An offer he couldn’t refuse: Sopranos diner booth sells for $82,600

Co-owner Chris Carley asked for opening bids above $3,000 on eBay, reportedly aiming for $10,000 towards a renovation

More than 15 years after the cliffhanger final scene of The Sopranos screened in 2007, the classic American diner booth where it was filmed was sold at auction for a price that eventually cranked up to $82,600.

The TV mob drama, which the Guardian once described as “the most masterful show ever”, memorably saw the patriarch character Tony Soprano and his family sit in that booth in a New Jersey diner in the final scene of the series.

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Edie Falco: ‘Alcohol was the answer to all my problems – and the cause of them’

One of TV’s most admired actors, she is now playing Hillary Clinton on screen. She discusses overcoming addiction, her adoration for Sopranos co-star James Gandolfini and the pure joy of adopting two children

Edie Falco has never been the type of actor to demand entourages and encores. Fanfares and fuss are just not her bag, and she has little time for pretentious thespiness. When other actors talk about their “Process,” as she puts it – with a capital P – she thinks, “What are you talking about?!” With her open, thoughtful face and wide smile, she looks as if she could be your friend from the local coffee shop, as opposed to one of the most accoladed American actors of this century, having accumulated two Golden Globes, four Emmys and five Screen Actors Guild awards, plus a jaw-dropping 47 nominations. This impression of straightforwardness and – oh dreaded word – relatability has made her subtle performances of self-deceiving characters even more powerful. As the mob wife, Carmela, in The Sopranos, she could tell Tony (James Gandolfini) what she thought of him staying out all night with his “goomahs”, or mistresses, but she couldn’t admit to herself that he does much worse to fund the life she loves. Similarly, as Nurse Jackie, in the eponymous TV series, her scrubbed clean face and sensible short hair belied her character’s drug addiction.

So it feels extremely right that, when we connect by video chat, Falco, 58, is sitting – not in a fancy hotel room, or a Hollywood mansion, but in the endearingly messy basement of her New York house, where she lives with her son, 16, and daughter, 13. Power tools hang off the wall behind her, and she is leaning on a table strewn with what she describes as “God knows, some stuff”.

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David Chase: I was annoyed that fans wanted Tony Soprano dead

Series showrunner tells podcast that ambiguous ending rankled with viewers who wanted to see the character ‘face-down in linguini’

David Chase, the creator of The Sopranos, has spoken about his irritation at viewers’ desire to see Tony Soprano die at the end of the hit series.

Speaking on the Hollywood Reporter’s Awards Chatter podcast, the 76-year-old said he had been “bothered” by people’s obsession with the blackout ending of the 2007 finale, which stopped short of confirming the fate of its lead character.

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‘I saw something in Bruce Springsteen that nobody else saw’: the world according to Stevie Van Zandt

The Boss’s trusty sideman has many plans – from saving central America to TV Hogmanay at the Playboy Mansion – and he’s more than happy to share his rock wisdom

It is the middle of the 1980s, and Stevie Van Zandt, having departed the E Street Band and left Bruce Springsteen’s side, is pursuing a solo career. He has also parlayed decades of experience playing in bar bands into a new and unusual role: international activist and campaigner against injustice. And so he finds himself, in company with Jackson Browne, in Nicaragua, against which the US is waging a proxy war.

He arranges a meeting with Rosario Murillo, the wife of Nicaragua’s president, Daniel Ortega, as he notes in his memoir, Unrequited Infatuations. “After a few drinks, I moved off the small talk and suddenly asked her if she loved her husband. She was taken a bit aback but said, Yes, señor, very much. ‘Well,’ I said, ‘you should spend as much time with him as possible, because he’s a dead man walking. It’s just a matter of time and time is running out’ … She was a very smart woman married to a revolutionary. But she was expecting a pleasant conversation about the arts, and the reality of what I was saying hit her hard.”

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Ray Liotta: ‘Why haven’t I worked with Scorsese since Goodfellas? You’d have to ask him. I’d love to’

After years of avoiding crime films, he’s back as a mafioso in the Sopranos prequel The Many Saints of Newark. He talks about being adopted and getting into acting – and saves a surprise for the end


I am a little trepidatious ahead of my interview with Ray Liotta because the reviews, shall we say, are mixed. Not about his acting, which has been accoladed and adored from his first major film role, as Melanie Griffith’s crazy ex in 1986’s Something Wild, for which he was nominated for a Golden Globe. No, the problematic reviews are about Liotta personally. One person who worked with him described him to me as “the rudest arsehole I ever met”; another said he’s “a bit of a wildcard”, and I suspect that the latter is a euphemism for the former.

