As a fan who has followed the Penguin’s journey since his humble beginnings, I must admit that I was thoroughly captivated by this dark and twisted tale of ambition and delusion. The creators have done an exceptional job in fleshing out Oswald Cobblepot’s character, making him a complex figure who struggles with his own demons while clawing his way to the top of Gotham’s criminal underworld.
⚠️ SPOILER WARNING: The following text reveals crucial elements from the ending of HBO’s “The Penguin,” currently available for streaming on Max.
Among the exceptional TV spinoffs derived from blockbuster movies, “The Penguin” stands out as a remarkable accomplishment. The title character might not be Batman, but with Colin Farrell’s captivating portrayal and some truly impressive prosthetics, many viewers are too engrossed to recall the cinematic world he originated from, let alone pine for it. However, season finale creator Lauren LeFranc leaves a shot of the Bat-Signal towering over Gotham City’s skyline as a subtle hint that climbing the city’s criminal ladder brings him closer to Batman’s line of sight.
As a film enthusiast, I was on the hunt for a refined method to pass the baton to ‘The Batman.’ It seemed fitting to utilize the iconic Bat-Signal to convey, ‘You may have arrived, but you haven’t reached the pinnacle yet. You’re immersed in this fantasy, but there’s a vast, genuine world beyond it.’
In our conversation with LeFranc, along with Farrell’s co-stars Cristin Milioti, Deirdre O’Connell, and executive producers Matt Reeves and Dylan Clark, we discussed various aspects of the concluding episode of “The Penguin.” This series spin-off from 2022’s “The Batman,” directed and co-written by Reeves, follows Oswald Cobblepot’s journey towards success and legitimacy, however, this progress comes at a heavy price as it involves the demise of several people close to him. Some of the casualties in his pursuit of social elevation include Sofia Gigante (played by Milioti), who he manages to get arrested; Oswald’s mother Francis Cobb (portrayed by O’Connell), who experiences a debilitating stroke; and his protege, Victor Aguilar (Rhenzy Feliz), whom he ultimately takes the life after receiving Vic’s assistance in altering the city’s criminal landscape.
Besides discussing the thrilling plot twists of the final episode, the characters’ triumphs and defeats, they also explore the fundamental concepts that contributed to the show’s widespread acclaim. They delve into the character and narrative interactions that captivated viewers throughout the season, as well as the creative liberties LeFranc was granted by Reeves and Clark – not only for setting up the stage for Reeves’ upcoming “The Batman” film sequel, slated to begin production early next year, but also to build a world that mirrors the franchise’s dark, authentic essence.
Gotham City Limits
To enrich Batman’s hometown for the growing cast, LeFranc aimed to paint a detailed picture of Gotham City. This would allow for a striking contrast between the storylines of “The Batman” and “The Penguin.” As she explains, “We had eight hours in Gotham City compared to Matt’s film, which is approximately three. We could focus on specific areas like Victor’s neighborhood, we even showed where the Falcones reside. We were able to delve into a tale of class disparity, which resonates with Batman’s character, considering his background, but also where we left off Batman in the initial film.
As a passionate movie enthusiast, I’d rephrase the statement like this:
He explained that our story had a clear start and finish, without any hurdles getting in the way of understanding Lauren’s main characters. When you watch the movie, it’s not intended to create suspense by withholding information. Instead, it’s about showing where this character has reached now, so when Batman encounters him again, he’ll be in a new state, making him more challenging in specific ways.
I’m excited to share that “The Penguin” is designed to broaden the narrative horizons within Batman’s mythos, and add depth to the tales about Batman himself. HBO grants us the chance to flesh out our established characters, particularly standouts like the Penguin. In the movies, since the focus is primarily on Batman, here we’re working to enhance him in aspects that we couldn’t previously. Once we’ve explored this journey through the series, we bring him back into the films – a more developed character with a familiar essence.
According to Reeves, it’s important that nothing seems excessively reliant on watching the whole series. It won’t be a situation where we’re enticing viewers by hinting at things in the movie, making them feel manipulated, as if they’re being flicked like a switch.
Starting From “The Sopranos and “Scarface”
In discussing the creation of the show, Reeves mentions the theme of an individual willing to go to extraordinary lengths for success, whether recognition or wealth, was central. To illustrate this character’s motivations, they decided to reveal the emptiness within him that drove such a relentless pursuit. Following Bruce Wayne’s journey towards hope in “The Batman,” Reeves knew that this story would maintain its connection to Gotham’s grim reality, where the city continues to be a breeding ground for crime and is still recovering from a devastating flood that resulted in loss of life and destruction. As he explains, “We anticipated it would be a bleak tale, but Lauren managed to make it significantly darker.
