned.
The year 2001 Refers to - the Ending of the Film and the Ending (of the PHYSICAL EXISTENCE AT LEAST) of those above mentioned.
ONCE AGAIN I GO INTO DETAIL ABOUT THE FILM AND THE TELEVISION SERIES IN MY POSTS DOWN BELOW. I ALSO HAVE MADE A STRUCTURED ORDER THAT IS MEANT TO BE READ FROM THE FIRST POST UNTIL THE LAST POST (so I suggest not skipping and jumping around, but of course that is totally up you, as well as totally up to you if you decide to read everything, or anything at all, that I have posted).
THREE Connections Between The Sopranos and 9/11that I Considered worthy of Posting Here:
1. THE VERY FIRST EPISODE THAT AIRS FOLLOWING THE AFTERMATH OF 9/11 - AIRS ALMOST A YEAR LATER (OR MAYBE MORE). THIS EPISODE IS 4.01 For All Debts Public and Private. IN THIS EPISODE, IT SEEMS AS THOUGH DAVID CHASE IS SORT OF "JOKING" OR "TOYING" ABOUT THE CONCEPT OF 9/11 (REMEMBER THE SCENES BETWEEN TONY SOPRANO AND BOBBY BACALA CONVERSING ABOUT NOSTRADAMUS AND THE HUNCHBACK OF NOTRE DAME?). THIS POINTS ME TO BELIEVING THAT DAVID CHASE IS PERHAPS IMPLYING THAT WE SHOULD NOT BE BOGGLED DOWN - BY WHAT THESE UNENLIGHTENED PEOPLE DID TO INNOCENT & HARD-WORKING PEOPLE - BUT RATHER MOVE ON AND NOT LET THESE UNENLIGHTENED PEOPLE DESTROY EVERY ASPECT OF OUR LIVES. I WOULD ALSO LIKE TO SHARE THE FOLLOWING LINK: https://sopranosautopsy.com/season-4-2/ ... vate-4-01/.
2. THE OPENING CREDITS OF EVERY EPISODE OF THE The Sopranos - UP UNTIL SEASON 4 - INCLUDES AN IMAGE OF THE TWIN TOWERS IN TONY'S CAR MIRROR. IN 4.01 For All Debts Public and Private, AS WELL AS EVERY EPISODE AFTERWARDS, THIS IMAGE IS NOT SEEN.
3. THE SONG THAT BOTH OPENS UP & CLOSES OUT THE EPISODE 4.01 For All Debts Public and Private, is Speak About Destruction, BY THE BAND Time Zone. OBVIOUSLY THIS IS REFERENCING THE “Destruction” THAT CAUSED/RESULTED FROM 9/11, AND ALSO IT IS REFERENCING THE “Destruction” THAT AMERICA IS CAUSING UPON ITSELF BY PLACING MORE VALUE ON MATERIAL POSSESSIONS AND MONEY (“For All Debts Public and Private”) over actual, important Life values (SUCH AS DEEP CONNECTIONS WITH OTHERS - instead of connections with our cars, phones, and other - superficial “technological” possessions).
The Connections Between The Sopranos and 9/11 are just simply too difficult for me or anyone else to grasp (at least currently). The only aspect that I AM ENTIRELY CONVINCED ABOUT in regards to 9/11 and The Sopranos - is that the scene with FBI Agent Harris is something Special, but I can’t point out exactly What that Special aspect is. It is Essentially the First Scene of the Final Episode - after Tony wakes up as if in a casket or coffin - and it is Completely Out Of Sequence, in terms of Time and/or Space, with the Entirety of the Remaining Scenes of The Final Episode. Maybe we will never know. It is truly one of the strangest things I have ever seen, and all I know with 100% Certainty at This Moment is that there is something Very Significant about it.
Nothing in The Sopranos is done by accident, even down to the millisecond of every scene. Therefore, no Connection on the Series is "by accident."