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"Chasing It"
The Sopranos episode
Episode no.Season 6
Episode 16
Directed byTim Van Patten
Written byMatthew Weiner
Cinematography byAlik Sakharov
Production code616
Original air dateApril 29, 2007 (2007-04-29)
Running time50 minutes
Episode chronology
← Previous
"Remember When" 		Next →
"Walk Like a Man"
The Sopranos season 6
List of episodes

"Chasing It" is the 81st episode of the HBO television series The Sopranos, the fourth episode of the second half of the show's sixth season, and the 16th episode of the season overall. The episode centers around Tony Soprano experiencing problems from multiple angles, from losing sports bets, owing Hesh Rabkin repayment on a loan, to intervening with Vito Spatafore Jr.'s behavior problems.

Written by executive producer Matthew Weiner and directed by Tim Van Patten, it originally aired on April 29, 2007, and was watched by 6.76 million viewers upon its premiere. Critical reception was generally positive.

Starring

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* = credit only

Guest starring

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Also guest starring

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Synopsis

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Tony's losing streak in sports betting continues. When Hesh asks him about repayment of his previous $200,000 bridge loan, Tony pretends to have forgotten about it and offers to pay the vig. Hesh was not charging interest and is insulted that Tony treats the loan as a mere business transaction. Tony calls Hesh a "shylock" in front of his crew. Later, Hesh says to his son-in-law, "At what point is it cheaper for him to settle it another way?"

Carmela sells the spec house, with its sub-standard materials, to her cousin Brian Cammarata and his pregnant wife. She tells Tony that she has cleared $600,000 and he assumes that half the profit is his. Tony wants to bet it on a "sure thing", but Carmela refuses and he yields to her. The "sure thing" wins, but he reveals to Carmela that he only had $10,000 to bet on it. This leads to a furious argument about money, during which he manhandles her and she throws a Lladró figurine at him, breaking it. Later, the couple reconciles after Tony agrees to control his gambling. Carmela is worried about the many threats they are facing; Tony says he survived being shot: "Big picture-wise, I'm up, way up."

Vito's widow, Marie, asks Tony to help her son, Vito Jr., who has been deliberately misbehaving since his father's death. Marie requests $100,000 to move her family to Maine to start over; Tony is reluctant. Both he and Phil (Marie's second cousin) talk to Vito Jr., to no effect. When he is expelled for defecating in the school shower, Tony decides to pay for the relocation. However, he gambles away the $100,000 he had reserved for it. Instead, he offers Marie to send Vito Jr. to a boot camp program in Idaho. He plays down her worries about corporal punishment and says he will pay the $18,000 fee. Marie reluctantly accepts and Vito Jr. is taken away against his will by the boot camp's staff, leaving his mother and sister in tears.

Driving by, Tony happens to notice Ahmed and Muhammad mingling with traditionally dressed Pakistanis and Arabs on a street.

A.J. proposes to Blanca, who reluctantly accepts, but later breaks up with him.

Renata, Hesh's girlfriend, dies suddenly. He is grief-stricken. Tony visits him and speaks clichéd words of condolence. He presents a large paper bag, saying, "I brought your money."

First appearance

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  • Jason Gervasi: Son of DiMeo capo Carlo Gervasi. He is seen greeting his father getting out of a car.
  • Anthony Maffei: Soldier in Bobby's crew. He is seen at the casino and the pork store.

Deceased

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Final appearances

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"Chasing It" marks the final appearances in the series of these longtime recurring characters:

Production

[edit]
  • Max Casella (Benny Fazio) is promoted to the main cast of the series and billed in the opening credits but only for this episode.
  • The character of Vito Spatafore Jr. was recast for this episode with Brandon Hannan replacing Frank Borrelli.
  • John Cenatiempo, a stuntman on The Sopranos since its first season, joins the ranks of the show's actors as well, appearing as a mostly background Soprano crime family mobster character Anthony Maffei, beginning with this episode.
  • This episode is unique in that it almost throughout its entirety employs the shaky camera style, with the exception of Dr. Melfi's scenes and scenes in Tony's car. The style may represent the episode's theme of Tony's feverish gambling and losing spree.
  • The casino scenes were filmed at Atlantic City's Borgata Hotel and Casino.
  • The headstone that Vito Jr. knocks over in the cemetery is for "David M. Hackel". Episode writer Matthew Weiner worked for David Hackel as a writer for the sitcom Becker.[1]
  • The harmonica player in Sinatra's band is Southside Johnny Lyon, an underground legend of New Jersey's music scene. He has worked extensively with Little Steven Van Zandt, who portrays the character of Silvio Dante. Van Zandt has written, produced and performed on four of Lyon's albums and was a founding member of his band, the Asbury Jukes, before leaving to join Bruce Springsteen's E Street Band. Both Springsteen and Van Zandt appear on the Asbury Jukes' Better Days album, on the song "It's Been a Long Time".
  • The Tampa Bay-Buffalo football game being watched at the Bing that Tony loses money on is actually footage from the film The Replacements.