This would explain a long-running movie mystery: why isn’t he more successful?’ It took Liotta, now 66, until he was 30 to bag Something Wild, but after that, movie stardom seemed assured. He went from there to starring opposite Tom Hulce in the little-remembered Dominick and Eugene, and then playing “Shoeless” Joe Jackson in the extremely well-remembered Field of Dreams.

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The Many Saints of Newark review – Sopranos prequel keeps it in the family

Michael Gandolfini is goosebump-inducing as the young Tony Soprano, amid race riots and antagonism towards rival African American gangs

Maybe it was inevitable that the greatest TV show in history should spawn a feature-length prequel that is somehow disappointing: it is watchable but weirdly obtuse with a tricksy narrative reveal that doesn’t add much. The Many Saints of Newark, co-written by the Sopranos’ legendary creator David Chase and directed by Alan Taylor, gives us the childhood of a leader: the teenage Tony Soprano, growing up in New Jersey in the 1960s, specifically the time of the 1967 Newark riots, which caused the “white flight” racism that explains the older Tony having that palatial home way out there in the suburbs that he drives up to in the opening credits each episode.

Young Tony is portrayed with goosebump-inducing deja vu by Michael Gandolfini, son of the late James Gandolfini, who played the role on TV. Tony’s sleepy-eyed sensitivity, his melancholy, his glowering resentment and dangerous hurt feelings are there in embryo. His father, Johnny, is played by Jon Bernthal, and his terrifying mother Livia by Vera Farmiga who gives a superb rendering of Livia’s own haughty mannerisms. But you could spend this entire movie hanging on for the first sign of those all-important petit mal fainting fits that the TV show said originated in Tony’s dad. Is history being rewritten, or misrememberings corrected?

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Life, death and gabagool: how The Sopranos explains everything

Ahead of the release of prequel The Many Saints of Newark, a look at how David Chase’s classic mob drama saw the world in a grain of parmigiano

In 1999, a 40-year old Italian-American man started a course of therapy and created a new template for prestige television. The Sopranos, David Chase’s smash-hit TV series, was about the nasty inner workings of the DiMeo crime family. It was also about a mafioso’s midlife crisis, his children and his marriage, his debilitating anxiety and lurid nightmares.

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The Sopranos: David Chase and mobster Johnny Sack on how they made a TV classic

‘Fox turned down the first draft because I didn’t put any murders in it. People watch mob shows because they like to see murders’

I was still writing the pilot episode when Steven Van Zandt – who would go on to play strip-club owner and second-in-command Silvio Dante – came to read for the part of Tony Soprano. I thought: “With Steven, it could be more like The Simpsons: more comedy, less nasty bits, more absurd.” But once we hired Jim Gandolfini for Tony, it all went back to where it started.

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From The Sopranos to Twin Peaks: the best TV isn’t timely – it’s prescient

The popularity of classic shows in the past year is about more than nostalgia – what pulls us back in is their relevance to today

At least Covid struck during the age of “peak TV”. After all, were this not a time when the shows being piped into our living rooms were better, smarter, starrier, more plentiful and more readily available than ever before, what would we have done to stay on an even keel through a year in lockdown?

Pretty much what we did anyway, it turns out. Because the viewing trend of the past 12 months, which few saw coming, has been a clamour for the classics. At a time when there is more box-fresh prestige entertainment than you can shake a battered remote at, viewers on both sides of the Atlantic decided instead to reacquaint themselves with old friends: Rodney Trotter, Jerry Seinfeld and, overwhelmingly, Tony Soprano.

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Sopranos actor re-enacts alleged rape at Weinstein trial: ‘I was trying to fight’

Annabella Sciorra’s shocking testimony marks first time the Weinstein sex crimes trial directly heard from one of his accusers

In a packed courtroom in the New York supreme court in Manhattan on Thursday, the former Sopranos actor Annabella Sciorra held her arms above her head, wrists locked, in a physical re-enactment of the moment she alleged that the disgraced movie mogul Harvey Weinstein forcibly pinned her to her bed.

“He took my hands and put them over my head to hold them back,” the actor said, staring straight at the jury. Some 15ft away on the defense table, the defendant looked impassively at her.

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The 100 best TV shows of the 21st century

Where’s Mad Men? How did The Sopranos do? Does The Crown triumph? Can anyone remember Lost? And will Downton Abbey even figure? Find out here – and have your say

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