This really all comes down to one thing: some TV shows transcend the medium, and some stay in it and only merely elevate it a bit (which isn't saying much). Maybe family guy is sort of ok, but like Battlestar, its not GREAT, so get over it. And as far as them taking that pathetic whack at the sopranos at the end, I dont think McFarlane should really be shit-talking the narrative stability of a show like the Sopranos. The Sopranos gave us years of concomitant narrative grace and experimentation, which sadly cannot be said for one single episode of family guy.

Now dft, you're being unfair towards BSG, up to the point of being hypocritical. If one values the show for its merits in terms of allegory, the ethical and moral conflicts and noir like you say you do (extrapolating from your examples), one could be expecting a fitting finale in terms of closure and retained style, not in terms of traditional (and utterly unoriginal) "awesome-go-out-with-a-bang" type of storytelling (which will, of course be served, come on, this is television, the industry of entertainment we're talking about).

I haven't seen the 19th episode yet, but the very idea of Galactica 'dying' - doesn't it have enough finality and noir to it for you? And what are the loose ends that are left? I for one feel like they're addressing these too excessively. They're obviously tying the Hera/Shape of things to come/Opera motif up, as well as the Roslin/Dying leader prophecy by entwining her fate with that of the old girl. No, leaving storylines up in the air isn't something they'll do.

And I'm quite sure they won't do a Sopranos ending, that's just cheating when one can't write themselves out of a corner, which the Galactica writers have already shown they're capable of doing just fine.

As for Daniel - I agree with timtoner that him being Kara's father makes more sense in the universe's mythology, but I'm also assuming they wouldn't introduce such a major character on-screen this late in the series when they're perfectly capable of finding other, if less-rational explanations for Kara's destiny. Again, I might be wrong, not having seen the 19th episode yet.

According to his blog, Ron Moore seemed to really enjoy the plodding and meandering nature of the final season of Sopranos. He even said that he was glad that David Chase thumbed his nose at the "tyranny of the narrative drive", so I don't have high hopes for the end of BSG.

The most recent seasons have been pretty disappointing, especially if you go back and watch the first first two, it's like watching two different shows.

Thanks for sharing, Haldaug.

Bjork has a one in a million voice. Kind of boyish, a little brutish, but then that feminine soprano punches through and brightens the bar.

She's one of my most favorite people in the world.

Your video, Little Boy in Lederhosen Sings Soprano Aria, has made it into your personal Highest Rated Videos listing. Congratulations on a job well done. For you contribution you have been awarded 1 Power Point.

According to Wikipedia, http://en.wikipedia.org/wiki/Lucia_di_Lammermoor#Trivia, it's been used in;

The "Lucia Sextet" (Chi mi frena in tal momento?) was recorded in 1908 by Enrico Caruso, Marcella Sembrich, Antonio Scotti, Marcel Journet, Barbara Severina, and Francesco Daddi, (Victor single-sided 70036) and released at the price of $7.00, earning it the title of "The Seven-Dollar Sextet". The film The Great Caruso incorporates a scene featuring a performance of this sextet.

The "Lucia Sextet" melody is best known to some from its use by the American slapstick comedy team the Three Stooges in their short films Micro-Phonies and Squareheads of the Round Table, sung in the latter with the lyrics "Oh, Elaine, can you come out tonight...." But the melody is used most dramatically in Howard Hawks' gangster classic "Scarface": Tony Camonte (Paul Muni) whistles "Chi mi frena?" in the film's opening sequence, as he guns down a ganglord boss he has been assigned to protect.

It has also been used in Warner Brothers cartoons: Long-Haired Hare, sung by the opera singer (Bugs Bunny's antagonist); Book Revue, sung by the wolf antagonist; and in Back Alley Oproar, sung by a choir full of Sylvesters, the cat.

The "Lucia Sextet" melody also figures in two scenes from the 2006 film The Departed, directed by Martin Scorsese. In one scene, Jack Nicholson's character is shown at a performance of "Lucia di Lammermoor", and the music on the soundtrack is from the sextet. Later in the film, Nicholson's cell phone ringtone is the sextet melody.

The Sextet is also featured during a scene from the 1986 comedy film, The Money Pit.

In the children's book "The Cricket in Times Square," Chester Cricket chirps the tenor part to the "Lucia Sextet" as the encore to his farewell concert, literally stopping traffic in the process.

An aria from the "mad scene," "Il dolce suono" (from the 3rd Act), was re-popularized when it was featured in the film The Fifth Element in a performance by the alien diva Plavalaguna (voiced by Albanian soprano Inva Mula-Tchako and played onscreen by French actress Maïwenn Le Besco). A loose remake of this film version of the song was covered by Russian pop singer Vitas.

The "mad scene" was also used in the first episode of the anime series Gankutsuou (in place of L'Italiana in Algeri which was the opera used in that scene in The Count of Monte Cristo).

The "mad scene" aria, as sung by Inva Mula-Tchako, was used in an episode of Law & Order: Criminal Intent involving the murder of a young violinist by her opera singer mother (who performs the song right after the murder).

The "mad scene" was released as a music video by Russian male soprano Vitas in 2006.

Among other selections from the opera, the "mad scene", "Verranno a te sull'aure", and "Che facesti?" feature prominently in the 1983 Paul Cox film Man of Flowers, especially "Verranno a te sull'aure," which accompanies a striptease in the film's opening scene.

The opera is mentioned in the novels The Count of Monte Cristo, Madame Bovary and Where Angels Fear to Tread and was reputedly one of Tolstoy's favorites.

"Regnava nel silenzio" accompanies the scene in Beetlejuice in which Lydia (Winona Ryder) composes a suicide note.

A portion of the opera is also used in a key scene of the film The Fifth Element, written and directed by Luc Besson.

Drugs, prostitution, gambling and, well, our thing... these are relatively recession proof lines of work. --Tony Soprano

Tags for this video have been changed from 'mafia, in, springfield, sopranos, intro' to 'mafia, in, springfield, sopranos, simpsons, fat tony, intro' - edited by rasch187

You have been awarded 1 Power Point for fixing the embed code for Dead Pool video It was a very good year - The Sopranos. Thank you for helping maintain VideoSift's reliability.

This video has been declared a duplicate; transferring votes to the original video and killing this dupe - dupeof declared by lucky760.

*dupeof=http://www.videosift.com/video/PAX-tv-presents-The-Sopranos

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I know this was submitted a year ago now, but this is actually a dupe of this: http://www.videosift.com/video/PAX-tv-presents-The-Sopranos

I know it takes incredible talent to do what she does. But I gotta say, I'm not enjoying her voice as much as I'd like. That's why I usually listen to Mezzo Sopranos instead.

I like a little bit of depth in volume. Usually when sopranos sing high notes their volume stays high but they lose that resonance I look for. Hitting high notes like that is incredibly hard, but doesn't automatically make it a pleasant sound, at least according to my personal taste.

On an up note, soprano has just opened up as a possible career option.