Looking California and Feeling Minnesota: Episode 67 - Ozark Season 4 Part Two

On this episode, Barry and I launder our thoughts on the final seven episodes of the Netflix drug drama Ozark. Topics discussed include the harmonious sounds of Covid coughing, the foundational failings of an unsatisfying finale and the brilliance of Jason Bateman.

Looking California and Feeling Minnesota: Episode 67 - Ozark Season 4 Part Two

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Ozark: Season 4 (Part One) - A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

‘Ozark’ is back in all its brooding, blood-soaked, brilliant glory.

The dark Netflix series kicks off its final season with a binge-worthy cavalcade of crime and corruption.

The first part of the fourth and final season of ‘Ozark’, the hit Netflix show about a middle-American family that launders money for a murderous drug cartel, is finally here.

‘Ozark’, much like ‘The Sopranos’ before it, has split its final season into two parts, and premiered the first 7 episodes of its final season on January 21, with the last 7 coming out later this year.

When ‘Ozark’ first appeared back in 2017, I had little faith it would be a worthwhile watch. The premise, a regular guy getting caught up in the drug trade, seemed derivative, and its star, Jason Bateman, while being a terrific comedic actor, didn’t strike me as having the chops to carry a dark drama.

After watching the first episode of season one, it quickly became apparent that I was fantastically wrong. Yes, ‘Ozark’ certainly owes a debt to ‘Breaking Bad’, as it borrows the “regular guy gets into the drug business” blueprint, but it’s no cheap ‘Breaking Bad’ knock-off. It’s an original, captivating, stylish series that boasts scintillating performances and searing social commentary.

Just to remind you, the show follows the trials and tribulations of accountant Marty Byrde (Bateman), a middle-aged, middle-American accountant who happens to be a money launderer extraordinaire.

When Marty gets in too deep with the Navarro drug cartel, he and his wife Wendy, teenage daughter Charlotte and son Jonah, leave Chicago for the backwaters of the Ozarks, where the whole family must navigate their internecine conflicts while also dealing with the perils of drug lords and law enforcement.  

The show’s cast is tremendous, but it’s Jason Bateman as Marty Byrde that is the straw that stirs the drink. Bateman’s Marty is a masterwork of skilled, subtle and intricate acting.

Marty is a problem-solver, and while it’s his original sin that sets the story in motion, he’s now blessed/cursed to be surrounded by a coterie of combustible women who seem to cause all his problems.

For example, there’s Marty’s wife, Wendy, gloriously played by Laura Linney in full Lady Macbeth mode, who is a ferociously ambitious sort who hides her ruthless nature behind her smiling mom exterior. Wendy’s reach often exceeds her grasp and leaves the whole family in danger, but it’s Marty who must be the calm and cool voice of reason that has to clean up her mess.

Then there’s spitfire Ruth Langmore, Marty’s protégé, phenomenally portrayed by two-time Emmy winner Julia Garner. Ruth is a firebrand, vicious, volcanic yet vulnerable. When Ruth’s deep-seated wound is sufficiently agitated and she unleashes her existential fury, she’s a diabolical dervish that can destroy everything and everyone in her orbit, including Ruth herself.

And then there’s the queen of the Redneck Riviera, Darlene Snell, the local drug boss and all-around low-rent lunatic. Darlene (fiercely portrayed by Lisa Emery) seems like she could be the in-bred sister of the backwater rapists in ‘Deliverance’, and her shotgun-toting, mama bear energy, is as unnerving as she is relentless.

It’s a stroke of cultural/political sub-textural genius that the women of ‘Ozark’ are, almost universally, the catalysts of the story and are also consistently irrational, incorrigible and violently narcissistic. They are equally as diabolical and depraved as any of the men, if not more so. And it always falls on Marty, flaws and all, to put the pieces back together after one of these witches casts a wayward spell.

Too often nowadays movies and tv shows want to empower women without having them grapple with the insidious shadow that comes with power. ‘Ozark’ though, empowers women, but also lets them wallow, flail and drown in the same deep, dark waters that engulf men when they venture too far from shore, and it’s utterly delicious to watch.

Another great thing about the show is that it’s persistently a brooding, blood-soaked meta-commentary on life among the ruins of an American empire in steep decline.

For example, the stench of desperation and the rot of corruption, both personal and institutional, is absolutely everywhere.

The Byrdes start out trying to do the right thing, but their moral and ethical corruption spreads like a virus, and contaminates everyone with which they come into contact, leaving a trail of broken bodies and spirits in their wake.

Also corrupt are every law enforcement agency, both local and federal, every politician, and every corporation that shows their ugly head and bare their teeth in the Byrdes direction.

Another stroke of creative genius was having the Byrdes get into the riverboat casino business, as ‘Ozark’ is a running commentary on the absurdity of our casino capitalist system, where the little people are cannon-fodder, the rigged shell game is never ending, the money is made up out of thin air, and nothing is built on solid ground.

As an artistic endeavor, ‘Ozark’ is fantastically well-crafted. Creators Bill Dubuque and Mark Williams, as well as season four directors Andrew Bernstein (one of the very best directors in television), Alik Sakharov, and Robin Wright (the famed actress), consistently set the menacing mood with ominous atmospherics using a stellar score and masterfully-executed cinematography.

Ultimately, despite some minor plot missteps I felt didn’t work, the first part of season four proves ‘Ozark’ is as good as it gets on television. It’s not for the faint of heart, but it’s remarkably compelling and thoroughly satisfying. I’ll be sad to see the series go, but I’m glad it’s here for a little while longer.

A version of this article was originally published at RT.