After a visit with his sons, Schillinger realizes he needs to get paroled. He convinces McManus to let him return to Em City with the condition that he leaves Beecher alone. Beecher comes out of the ...
With things wild in Em City, O'Reily begins a surprising affair. Zabitz asks Schillinger for protection from Keller--who tries to get into the rehab program to make amends with Sister Pete. Beecher ...
OZ chronicles the attempts of McManus (Terry Kinney) to keep control over the inmates of Em(erald) City as well as the drug trade and the violence. There have been many groups of inmates during the run of the show and not everybody makes it out alive. There's the gangstas (Adebisi, Wangler, Redding, Poet, Keene, Supreme Allah), Muslims (Said, Arif, Hamid Khan), Italians (Pancamo, Nappa, Schiebetta), bikers (Hoyt), Aryans (Schillinger, Robson, Mark Mack), Christians (Cloutier, Cudney), Latinos (Alvarez, Morales, Guerra, Hernandez), gays (Hanlon, Cramer) and a whole pile of others (the O'Riley brothers, Keller, Stanislovsky, etc.). And there's a great "everyman" character called Beecher who gives a good look at a normal man who made one tragic mistake. Besides the regular inmates, there's guest stars such as Method Man, Luke Perry, Master P, Treach, etc. and a bunch of prison staff doctors (Dr. Nathan), a nun/psychologist (Sister Peter Marie), a bunch of guards some honest, some crooked...Written by
Dean Winters (Ryan O'Reilly) and J.K. Simmons (Schillinger) both went on to be featured in insurance commercials: Winters as "Mayhem" the Allstate spokesman, and Simmons as the Farmers Insurance Professor. See more »
Prisoners are often seen using knives and scissors as regular every day items (getting haircuts etc). Access to metal bladed instruments would not be allowed in any form without strict supervision. Every pair of scissors and every knife would accounted for at all times. See more »
Its influence will elevate the level of television drama for years to come.
The stature of this program must be measured in the context of its format. These are not feature films, but one hour dramas, no different in concept or constraint from countless other network counterparts. But, oh how different in result.
Oz is not for everyone. It is violent, lurid, obscene, profane and controversial. Oz us narrated dramatically by a "Greek Chorus" of inmates who make insightful observations not just about Oz, but applicable to the outside world as well. The talent, none of it marquee, is nonetheless the finest assembly of supporting actors an ensemble cast could hope for.
In order to keep ratings up, the stories sometimes veer into the unbelievable, but the grit and reality are never gone for long. Oz is also a bundle of irony. Although it deals with homosexuality with insight and objectivity in every episode, it just as often bristles with gratuitous homoerotic overtone. Despite the fact that it overflows with action and violence, it never mistakes kenesis for story.
Sometimes, Oz borders on, and crosses well into, genius. Its often surreal direction elevates otherwise base events to sublime levels. Music, pacing, convoluted story lines careening and intersecting in ways that are at the same time graceful and clumbsy, just like real life.
This is said to be the last season of Oz, and yet, only two seasons are on DVD. With constant reruns and each episode being aired about a dozen times a week, you may be tired of this jewel anyway, but its influence will elevate the level of television drama for years to come.
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