The Shocking Truth Behind Tony's Ultimate Betrayal: The Real Reason Christopher Met His Demise in Season 6 of The Sopranos

Tony Soprano's murder of Christopher Moltisanti in The Sopranos was a deeply shocking moment in the series. Despite the passing of many years since the airing of The Sopranos season 6 in 2006, questions still linger about the death scene of Chris Moltisanti, the greatest of which is why Tony chose to kill him. In a later episode of The Sopranos titled "Walk Like a Man," these long-time friends are shown joking and appearing to be on good terms, despite some conflicts that need resolving, particularly with Paulie. Nevertheless, the inherent flaws and corruption of the criminal underworld inevitably catch up with Christopher Moltisanti, culminating in his death in the season 6 episode "Kennedy and Heidi," at the hands of Tony Soprano.

Although Chris is Tony's nephew in a convoluted manner, The Sopranos does not explicitly clarify all the reasons behind Tony's decision to murder him, leaving viewers to ponder the question, "why did Tony kill Christopher?" However, the prequel movie to The Sopranos, titled The Many Saints of Newark, sheds light on the history of Tony Soprano and Christopher Moltisanti's relationship. Furthermore, in The Many Saints of Newark, Christopher narrates the events from beyond the grave. While the focus of the movie lies on Dickie Moltisanti and a teenage Tony Soprano, Christopher Moltisanti's death in season 6 continues to haunt the DiMeo crime family, even in the past. Here is the truth behind Tony's decision to kill him.

How The Sopranos Explained Why Tony Killed Christopher

Tony killed Christopher in order to prevent him from causing harm to others. The shocking event in The Sopranos, which occurred in 2006, was actually hinted at subtly throughout the show. Christopher Moltisanti's death, which happened years prior to the events narrated in The Many Saints of Newark, was foreshadowed thematically in the episode "Walk Like a Man" through Tony's interactions with his son A.J. and Dr. Melfi. Initially seemingly unrelated, these interactions serve to reveal Tony Soprano's perspective and mindset at the time, shedding light on why he ultimately decided to kill Chris.

The reason behind Tony's decision to kill Christopher was not tied to any mob-related reasons, which raised the question: "Why did Tony kill Christopher?" Instead, it had to do with what Christopher symbolized in relation to Tony's son and the point Tony had reached in his journey as a parent. After a breakup, A.J. falls into severe depression and exhibits suicidal tendencies, as reported by his sister Meadow. In response, Tony decides to terminate his therapy sessions with Dr. Melfi, referring to them as meaningless. He expresses his feelings of failure as a parent and his belief that he has passed on undesirable traits to his son. Meanwhile, Tony anticipates another breakdown from Christopher following an incident where he throws Paulie's nephew out of a window.

Tony Soprano Saw Killing Christopher As Merciful

Crucially, however, Tony remains oblivious to the fact that Christopher is no longer in a state of sobriety. These various aspects contribute to a tragic car crash involving Tony and Christopher. During this distressing incident, Christopher candidly confesses his inability to pass a drug test, which serves as one of the final straws in their tumultuous relationship. This answers the lingering question of "why did Tony kill Christopher?". While Tony cannot alter the genetic legacy he passed down to A.J., he can prevent Christopher from further wreaking havoc on other lives besides his own. Saving Christopher's life is undoubtedly important, yet Tony's unconscious burden of guilt takes control, leading to the fateful act of suffocating Christopher by pinching his nostrils until he draws his last breath.

Not only did The Sopranos fail to provide a clear explanation for Tony's decision to kill Christopher, it also cleverly conveyed his motivations through the soundtrack. This shocking moment in the show draws a poignant connection to a song that precedes the tragic accident. Christopher alludes to The Departed soundtrack and listens to Pink Floyd's "Comfortably Numb," which serves as a powerful link to Martin Scorsese's 2006 film. In that movie, the track mirrors the psychological unraveling of Leonardo DiCaprio's character, Billy Costigan, as he grapples with the pressures of undercover work and contemplates ending his own life.

Tony and Christopher were driving while "Kennedy and Heidi" played in the background. The lyrics "the dream is gone" emphasized the main message of the scene, hinting at Tony's eventual actions to protect his underworld son from a more tragic fate - killing him. In a prophetic manner, David Chase shows the audience that Christopher Moltisanti is not scared but rather "comfortably numb" in his final moments. As Tony and Christopher's relationship reaches a bittersweet conclusion, both characters appear to have a faint sense of acceptance and even relief.

Exploring the reasons behind Tony's decision to kill Christopher, it becomes clear that there are several contributing factors to this crucial moment in The Sopranos. Given Tony's role in the DiMeo crime family, he cannot afford to have someone like Christopher lose control and potentially expose sensitive information about their organization. Although Tony does have a certain level of trust in his protege and cares for him like a son, these factors ultimately lead to Christopher's demise.