Music

[edit]
  • Nancy Sinatra sings "Bossman", a track off her 2004 album Nancy Sinatra, to a gathering of the New York and New Jersey families celebrating Phil Leotardo becoming boss.
  • The song played in the Bada Bing! when the football game is on TV is "Kernkraft 400" by Zombie Nation.
  • The guitar instrumental "Cavatina" is playing in the restaurant when A.J. proposes to Blanca.
  • The music A.J. listens to in his car, while driving to the Puerto Rican parade day, is "Rompe" by Daddy Yankee.
  • The music heard in the background when Blanca breaks up with A.J. is an instrumental version of Ricky Martin's "Livin' La Vida Loca".
  • Song playing when Tony is driving in the Escalade is Bill Doggett's "Honky Tonk."
  • When Tony is in the back room of the Bing, talking to Silvio about Vito, Jr., "Peppermint Twist" (1961) is playing. It is by Joey Dee & The Starlighters (from New Jersey).
  • The song played during the casino scene and over the end credits is "Goin' Down Slow" by Howlin' Wolf.

Reception

[edit]

The episode had 6.76 million viewers as estimated by Nielsen Media Research, about 90,000 fewer viewers than last week's episode.[2] Television Without Pity graded the episode with a B.[3] IGN graded it with 8.5 points out of 10, with Brian Zoromski finding it to be "grounded and well rounded" for showing "the truly ugly side of Tony Soprano".[4] For Entertainment Weekly, Lisa Schwarzbaum found the Vito Jr. subplot to be an example of "love-hate struggle between fathers and sons that has always been one of The Sopranos' great themes."[5]

Paul Brownfield of the Los Angeles Times found a lack of plot development in "Chasing It": "Five hours left and all we have so far is foreshadowing."[6] Similarly, Alan Sepinwall noted in The Star-Ledger: "There may not be a lot of carnage (outside of Renata's peaceful passing, this was a completely bloodless hour), but doom is coming."[7] For TV Squad, Tom Biro called this episode "the weakest" of the season, due to dialogue lacking plot relevancy.[8]

George Vecsey commented about the episode plot in an essay for The New York Times: "Tony’s foray into gambling is a reminder that sports have a darker side than what innocents like me want to acknowledge."[9]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Chasing It

View on Grokipedia
from Grokipedia
"Chasing It" is the sixteenth episode of the sixth and final season of the American HBO crime drama television series The Sopranos. Written by Matthew Weiner and directed by Timothy Van Patten, it originally premiered on April 29, 2007. The episode primarily follows Tony Soprano as he endures a string of unlucky gambling losses, including bets on horse racing and basketball, leading to financial strain and interpersonal conflicts. These losses exacerbate tensions in his marriage to Carmela, who pressures him for money to support their son A.J.'s engagement plans, and with longtime associate Hesh Rabkin, whom Tony owes a significant sum and ultimately pays with interest after a heated confrontation. Subplots explore family dynamics, including A.J. proposing marriage to his girlfriend Blanca, who initially accepts but later ends the relationship, prompting A.J. to spiral into depression, and Tony sending Vito Spatafore's son Vito Jr. to a military-style boot camp following the boy's expulsion from school and refusal to accept help. In terms of production, "Chasing It" was part of the second half of season six, often referred to as 6B, which aired after a 10-month hiatus and marked the beginning of the series' conclusion. The episode features recurring themes of the series, such as the consequences of addiction, the fragility of relationships, and Tony's moral descent, with his gambling portrayed as a metaphor for his broader pursuit of control and highs amid personal decline. It received generally positive reviews for its character-driven storytelling and unflinching depiction of Tony's flaws, though some critics noted it as a transitional installment in the final arc; on IMDb, it holds a user rating of 7.8 out of 10 based on over 8,000 votes.