They praise Farrell for infusing empathy and even wit into Oswald’s situation. Reeves explains, “Colin brought an exciting element because he wouldn’t portray the character in a bland manner. He ensured that there was always that human touch.” This made it easier to relate to his actions, even though one might not condone them. Clark adds, “Matt and I were often astounded by Colin’s reactions to driving scenes. It wasn’t intended as comedy, but he played the character so well, possessing him in such a way that it was simply entertaining.
In her quest to understand what truly motivated Oswald, LeFranc realized that “The Penguin” could depict a tale of ascension. This prompted her to introduce new characters around him. She explains, “I had to consider what Oz yearns for on a deeper level, as everyone perceives power differently.” To make it more emotionally grounded, she developed his mother as a character. From there, she began to explore and delve into the other characters she believed would contribute to a psychological study of this man. LeFranc believes that this ensemble provided a needed balance or objectivity to Oswald’s journey.
LeFranc emphasizes the importance of presenting the audience with different perspectives about that man,” he explains. “Otherwise, our view of him might become skewed – particularly since Colin is so charismatic, we might blindly accept whatever he says and make excuses for his actions. LeFranc wanted to avoid this.
A Mother-Son Showdown
The last episode starts with Oswald and Francis handcuffed in a room, and Sofia provokes a confrontation between them regarding a crucial incident from his past: when he abandoned his brothers to perish in the sewers of Gotham, then deceived their mother about it for years. Even though this discussion was probably unavoidable, O’Connell notes that Francis is hesitant to clarify things, especially with others present.
Reflecting on our conversations, I couldn’t help but wonder: Why would Lauren reveal the truth in front of Sofia knowing she was there? That spark within her, especially when he said, ‘That’s your illness talking. That’s your disease talking,’ seemed to ignite something deep inside her. I believe that moment was when a hidden wellspring of anger and resentment for all those years over what he did just erupted.
LeFranc emphasizes that while Oswald may have a knack for deceit, he maintains that he is an essentially truthful character who expresses whatever he genuinely perceives as the truth. For example, his perspective on the American Dream is remarkably realistic and down-to-earth when it comes to how he interacts with Victor regarding claiming one’s space. It’s possible to find some positive aspects in Oswald feeling like an underdog and his longing for acceptance from Gotham’s wider community, not to mention his mother.
Although LeFranc portrays him with depth and sometimes empathy, she doesn’t hesitate to criticize his actions. However, she also points out that the character is delusional. She explains some events in the final scene as being justified by him or as having occurred earlier and held significance that he felt were valid for his own sake.
Although Oz’s childhood actions are beyond forgiveness, O’Connell asserts that Francis isn’t excused from her influence over him. She suggests that Francis might carry a sense of responsibility – how could one not, given the outcome? – for shaping him into the person capable of such horrific acts. Furthermore, she believes that Francis made a silent promise to herself: “I will dedicate my life to caring for this troubled soul in some way.” In her view, Francis aimed to contain and elevate Oz, all for her own purposes.
O’Connell suggests that perhaps she believes her mistake is trying to manage something she cannot control. Desiring recognition and avoiding embarrassment, she’s constructing this figure who could meet those needs for them. However, he exceeds the boundaries by over 400 degrees, transforming from a hero into a villain at that point.
Killing Your Darlings
As a devoted movie enthusiast, let me tell you that one scene in particular struck a chord deep within my heart towards the end of this episode. The moment when Penguin coldly takes the life of his protege, Victor, leaves an indelible mark. Throughout the season, Penguin had nurtured Vic and watched him grow into a loyal ally. Vic’s unwavering dedication to helping his mentor was evident time and again. Yet, when it mattered most, Penguin chose violence, making the murder all the more jarring.
When developing Victor, she considered the dynamic of Batman and Robin, as well as how a character like Oswald could utilize someone like Robin. However, she was also aware that in crime narratives, it’s frequent for older individuals to exploit younger ones, particularly those who have an emptiness inside them. LeFranc clarifies this is why she had Victor’s parents perish: to leave him lacking in care and affection that Oswald could provide. “I also aimed to create a character like Victor,” she continues, “a good person who mirrors others in Gotham we didn’t explore in the movie. However, I designed him with the understanding that he would meet his end, as it was essential for me to portray Oz in a more ominous, unexplored light.