Unfortunately for Christopher, he has crossed a line this time by driving under the influence with Tony in the passenger seat. As a result of the accident, Tony witnesses a mangled baby seat, which triggers thoughts of his own children. This prompts Tony to assert his authority and make a difficult decision, favoring one family over the other by ultimately ending Christopher's life (who, notably, is not Tony's direct blood relative). Several episodes later, The Sopranos concludes abruptly with a mysterious fade to black. Regardless of the ambiguity surrounding this ending, what truly matters is who Tony is surrounded by: his wife, his daughter, his son—the family that Tony ultimately chooses.

Christopher’s The Many Saints Of Newark Narrator Role Adds Weight To His Death

The prequel movie The Many Saints of Newark unveils the backstory of The Sopranos, with Christopher narrating to emphasize the repercussions of Tony's decision to kill him and shed light on Tony and Christopher's dynamic within the DiMeo crime family. Christopher's narration commences at the start, featuring his tombstone, where he explains that the name Moltisanti, his surname, translates to "many saints," providing context for the movie's title. Notably, Christopher's voice serves as the narrator in the tradition of utilizing mystical elements to emphasize pivotal moments in the lives of the DiMeo crime family members.

Following the opening sequence, Christopher narrates each significant scene in the Sopranos prequel, shedding light on pivotal moments in young Tony Soprano's life. One such instance is when Christopher introduces Tony as they pick up Dickie's father, Dick Moltisanti (played by Ray Liotta), and mentions, "The little fat kid is my uncle, Tony Soprano... He choked me to death." Additionally, Christopher's narration encompasses the movie's transition from the '60s to the '70s, Tony's move to the suburbs, and notably, Dickie's funeral.

During Dickie's funeral, as Tony gazes at his deceased uncle and mentor, Dickie's hand reaches up to make a pinky promise with Tony, while The Sopranos theme song softly fades in. This gesture symbolizes Tony's unwavering loyalty to Dickie and the DiMeo family. With the camera focused on Tony's face, Christopher narrates, "That's the guy, my uncle Tony. The guy I went to hell for." In Many Saints of Newark, Christopher's supernatural presence reveals how Christopher's spirit perceives his own demise. Although his final line may come across as caustic, there is no trace of bitterness or anger in his voice, suggesting that Christopher comprehends the reason behind Tony's decision to kill him.

Christopher Moltisanti Got What Was Coming To Him

In hindsight, Christopher Moltisanti's death can be deemed as well-deserved, leaving little question as to why Tony chose to end him. Despite seeing Tony as a hellish combination of uncle, mentor, and father figure, Christopher still admired him. Yet, all three individuals ultimately faced the consequences they deserved, with Christopher bearing the brunt of it all. Throughout The Sopranos, Christopher was responsible for the deaths of nine people, notably including his first kill of Emil Kolar and his last kill of J.T. Dolan.

However, what truly justifies Christopher's demise in The Sopranos is the appalling incident where, under the influence of heroin, he unintentionally killed a dog by sitting on it. Even this gruesome act failed to prompt Christopher to end his drug use. Just as Tony Soprano was tormented by guilt over his past crimes, karma inevitably caught up with Christopher Moltisanti, and his death simply served as the retribution for the life he had sown.

What Michael Imperioli Said About Christopher's Death

Actor Michael Imperioli, known for his role as Christopher in The Sopranos, co-hosts a podcast called "Talking Sopranos" with Steve Schirripa (Bobby Baccalieri). In episode 87, they discuss the controversial season 6 episode "Kennedy and Heidi," which provides insight into the question of why Tony killed Christopher. The episode features Lorraine Bracco (Dr. Melfi) as a guest, focusing on her character's storyline throughout the series. However, the latter part of the episode delves into Christopher's death and its significance within the larger context of the show. Imperioli shares that he is often asked about this scene, but during filming, it felt like any other day at work, with the main emphasis being on the car stunt itself.

Imperioli reveals that the emotional impact of the question "why did Tony kill Christopher?" didn't truly resonate with him until after the episode aired. He describes the experience as both "emotional" and "strange." Imperioli highlights two instances related to Christopher's death that he views as bringing the series full circle. Firstly, in Christopher's introductory scene and death scene, he wears a baseball cap, which is a departure from his usual style. Secondly, in the Sopranos episode "Fortunate Son," Christopher interprets seeing a crow on a window as a bad omen when he becomes a made man. Following his death, the episode features the sound of a crow cawing, subtly emphasizing the brilliance of The Sopranos.