Episode Overview

Broadcast Details

"Chasing It" is the sixteenth episode of the sixth and final season of the HBO series and the eighty-first episode overall. It was directed by and written by , with production code 616. The episode originally premiered on HBO on April 29, 2007. As part of the split sixth season, "Chasing It" marks the fourth installment of the second half, which resumed broadcasting after a hiatus from the first twelve episodes that aired between March 12 and June 4, 2006. The second part began on April 8, 2007, with the episode "," and continued weekly through the series finale on June 10, 2007. It follows "Remember When," which aired on April 22, 2007, and precedes "Walk Like a Man" on May 6, 2007. The episode drew 6.8 million viewers in the United States according to , ranking as the top-rated cable program for the week of April 23–29, 2007. This figure represented a decline from prior weeks in the second half of the but remained strong for original programming.

Synopsis

In "Chasing It," embarks on a prolonged losing streak at the casinos in Atlantic City, where he wagers heavily on sports bets and , resulting in significant financial losses that strain his role as the head of the DiMeo . These debts escalate tensions when Hesh Rabkin demands repayment of a prior loan plus accumulated interest, leading to a contentious meeting at Hesh's home where Tony argues against the rate but ultimately agrees to pay the vig, while Hesh grows fearful for his safety and experiences a severe . At , Tony discusses the issue with his associates, including , who casually suggests eliminating Hesh as a solution, though Tony dismisses the idea. Parallel to Tony's troubles, Vito Jr. Spatafore, the son of the late mobster Vito Spatafore, has become withdrawn and involved in , facing at school over his father's death. His mother Marie approaches Tony for $100,000 in financial support and help with Vito Jr.'s behavior, but after Tony loses the money and Vito Jr. refuses , Tony arranges for the boy to be forcibly taken to a military-style boot camp. A.J. Soprano faces turmoil in his relationship with Blanca Selgado, who is pregnant with their second child. A.J. proposes marriage at dinner, and Blanca initially accepts, but later during the Parade, a heated argument over his immaturity and lack of responsibility leads her to return the ring, end the relationship, and move out with their son . A.J.'s emotional distress is evident as he confides in Tony, who offers curt advice amid his own preoccupations. Carmela Soprano grows increasingly frustrated with Tony's secretive habits and their impact on the family's finances, confronting him during a tense at where she accuses him of hiding and prioritizing his addictions. Family interactions highlight the strain, including brief exchanges with about her law school aspirations and everyday matters at the Soprano household. Minor subplots involve Christopher handling construction site duties and other crew members' casual banter at the pork store, underscoring the broader ripple effects of Tony's losses on the .

Cast and Characters

Starring Roles

stars as , the New Jersey mob boss whose impulsive gambling habits drive the episode's central conflicts, leading to financial strain and interpersonal tensions. portrays , Tony's wife, who confronts the domestic fallout from his betting losses and seeks to maintain stability in their family life. plays , Tony and Carmela's son, whose evolving romantic relationship with Blanca prompts significant personal decisions amid family pressures. Lorraine Bracco reprises her role as Dr. Jennifer Melfi, Tony's psychiatrist, facilitating sessions that explore his psychological responses to recent setbacks. is billed as , though the character does not appear in this episode. is billed as , though the character does not appear in this episode.

