Before The Sopranos sold HBO as more than TV, Tom Fontana's cellblock soap opera was a precursor of the antihero boom and the first to suggest that the premium cable network was capable of being a major player. By the time the series was ready to say goodbye to the guards, employees and inmates of Em City, however, it had already starting skirting the absurd — and its finale was a deep dive into straight-up camp. Seriously, when your big dramatic set piece involves a convict staging of Macbeth and switching out a prop knife for a real one (et tu, J.K. Simmons?), you're in trouble. Some fan favorites get their revenge, other gets their comeuppance and one gets the chair — but everything is handled so sloppily that you can feel episode's worth of build-up deflating and wheezing to standstill. Our last moment with Oz's residents finds them stuck on a bus going nowhere — an unfortunately apt metaphor.