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 life inside an experimental cell block in the Oswald Maximum Security Correctional Facility: Level Four called Emerald City. Under unit manager Tim McManus and Warden Leo Glynn, the inmates in Em City all struggle to fulfill their own needs. Some fight for power; either power over the drug trade or power over the other inmate factions. Others want money, either through slinging 'tits' (drugs), gambling or other scams. Others, Corrections officers and inmates alike, simply want to survive long enough to make parole or even to see tomorrow. The show gives a no-holds-barred account of prison life with all the plots, subplots and conflicts given context and explanation by the show's wheelchair-bound narrator, Augustus Hill. Written by
Prior to the boxing scenes in season 3, series creator Tom Fontana asked the actors involved if they had experience boxing. All said yes, but it turned out that only Chuck Zito had ever done any actual boxing. See more »
Miguel Alvarez - The large black-and-white rose tattoo on the back of the character's hand, throughout the course of the series, alternates between being on his right hand and on his left. See more »
Do NOT pass go, do not travel down this "Yellow Brick Road"...
...if what you want is the usual depiction that passes for prison life
in a dramatic format. No SHAWSHANK REDEMPTION here, folks, no
benevolent GREEN MILE guards or saintly supernatural inmates. OZ tells
it like it is, and baby, it ain't pretty.
Using at times a sense of hyper-realism, (in the narrations of the
excellent Harold Perrineau, who serves as the show's conscience and
Greek chorus), OZ shows us both the profane and profound aspects of
prison life that we good, law-abiding citizens don't like to think
about. We have the "authorities" to take care of that, don't we?
Exceptional art, no matter what the medium, has the ability to move us,
make us think, make us feel both things we embrace and things we
reject. The power this show has to polarize viewers into two different
camps--love it or hate it--is proof enough that Tom Fontana and Barry
Levinson, the forces behind HOMICIDE: LIFE ON THE STREETS, have
fashioned something we haven't seen the likes of in a very long time.
I would strongly suggest that anyone who has not yet seen it give it a
try, if you have HBO. Then I dare you to tear yourself away from it.
It's rare television that makes you sit up, take notice, and actually
care about even the minor characters in an ensemble such as this, no
matter how heinous their crimes, or how street-and-battle-hardened
Augustus Hill, Simon Adebisi, Tobias Beecher, Vern Schillinger, Chris
Keller, Jefferson Keane, Ryan O'Reilly, Kareem Said, Nino Schibetta,
Bob Rebadow, Tim McManus, Warden Leo Glynn, Sister Peter-Marie, Father
Ray, Officer Diane Wittlesey and all the others will imprint themselves
on your memory and stay there, until you can't wait to find out what
A blend of black humor and outright horror, cutting commentary and the
basest brutality, it is one of the very few shows being done now that
can reveal the most majestic qualities of the human spirit. The ongoing
struggle to resist surrendering to impulses and urges that cause the
evil that men do, in the one place you would least expect to find any
light--in a sea of human misery and darkness.
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