Guest and Recurring Roles

In the episode "Chasing It," reprises his recurring role as Hesh Rabkin, Tony Soprano's longtime friend and business associate, who becomes a key antagonist in a involving a contentious over unpaid from a prior venture. 's performance highlights Hesh's frustration and vulnerability, culminating in a heated at Tony's home that underscores themes of financial strain and fractured loyalties among associates. Dania Ramirez appears in her recurring role as Blanca Selgado, A.J. Soprano's girlfriend, central to a exploring the young couple's deteriorating relationship amid cultural and personal tensions. Ramirez portrays Blanca's decision to end the engagement, delivering a poignant scene of emotional confrontation that amplifies A.J.'s immaturity and isolation. Brandon Hannan appears as Vito Spatafore Jr., the son of the late Vito Spatafore, whose rebellious behavior and school expulsion lead intervene by sending him to a military boot camp. Elizabeth Bracco reprises Marie Spatafore, Vito's widow, in a brief but impactful appearance that ties into family aftermath subplots, as she seeks financial help from Tony for . Other recurring performers include Carl Capotorto as Little Paulie Germani, who supports mob-related discussions and operations in the background, adding continuity to the crew's dynamics. returns as Carlo Gervasi, contributing to scenes of internal mob negotiations and loyalty tests. Frank Vincent appears as Phil Leotardo, the New York underboss, featured at his birthday celebration where tensions with New Jersey are subtly highlighted. Guest stars feature as herself, providing a cameo during a social gathering that injects a layer of celebrity glamour into the episode's interpersonal tensions. Tom Aldredge guest stars as Hugh DeAngelis, appearing in a minor family interaction scene with Carmela regarding a property sale that contrasts everyday domesticity with the mob world. plays Mary DeAngelis, supporting the subplot through her involvement in the family and community ties during the house sale discussion. Additional minor guests, such as casino staff portrayed by uncredited actors, enhance the atmosphere of Tony's gambling escapades without drawing focus from core narratives.

Production

Writing and Direction

The episode "Chasing It" was written by , who joined the writing staff during seasons 5 and 6 and later created the acclaimed series . Weiner's script for this installment, one of ten he penned for , centers on character-driven drama, exploring Tony Soprano's impulsive gambling losses and their ripple effects on his relationships. Key dialogue underscores themes of financial strain, such as Tony's ruthless pressure on Hesh Rabkin to repay a amid Hesh's issues, and moral ambiguity, exemplified by Dr. Melfi's observation that Tony's treatment of Hesh reveals a lack of true . Direction was handled by , a recurring collaborator on who helmed 20 episodes across the series, including several from season 6. Van Patten's approach in "Chasing It" employs tense close-ups to capture Tony's expressions during high-stakes gambling moments, heightening the viewer's sense of his mounting desperation. The pacing of the casino sequences is deliberately slow, mirroring Tony's existential dread and self-destructive spiral as losses accumulate. Filming the casino scenes at the Hotel and Casino in , enhances the atmospheric tension of Tony's ill-fated night out with his crew, evoking the seedy allure of the Jersey Shore gambling world. Van Patten also uses intimate compositions in family argument scenes, such as those involving A.J. and his fiancée Blanca, to emphasize relational fractures amid Tony's personal turmoil.

Filming and Development

The development of "Chasing It" occurred during the production of the second half of ' sixth season, which creator expanded from an initial plan of 13 episodes to 21 to accommodate additional narrative material, leading to a split format where the first 12 episodes aired in and the remaining nine in 2007. Filming for the episode utilized several established locations from the series, including the Soprano family home at 14 Aspen Drive in , for domestic scenes, and on Kearny Avenue in , for mob-related discussions. The key sequences were shot on location at the Hotel Casino & Spa in , capturing the interiors and exteriors to depict the high-stakes environment. Production logistics for the scenes required coordination with the to manage crowds and extras, ensuring seamless integration of the actors into the active gaming floor without disrupting operations. The episode's emphasized tight to heighten in the interpersonal conflicts arising from financial pressures, as overseen by the series' regular editors.

Music and Sound Design

In the episode "Chasing It," several licensed songs are featured, enhancing key scenes through diegetic and non-diegetic placements that align with the characters' emotional states and activities. These tracks, drawn from various genres, underscore moments of tension, celebration, and personal turmoil without overlapping with the original score composed for the series. The following table lists the prominent licensed songs, their artists, and specific placements:
Song TitleArtistPlacement
Peppermint TwistJoey Dee & The StarlitersPlays in the back room of the during a conversation between Tony and Silvio about Vito Jr.'s situation.
Zombie NationHeard at the while Tony and his crew watch a Tampa Bay-Buffalo football , amplifying the atmosphere of the bar during Tony's betting loss.
Cavatina (piano arrangement)Stanley MyersPerformed in the restaurant as A.J. proposes to Blanca, providing a classical backdrop to the intimate moment.
RompeA.J. listens to this track in his car while to the with Blanca's son.
Livin' la Vida Loca (instrumental, marching band version)Ophir Prison Marching Kazoo BandBackground music at the during Blanca's breakup with A.J., contrasting the festive setting with his rejection.
Honky Tonk, Pt. 2Plays as Tony his Escalade and spots Muhammad, contributing to the driving scene's .
Bossman performs this live at Phil Leotardo's party celebrating his ascension to boss, highlighting the mob's power dynamics.
Featured during Tony's casino gambling sequence and over the end credits, emphasizing themes of inevitable decline.
These selections reflect the episode's use of period and to integrate cultural elements, such as the reggaeton track tying into A.J.'s relationship arc, while the closer in the credits is credited in the episode's production notes.

