Sofia rises, Penguin falls, and only one of them is any damn fun to watch.
, what kind of TV show it actually wants to be. Are we sitting down each week to a gritty prestige crime drama about a damaged personality imposing its raging insecurities onto the world? A Coen-esque, lightly comedic crime caper about an eternal bullshitter flop-sweating his way to success? A pulpy meditation on trauma? “Homecoming,” the series’ fifth installment, doesn’t answer these questions so much as it throws up its hands at the whole concept of picking a lane in the first place.
Oz’s show starts off on a similar trajectory—but then, well, Oswald Cobb intrudes into it. We mean that in multiple senses, some the show intends and some it almost certainly doesn’t. We’re meant, for instance, to be contrasting Oz, who spends this episode settling old scores, trying to salvage the Bliss operation, and then literally retreating to his childhood haunts when the whole thing blows up disastrously in his face, with Sofia, who’s all about seizing the future.
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