“Ozark” Season 4 Part 2 Review: Not a Happy Ending but a Deserving Emmy Contender | Articles

The highly anticipated final episodes of “Ozark” arrived on Netflix in late April and fans are still recovering. With 14 nominations pending, the upcoming series is currently feeling the love of the Emmys. But is the finale really worth all the prizes? The critically acclaimed Netflix series tells the story of the Byrdes, a middle-class family who launder money for a Mexican drug cartel. Known for stirring controversy, “Ozark” questions the moral compasses of his characters and audiences alike, constantly blurring the line between decency and dishonesty, between good and evil. Some love the Byrdes; some hate the Byrdes; others feel sorry for them. However, one thing remains undisputed: “Ozark” is one of Netflix’s greatest triumphs. But is it really his anti-hero narrative that makes this detective drama so compelling? After all, morally ambiguous characters have dominated the television landscape for decades.

According to lead actress Laura Linney, the central issue of the show, and perhaps its most tempting, can be traced back to a single word: identity. Working for a drug lord is not the safest career choice. Indeed, it is this constant struggle for survival that unearths the long-forgotten secrets, fears and personality traits of its main characters. That’s right, family members turn into strangers. Sure, after three and a half seasons, viewers might think they finally know the Byrdes. But just as that misconception took hold, Netflix ditched its final season and it was shocking.

The final season of the Netflix show continued largely “Ozark” style: suspense, revenge and death dominated the final episodes. Undoubtedly, the show remains one of the most intense and touching television dramas to date. The storyline is overall compelling and exciting, albeit slightly confusing at times. There is no way around the fact that some textures are outdated and repetitive. For example, there is simply no need for Mel Sattem (Adam Rothenberg), the private investigator, to return to the Ozarks to investigate the whereabouts of yet another dead man. Also, the cat and mouse game between Omar Navarro (Felix Solis) and his sister (Verónica Falcón) ages very, very quickly.

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The extended 14-episode series, coupled with each episode’s running time, left the writers plenty of time. The flashbacks attempt to fill that time, but fail to carry the story forward. At times, this season feels like an opportunity for the already departed to return to the Ozarks to say their last goodbyes – an unusual sudden display of nostalgia. While disarming and slightly out of place, the flashbacks pay homage to all the phenomenal “Ozark” actors drawn to Missouri – the closest thing to closure audiences can expect from a show that kills its characters without remorse.

However, the latest season of “Ozark” is a must see. Heartwarming shows, flawed relationships, and shocking deaths count this piece of television art. The show’s final episodes powerfully allude to the danger of childhood trauma by further exploring Wendy’s upbringing, truly a highlight of the season. This storyline not only paves the way for stellar performances, but also allows audiences to probe the pain of childhood trauma through her interactions with her father. Wendy’s upbringing doesn’t justify her irrational behavior, but it suggests that bad people are often deeply complex and flawed. Marty and Wendy’s relationship is often criticized; they are weighed down by the lust for power, the fear of death and the struggle of trauma, but it is a relationship based on a prevailing love. Knowing this makes their interactions even more devastating and moving. “I know I’m not easy to love,” Wendy says, looking at Marty. After a pause, she replies: “That’s not true.”

Of course, the final episode isn’t a happy ending. It may not be what viewers were hoping for, but it is what feels true to the show and the characters. “Ozark” has repeatedly alluded to the inevitability of fate. Ruth Langmore’s death resembled a Shakespearean tragedy; there was a solemn sadness in the way her white dress slowly turned red. A death so tragic but peaceful and perhaps always inevitable, as inevitable as the series finale? Jonah points a shotgun at the detective, who holds the cookie jar with Ben Davis’ remains as the scene fades to black. Viewers never find out if Jonah pulls the trigger or not; instead, we are left with uncertainty. But looking back, the show never intended to provide its audience with direct answers. Did viewers really want to know what would eventually happen to the Byrdes? There will always be someone who knows what the Byrdes have done, even if it’s just the Byrdes themselves. There is no end. No queue. No way out. Maybe “Ozark” was never really about closure? Perhaps the show was simply about the journey of life. The journey of what we do, who we meet, what we believe in and who we become.

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