Original Score

The Sopranos series, including the episode "Chasing It," notably forgoes a traditional original composed score, a deliberate choice by creator to prioritize realism and avoid manipulative orchestral cues. Instead, the audio landscape is curated by in collaboration with music producer Martin Bruestle and music editor Kathryn Dayak, who integrate licensed and environmental to build tension organically. In "Chasing It," this philosophy manifests through immersive that amplifies the episode's themes of compulsion and familial discord. The high-stakes betting sequences feature percussive, diegetic audio elements such as the rhythmic clatter of slot machines, the shuffle of cards, and the distant hum of crowds, which intensify Tony Soprano's anxiety during his losing streak at the tables and racetrack. These non-musical cues create a palpable sense of urgency, mirroring the compulsive "chasing" of wins without relying on synthesized motifs. For AJ Soprano's storyline, the sound design shifts to more subdued, ambient layers—subtle echoes of household tension and isolated footsteps—to underscore moments of personal strife and isolation, enhancing the emotional weight of his arc amid the family's broader conflicts. This approach ensures the audio serves the narrative's psychological depth, with casino noises providing a stark auditory contrast to the quieter domestic scenes. The overall briefly contrasts with the episode's featured songs, which inject period-specific energy into transitional moments.

Reception and Legacy

Critical Response

Upon its premiere on April 29, 2007, "Chasing It" received generally positive reviews from critics, who praised its unflinching depiction of Tony Soprano's self-destructive tendencies during a . IGN awarded the episode an 8.5 out of 10, lauding the script's execution in portraying Tony as "no better than the other hapless loser gamblers," with strong tension built through his escalating debts and confrontations, particularly the raw exchange with Hesh Rabkin. of highlighted the episode's dialogue for effectively mirroring Tony's earlier exploitation of Davey Scatino, noting how it underscores the boss's vulnerability and moral in a cycle of . James Gandolfini's performance drew particular acclaim for conveying Tony's frustration and fleeting satisfaction in others' misfortunes, such as his subtle glee at Hesh's financial woes, adding layers to the character's unraveling psyche. Critics also commended the episode's thematic depth, with the motif serving as a metaphor for Tony's broader existential risks, though some noted flaws in pacing. Sepinwall appreciated the tension in scenes like Tony's and family arguments, where dialogue exposes his isolation, but observed that the repetitive losing sequences could feel drawn out, diluting subtlety in subplots involving AJ and Vito Jr. Similarly, Slant Magazine's review emphasized the episode's success in humanizing Tony's , quoting his admission to Melfi about chasing "the high from winning" as a pivotal moment of . Aggregated user scores on stood at 7.8 out of 10, reflecting broad approval for the performances and emotional intensity despite minor pacing gripes. In retrospective analyses during the 2010s, the episode has been reevaluated as a key turning point in the series' final season, emphasizing writer Matthew Weiner's contributions to its taut psychological drama. of , in a 2012 review, described it as a "pivotal" installment that reestablishes the show's existential dread, with Gandolfini's portrayal of Tony "gambling with his life" and accruing an inescapable "debt to the house" highlighting the futility of his pursuits. She noted strengths in the dialogue's revelation of Tony's paranoia but criticized the subplot-heavy structure for slowing momentum, particularly in the extended Hesh interactions.

