She’s building her dream house in the same place she grew up. She turns down Marty’s offer to flee town under a new identity. Ruth has certainly lived beyond her years - no one her age should have had to bury as many family members as she has - but she’s not exactly looking to get out. Prine wrote the song imagining a woman who “feels older than she is” and wants to escape her difficult life. “Just give me one thing that I can hold on to,” Russ sings, “to believe in this living, is just a hard way to go.” The song lingers in the background, but its lyrics are given prominence during the gaps in conversation with Wyatt and then Three (Carson Holmes).
Uncle Russ (Marc Menchaca) plays the guitar and growls the lyrics to John Prine’s “Angel from Montgomery,” as Ruth and Wyatt sit atop their trailer for one last talk. Uncle Boyd (Christopher James Baker) lights a firecracker. Her father, Cade (Trevor Long), mans the grill. Later, she pictures her family returning for one last cookout. First, she spots Wyatt (Charlie Tahan), as she buries her would-be assassin. It’s fitting, then, that Ruth spends much of the final episode communing with the dead. The result would be the same as what plays out. If she won’t help him get his kids back, then he’s going to tell Camila what Ruth did himself. Not only does he do nothing to warn her that Camila (Veronica Falcón) knows what Ruth did and is coming for her, he actually comes after her himself to start the last episode. After fighting with Wendy over protecting Ruth’s life (when she was deadset on taking her revenge on Javi), Marty finally relents his claim to the lone remaining Langmore. Marty and Wendy prioritize their guaranteed safety, as well as their kids’, over Ruth (Julia Garner), who was as close to family as she could get without changing her surname to Byrde. Valuing blood relations over chosen family - over loyalty that’s earned rather than inherited - is painted as the ugly act that it is, given how the final gunshot contrasts the one that preceded it. Unlike his folks, “Ozark” takes zero satisfaction in Jonah’s development. By the time his parents are dead and Jonah’s running the RNC, no one will be wondering how he built his fortune. He’s doing what Marty has been doing since they fled Chicago for the Lake of the Ozarks. He’s willing to sacrifice his moral standing by shedding the blood of another, so long as it helps safeguard his own blood. Instead, he’s pleased with Jonah for mirroring his parents (similar to when Marty heard Jonah was laundering money and couldn’t hide his delight). It’s not because he’s grown comfortable with murder as evidenced in Mexico, Marty is still squeamish when it comes to getting his hands dirty.
You needn’t spot Jason Bateman’s barely subdued grin to know Marty is proud of the boy he’s raised. And the rest of the season shows just how far she’ll go to get him back. But she’s also lying to Jonah’s face because she’s not fine with him hating her, dismissing her, or otherwise distancing himself from the family. Sure, she’s also hiding behind the foundation, and the idea of doing enough good to bury the bad as a morally acceptable trade-off for seeking indomitable power.
Wendy has enjoyed that privilege long enough to recognize it. Veracity comes in how America typically protects the powerful and abandons the weak. The Byrde family matriarch is simultaneously telling the truth and lying her ass off.
A story about my uncle ending series#
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