It’s spectacular how little The Penguin cares about being a Batman present. In truth, one may marvel why it even bothers. This is a present that clearly prefers the mafia canon to the comic-book one, a thinly veiled excuse to do Scarface in Gotham City, or to think about a model of The Godfather Part II that’s about Fredo. This might annoy some folks, and please others—it's actually completely different from the Marvel Cinematic Universe–model Easter egg hunts that audiences have been bombarded with over the previous few years. But it’s additionally an odd duck, an HBO sequence that’s tough to sq. with the community’s penchant for status—and, after all, its different (extraordinarily well-known) gangster epic.
The new sequence follows Colin Farrell’s closely prosthetic reimagining of Oz “The Penguin” Cobb, within the aftermath of 2022’s The Batman. An opening montage reminds viewers in regards to the state of issues in Matt Reeves’ model of Gotham City, and the quick model is: Batman type of beefed it. The Riddler bombed the town, flooding its streets and turning its poorer districts right into a catastrophe zone. City assets are stretched skinny. And mob boss Carmine Falcone (John Turturro within the movie) is lifeless, leaving an influence vacuum within the underworld.
Batman and Bruce Wayne don't issue into this story. The many criminals of The Penguin don't appear to spare a thought for the armored man whose most popular pastime is thrashing the hell out of small-time crooks. This omission by no means stops being bizarre—I perceive this model of the superhero is simply getting began, however The Batman made it fairly clear that individuals in Gotham have at the very least heard of him. Furthermore, The Penguin leans into a number of the comic-book methods of creating it clear that Gotham isn't merely a fictional New York, just like the existence of a drug economic system constructed round “drops,” the odd jaunt over to Arkham Asylum, and Riddler query marks tagged throughout billboards. There are a hilarious variety of scenes the place characters stroll by this very apparent comics iconography and proceed to behave as if they don't seem to be in a comic-book present.
There’s precedent for the style trappings right here. Many of the most well-liked and influential Batman comics are very a lot crime tales, like Frank Miller and David Mazzucchelli’s Batman: Year One, or Jeph Loeb and Tim Sale’s The Long Halloween and its sequel, Dark Victory—all of which inform The Penguin. Knowing this, it’s not exhausting to think about a gangster saga that merely omits the Caped Crusader, detailing simply what sort of corruption the hero is set to root out, or how disruptive his arrival may be to a well-established underworld.
The Penguin skews towards the latter. Consistent with his characterization in The Batman, Oz Cobb is a shit-talker and schemer who sees a possibility to scramble his means up from glorified drug seller to true kingpin. He instructions little respect—his nom de crime is supposed as an insult stated to his face—and likewise doesn't appear to be terribly good at a lot of what he units out to do. But he's pushed, moved by an timeless rage on the world round him for overlooking him and denying him the ability and alternative he believes is his, and he has a knack for swaying different disgruntled males to again him in a wrestle to take again what’s theirs. Batman may not be current, however he supplied Oz with a possibility, and he’s going to take it.
This is maybe probably the most compelling factor about The Penguin: Through its characterization of Oz and his place in Gotham, it illustrates the seductive attraction of gangster tales, and means that possibly it’s not terribly completely different from what attracts folks to superhero fables. The poisonous fandom inherent to each solely underlines this. To that finish, the present’s finest character, and the rationale why all of it comes collectively so nicely, is a girl.
Sofia Falcone (Cristin Milioti) is a direct risk to Oz’s ambitions. Recently launched from Arkham, she is a shock inheritor to the mob throne, an aspiring queenpin to parallel Oz’s legal targets. Like Diane Keaton in The Godfather or any girl strolling into an outdated patriarchal stronghold, she is instantly shut out by males who've energy or need it—however regularly finds methods to jam her foot within the door, frustrate plans, construct her personal empire. Across its eight-episode run, The Penguin takes time to look at each Oz and Sofia, to search out the cracks of their psyches that give them the need to warp the town to their very own picture, discovering extra to mine of their petty humanity than of their legal acumen.
Here is the place The Penguin most seems like The Sopranos, turning its consideration to the broken households that produce males like Oz or ladies like Sofia, and the way the crime “families” they're a part of replicate their gaping emotional wants. The comparability is an uncomfortable one, and unimaginable to keep away from—a stark divide between the status TV of yore, when the phrase was coined, and what it seems to be like immediately. What beforehand described a subset of reveals that stood in distinction to broadcast norms and sought to push boundaries has now turn out to be a proper normal, a mould able to obtain the IP tie-in that each high-profile media property should have now, even on HBO.
Yet there's a craft to The Penguin that makes it satisfying on its personal phrases, a blinding work of IP brinkmanship with the devious goal of seeing how far you possibly can take the Batman title for a experience whereas ravenous Batman followers of his presence. Like it or not, that is simply how status TV is made now, however at the very least it will possibly nonetheless be good.