Viewership and Impact

The second half of season 6 premiered to 7.7 million viewers on , 2007, marking a decline from the 9.47 million who watched the season 5 finale but still representing HBO's strongest performance in the time slot. Subsequent episodes saw a gradual dip, with mid-season installments like "Chasing It" maintaining steady audiences amid the final arc's buildup, reflecting the series' enduring draw despite competition from broadcast networks. "Chasing It" amplified ' exploration of and moral decay, portraying Tony Soprano's compulsive as a for broader self-destructive impulses within mob . This focus influenced subsequent television depictions of figures grappling with personal vices, contributing to discussions on the psychological toll of power and in American media. Academic analyses have highlighted the episode's role in shaping cultural understandings of mental illness, particularly through Tony's sessions addressing his "chasing" of highs beyond mere financial gain. In the series' legacy, "Chasing It" serves as a pivotal of Tony's unraveling trajectory, with his escalating cruelty and financial desperation echoing the ethical erosion that culminates in the finale. Fan interpretations often connect the episode to theories surrounding Tony's ambiguous ending in "Made in America." The installment also featured young actor Brandon Hannan as Vito Jr. Spatafore, whose portrayal of adolescent turmoil garnered promotional attention during awards season. As of 2025, The Sopranos remains a streaming staple on Max, drawing 1.4 million unique weekly viewers for the week of November 3-9 and sustaining its cultural relevance through retrospectives on HBO's prestige era. The series' finale arc, including "Chasing It," has retrospectively elevated cast members' profiles, with leads like James Gandolfini cementing iconic status that influenced post-show opportunities in film and theater.

Character Developments

First Appearances

In the episode "Chasing It," several characters make their first appearances in , primarily within the context of Tony Soprano's gambling activities and the ongoing mob dynamics. Jason Gervasi, portrayed by Joe Perrino, debuts as the son of DiMeo capo Carlo Gervasi. He is introduced briefly when he greets his father as he exits a car, highlighting the younger generation's involvement in the family's social and criminal circles. Perrino, known for roles in films like (2010), brings a subtle portrayal of youthful entitlement to the character. Anthony Maffei, played by John Cenatiempo, appears for the first time as a low-level soldier in Bobby Baccalieri's crew. His introduction occurs amid discussions of crew operations and tensions with the New York family, underscoring the episode's themes of and financial strain within the organization. Cenatiempo, a veteran with prior credits in mob-themed projects like Donnie Brasco (), embodies the archetype of a reliable but unremarkable enforcer. Additionally, singer makes a as a fictionalized version of herself, performing at a private party celebrating Phil Leotardo's ascension to boss of the Lupertazzi crime family. She enters the story through a musical performance of her song "Bossman," providing a surreal, celebrity cameo that contrasts the episode's gritty underworld tensions. This marks Sinatra's sole on-screen role in the series, drawing on her real-life fame from hits like "These Boots Are Made for Walkin'" (1966). Minor unnamed characters, such as casino dealers and personnel encountered during Tony's gambling spree in Atlantic City, also debut without specific credits, serving to illustrate the impersonal environment of his losses but lacking deeper narrative integration.

Final Appearances and Deaths

In "Chasing It," the only on-screen death occurs off-camera when Renata, Hesh Rabkin's longtime girlfriend, suffers a fatal stroke in her sleep, discovered by Hesh as he attempts to wake her for breakfast. This marks Renata's final appearance in the series, serving as a poignant moment that underscores Hesh's vulnerability amid his financial disputes with , though her passing is confirmed as natural causes without any direct ties to ongoing mob tensions. Several recurring characters feature in their last significant scenes of the season, highlighting closures to personal arcs influenced by broader family and relational strains. Vito Spatafore Jr., the son of the late Vito Spatafore, appears for the final time as Tony arranges for him to attend a boot camp in following the boy's expulsion from school and refusal to accept help after his father's ; this intervention, funded in lieu of direct financial aid to the Spatafore family, effectively removes Vito Jr. from the narrative, illustrating the ripple effects of Vito's on his surviving relatives. Similarly, Blanca Selgado's relationship with concludes during the Parade, where she ends their engagement due to frustrations over A.J.'s immaturity and , setting up long-term emotional fallout for A.J. that influences his development toward the season finale—though Blanca herself reappears briefly in subsequent episodes. No other major character deaths are depicted or implied in the episode, diverging from the series' typical ; instead, the focus shifts to relational "ends" and , such as Hesh's diminished trust in Tony after receiving partial repayment on a amid his , which strains their without leading to immediate conflict. These moments collectively heighten tensions leading into the finale, emphasizing themes of loss through indirect consequences rather than overt mortality.

References

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  32. https://sopranos.fandom.com/wiki/Nancy_Sinatra
  33. https://www.imdb.com/title/tt0995834/fullcredits
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