The Sopranos: Season 2, Episode 7

D-Girl (27 Feb. 2000)

TV Episode  |  TV-MA  |   |  Crime, Drama
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Anthony continues to cause problems at home, while Pussy's divided loyalties cause him greater anguish.



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Episode cast overview, first billed only:
Junior Soprano (credit only)
Silvio Dante (credit only)


AJ takes his mother's car out without permission and sideswipes a truck causing considerable damage to her car. He's in a rebellious mood, pushing all of his parents' buttons, threatening not to go through with his confirmation and saying that God is dead. Pussy is AJ's confirmation sponsor and Tony asks him to have a talk with the boy. Pussy however is forced by the FBI to wear a wire to a party at Tony's house to celebrate AJ's confirmation and he is deeply conflicted by the situation he finds himself in. Christopher meanwhile starts hanging around movie people, including Jon Favreau. He's decided he wants to be a player rather than a writer in the movie business but when Tony hears about what he's been up to, Christopher has a choice to make. Written by garykmcd

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Crime | Drama


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Release Date:

27 February 2000 (USA)  »

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Aspect Ratio:

1.78 : 1
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Did You Know?


A future movie project about "made men" like the late mafioso Joey Gallo that Jon Favreau talks so passionately about in this episode is one he actually brought to some life in his 2001 film Made (2001). And fittingly, three The Sopranos (1999) cast members make cameos in that Favreau movie about would-be wiseguys: Vincent Pastore as Drea de Matteo as "Hot Girl 2" and Federico Castelluccio as "The Bouncer". Pastore, along with several others actors who eventually showed up in future "Sopranos" episodes, also appeared in the mob comedy Mickey Blue Eyes (1999). And in both this "D-Girl" episode and in Favreau's "Made" movie, characters make disparaging comments about "Mickey Blue Eyes". See more »


When AJ stops the Mercedes after scraping the parked vehicle, the passenger mirror is still attached. When he gets out to walk around the car & inspect potential damage it is now hanging. See more »


Carmela Soprano: Act like a good Catholic for fifteen fucking minutes. Is that so much to ask?
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References Rocky (1976) See more »


Tasty Pudding
Performed by Chet Baker
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User Reviews

Hollywood, Chrissy!
1 April 2008 | by (Italy) – See all my reviews

Real movie fans will never forget the iconic scene in The Godfather where a famous movie producer wakes up and finds the severed head of his favorite horse between the sheets. That horrifying moment originated from a deal gone bad between the producer and the Corleone family, a clever way to imply movies are controlled by crime lords too (not that far-fetched a theory, actually: the mafia famously cashed in most of Deep Throat's profits). The concept is taken to anew level in D-Girl, one of the finest episodes of The Sopranos' second year.

Since Hollywood is concerned, it is clear Christopher plays a pivotal role in the story, and indeed he does: through his cousin's fiancée, Amy Safir (Alicia Witt), he is able to meet Jon Favreau and actually visit a film set. Things seem to be going fine until Chris tries to impress Favreau by telling an embarrassing true story featuring one of his friends. The anecdote subsequently pops up in Jon's latest script, a fact which could cost Chrissy his life. Of course, the fact that he's sleeping with Amy doesn't improve anything either. Trouble ensues for Pussy, too, as he is asked to wear a wire during AJ's confirmation: not only does he find it offensive toward God, he also starts to have serious doubts regarding his deceitful life.

David Chase has always said Martin Scorsese was a huge influence for the show's atmosphere and D-Girl proves it splendidly, encompassing the Church, the street (the two main concerns of many of Scorsese's films) and, most of all, the passion Marty gave in to instead of becoming a priest: the movies. For the man behind Taxi Driver, it's always been about the movies. Christopher has a similar attitude, and his experience in this episode comprises some of the best moments of the series. Most enjoyable of all is Favreau's delightful self-mocking guest spot, with excellent help from Janeane Garofalo (perhaps the idea for Entourage was partially derived from those scenes): the bit where he asks to see Christopher's gun is superbly funny and tense at the same time. And consider this: Favreau, who mentions his part-Italian origin, "steals" Chris's story and inserts it in his screenplay with no concern for the consequences his actions may have. Now, whose behavior is more criminal, at the end of it all?

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