“Ozark” (Season 3): Narcos in Missouri

Ozark has set itself apart as one of Netflix’s most popular original series, and this season, in my humble opinion, is the best. (See my reviews of Season 1 -September 2017) and Season 2-October 2018)

In this third  season, Ozark has book-ended the journey that began with Marty Byrde (Jason Bateman) inventing a plan to launder the Navarro cartel’s drug money in the Ozarks  and evolves into the journey of Wendy Byrde (Laura Linney) inventing a plan to create legitimate businesses.

The Byrdes have finally broken bad.  In Season One Wendy Byrde is primarily the good Midwestern wife following her husband’s plans, albeit criminal in intent, in order to preserve their marriage and keep their children safe.  Now in Season 3 (hinted at in the finale of Season 2) Wendy takes charge.  Her previous marginality–the repeated subtle agonies of a woman knowing she could do better–is no more.

So, what happens when the entire family goes from white-collar  respectability to all-in involvement in a life of criminal activity?  The teenage son and daughter do not push back as they get caught up in their parents’ duplicity.  Season 3 is  devastating: a  witnessing of a nuclear-family-gone-rogue. 

Moreover, the Byrde family is not the only one that is cursed no matter what direction they face.  The Langmores–particularly Ruth–has fought all her life for agency, for a life that she is in control of.  And the  Snells, the local Ozark family who has grown poppies and weed for generations, wants their former power back.

The major theme is still hopelessness–even as the main characters struggle with their reality, a denial of how extremely wounded they are.  Each Byrde family  member gives up a piece of themselves until  there is not much remaining to give up.  Each dysfunctional family–Byrde, Langmore, and Snell–is viewed under a psychological microscope:  revealing tortured souls, in ordeals writhing in a house of pain, truth rattling but not being listened to.  Ruth Langmore has few options.  And Darlene Snell is viciously cunning.  We wait for karma  to catch up with her.

Season 3 of Ozark belongs to Laura Linney, who plays the most challenging role:  how to evolve from a mother who is besieged by her husband’s wrongheaded decision to a mastermind of money-laundering for  a Mexican drug dealer.  Jason Bateman is every bit her match, with scenes reminiscent of Ingmar Berman’s classic “Scenes from a Marriage”.  Both chilling and close to home for many viewers!

Ozark–A Stark, Dark Thriller

Ozark Netflix original series

This Netflix Original series (released July 21 of this year) was created by screenwriter Bill Dubuque (known for The Accountant, see my review). Ozark is so good it approaches the standard set by “Breaking Bad”.

The series showcases Chicago financial planner Marty Byrde (a sensational Jason Bateman from “Arrested Development”) and his wife Wendy (the impeccable Laura Linney of “Masterpiece Theater”)  a homemaker turned real estate agent. The couple relocate with their son and daughter to the Lake of the Ozarks, a summer resort community in Missouri.  Marty must find a way to  continue to launder  money for a Mexican drug cartel.

What ensues in ten episodes is a taut thriller with plot twists which are neither slow nor predictable. Ozark is populated with some seriously heinous flawed characters: think Walter White. But then again “flawed characters” are just more interesting, as long as we can understand their motivations. There is no message of hope–at least not so far. and the only reality we witness is of extremely wounded personalities.

The scenes from the Byrde marriage recall the relationship between Frank and Claire Underwood from House of Cards. Jason Bateman and Laura Linney have a conjugal dance that leaves the viewer cringing at each blow and confrontation.

Although the acting and dialog are brillant, Ozark may fall outside of some viewers comfort zones. While you would not want to be friends with ANY of the main characters, a few scenes may be “over the top” for some.

One criticism I do have of “Ozark” is that the minor characters who live in the Lake of the Ozarks are playing to type–or maybe stereotype–of rednecks–uneducated and desperate– who can’t think of any other life choices besides crime. There are a brother-sister pair attempting to escape their circumstances but tremendous fear and family loyalty prevent them from exiting their miserable situation. Mexicans are also stereotyped as either in drug cartels or “cleaning toilets”. Those aspects of Ozark I find offensive, and wish screenwriters would work a little harder at making their point rather than perpetrating stereotypes. The narrative is otherwise superb.

“Ozark carefully guides the audience through the story, sometimes to excess. (For example, one episode unnecessarily is devoted almost entirely to backstory.)  However, Ozark is far from predictable. Bateman’s disarming and deceptively complex performance contributes greatly to his character’s evolution. He’s not sympathetic, and he’s not good, but he’s not as bad as he could be. He is desperate to protect his family as well as to survive. He is smart, employing any ruthless means at his disposal.

Please hurry with the release of the next season!

Note: [Not a spoiler alert) The finale is an editing anomaly in comparison to the preceding episodes. I thought it was a bit sloppy and melodramatic, detracting from the overall craft of screenwriting throughout this notable series.