viernes, septiembre 23, 2022
InicioTechnologyOzark Pushes Off the Pier For Its Last Boat Ride | TV/Streaming

Ozark Pushes Off the Pier For Its Last Boat Ride | TV/Streaming

Ozark is a show about balance. Initially, only two weights had to be weighed on the scale: Marty Byrd’s (Jason Bateman) bookkeeping prowess and emotional stability versus the Navarro drug cartel’s 50/50 choice of killing Marty or letting him launder his money through various Ozark businesses.

Over time, a host of other figures vying for the top weight have joined the scales: Wendy (Laura Linney), Marty’s wife, and her adamant contempt and desire to bend her new life to her will; Ruth Langmore (Julia Garner), an Ozark native whose intelligence and courage are constantly undermined by her socioeconomic status; Jonah Bird (Skylar Gaertner), Marty and Wendy’s son who learned to do laundry from his father, but very other ethical principles than his parents. Ozark isn’t as flashy as Breaking Bad or Mad Men or even older shows like The Sopranos or The Wire, but has proven itself capable of writing, directing and acting in other, more prestigious dramas. These last seven episodes of the fourth season don’t disappoint.

Navigating the delicate nature of power dynamics is integral to the characterization of Marty and therefore the writing of the series. The Navarro Cartel and their accomplices commit crimes, sometimes with extreme violence, so Marty must correct course. Jason Bateman’s work as a quiet, gentle financial advisor is an exploration of the emotional anchor. If Marty Bird seems boring or dull to the public, it’s because he’s the one holding this whole house of cards together. His body moves casually but purposefully. Half the time when he’s on his way to committing a lot of felony, you might think he’s just going to buy some eggs or fill up the car. Bateman’s discreet, reassuring presence brings the audience back to math: it’s a story about the secrets a spreadsheet can hold. Marty is the black coffee-eating hangover cure for the wild, greedy villainess Wendy. This is true throughout the ending, and his character’s reckoning is just and, like the man himself, reasonable.

If Marty is yin, then Wendy is yang. In my review of the first seven episodes of the fourth season, I said that Laura Linney shot to her fullest. Somehow she ups her game in the second half of the last season. A serene, soft, but impassive gleam lights up in her eyes when she is offended by a loved one. When she mocks other people’s fears and anxieties, Wendy’s layoffs fall like anvils. Linney condemns in Doomsday style, so harshly that a firing squad would be kinder. By now, viewers know that Wendy Bird was born and raised in an environment not unlike the Ozarks. Immediately, the disgust caused by the Ozarks gives Wendy an insane inspiration. Once this culture, these values ​​repressed her, shamed and intimidated her. But she’s not Wendy Marie Davis anymore. This is Wendy Byrd of the Byrd Foundation, formerly a money launderer for the Navarro Cartel, now a perfectly legitimate business. It’s unfair to call Linnie’s performance the new standard-bearer of villainy, because what she’s done in this piece has Shakespearean richness, but there’s something elusive about it. Sometimes Wendy’s actions seem to be tinged with genuine grief over her brother’s death or driven by love for her children. Sometimes it seems that she acts out of pure malice or unbridled greed. The scariest part—and why Linney’s Wendy is such a hallmark of acting—is sometimes there’s nothing behind Wendy’s performance. She is an abyss that will inflict a mortal wound simply by returning your gaze.

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