That may be so, Capo. But the greatest aspect of (at least) the final season of the Sopranos is that, with all it's symbolism and Shakespearean nature, there's a variety of legitimate interpretations, which everyone is entitled to.
Yeah, but as with Shakespeare, there may not necessarily be a right interpretation, but I think there are many wrong ones.
This isn't necessarily the case here, I just think it needs some more thought. Though Christopher certainly had a recurring weakness and increasing frustration toward Tony, not to mention a vulnerabilty to the Feds, I don't think he was a rat at the time of his death.
Chase has said (in the Brett Martin series guide) that talking to the Feds was a recurring problem for Tony and his inner circle, and that at the end of the season there were probably more rats than we as an audience (
and Chase as a writer) knew about. It's true: Raymond Curto was talking to the Feds but never got found out; nor did Eugene.
But Chase is talking about a fiction as if it's a real-life case. It might invite speculation from many viewers, but I'd prefer a more exegetic approach. Work with what you've got.
As for the cap: at which other point in the show does Christopher wear one? In his first ever scene, in which he is also chauffeuring Tony. When Tony notices the
Cleaver cap in the hospital after killing Chris, he may as well be lamenting the earlier memory, not the fact he's just killed his would-be heir.
In the dissertation I just wrote, I noted how this motif brings Christopher's narrative full circle; he ends how he began, and in between all you've got is a series of disappointments. It's very cynical.
On J.T., and Christopher's killing him: Christopher seeks a way out, in his brash, intoxicated state. When J.T. (a degenerate himself, and knowing fine well it's better not to get involved with these guys because of previous incidents) refuses to help Christopher, the latter kills him. It's as brash and unwise a decision as it was to go there in the first place. J.T. lacks the understanding and humanity (and cultural commonality) of Adriana, and is thus unable to bring Christopher out of his way of thinking. Realising this, and realising too of his oath and duty to his Family, Christopher kills J.T. in order to cover his tracks. He knows fine well how J.T. is a leech, a loser, as much as he himself is; hence the decision to kill him. Though J.T. isn't in any position of confidence or power to use Christopher's words against him, Christopher can't take the risk.
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An unrelated note on rats: Maurice Yacowar notes the series' title,
The Sopranos - and how to flip is to "sing", to the FBI. The Soprano is a high-pitched
female singer, and this show's all about masculine values in a decaying contemporary system. A subtle in-joke, perhaps?