LeFranc discloses that she shared her character’s destiny with Feliz on their very first encounter. “Looking back, I realize it might have been a harsh method,” she confesses. “However, at the time, it seemed crucial for me to help Rhenzy grasp who Victor was from the beginning, and also so he could comprehend why his relationship in our series held such significance for Oz.” She acknowledges Feliz’s sensitive, heartfelt portrayal for intensifying the sense of sorrow and loss that accompanies Oswald’s decision. “I recall numerous instances on set where I thought, as blunt as it may seem, ‘This is going to resonate, because I care for him deeply and he will shatter my heart’ — and I hope this means he leaves others feeling the same way, in that heart-wrenching moment.
Family Connections
If Oswald’s plan doesn’t conclude with this action, it undoubtedly serves as a powerful step: He deceives Sofia Gigante once more, leading to her return to Arkham Asylum. Given the circumstances, she might truly deserve this confinement, considering she has murdered her family and detonated a bomb in Gotham’s catacombs, aimed at killing Oswald. As Milioti puts it, “When I first agreed to join, during our lengthy initial conversation, she made it clear what my role was, which is incredibly crushing.” She describes it as a punishment worse than death.
In the care of Dr. Julian Rush (Theo Rossi), Sofia finds an unexpected correspondence from a previously unacknowledged half-sister – Selina Kyle (Zoë Kravitz). In “The Batman,” Kyle was revealed as the child of Carmine Falcone, subtly hinting at her character’s connection to Catwoman. Milioti appreciates this link, while LeFranc mentions that Kyle wasn’t introduced before because she couldn’t be utilized in the series. However, her absence turned out to benefit Sofia’s character development instead.
In simpler terms, LeFranc suggests that Sofia got more focus due to fewer character options in the film. Overcrowding could have overshadowed other intriguing characters.
Milioti chose not to disclose the details of the letter written by LeFranc, but she expressed that it held great significance for her, similar to forming a strong bond with the character she portrays. Hinting at ambiguity regarding her character’s potential appearance in “The Batman Part II,” Milioti was tight-lipped about whether Sofia’s smile after reading the letter signified future events in the sequel. “I believe it symbolizes hope, which isn’t something she’s accustomed to.
LeFranc points out that the growth of Sofia introduced a character unlike any she’s encountered before in “Batman” (or any other) comics, and she’s eager to witness how both audiences and fellow storytellers respond to her evolution. “As a younger reader, I didn’t have a character like Sofia in comics, and even as an adult, there have been only a few female characters that left me thinking, ‘Wow,'” she explains. “The thrill, in part, is being able to contribute to this universe by creating new lore for Sofia and then releasing it, allowing other people to find meaning in her character.
Milioti admits to enjoying portraying her character. She’s still new, and the series timeline is only a few weeks or a month. This means her time as the villain is limited. Yet, this brevity adds to the tragic end of the series, making you wish for more chaos from her.
The Beginning Is the End Is the Beginning
Towards the end of the story, Oswald has climbed to a position of authority, yet at what personal expense? He’s gathered close only those whose loyalty he trusts, or possibly can pay. He pays his lover, Eve (Carmen Ejogo), to pretend to be his mother and express pride in him. It is stated that Francis’ desire for validation has fueled him since the start, but obtaining it, even indirectly, uncovers a deeper fracture within him due to all he sacrificed and endured to achieve his new status in Gotham’s power structure. “He’s been compelled throughout this series to make his mother proud,” they say, “and at the beginning of the finale, we hear her call him the devil, causing him harm. From that moment on, he denies and dismisses that physical and emotional wound she inflicted upon him.
When Francis passes away and he understands that she’ll never again express her pride in him, he must bear the repercussions of his own decisions, which leaves him shattered deeply,” she explains. “Despite nearly losing everything due to his affection for his mother, he finds himself with Victor, a boy whom Oz nurtures, and ultimately takes that child’s life.
The Dark Nights Return
In the conclusion of “The Batman”, Bruce Wayne realizes that seeking vengeance isn’t a long-term solution for crime-fighting, as his harsh punishments against Gotham’s criminals have only led to increased violence. However, if Batman aims for something more constructive or heroic, he may encounter even greater villainy. Director Reeves explains that Batman fails to recognize his role in inspiring city-wide violence, as seen with the Riddler. Therefore, if Batman is to make a meaningful impact on this city, he must evolve. On the other hand, the Penguin is a rising criminal aiming for power, and his journey will be dark and hopeful.
LeFranc admits she doesn’t know all the specifics regarding the next sequel, but Reeves hints that “The Penguin” paves the way for additional spin-off stories. As Reeves explains, the concept of this series is to delve into the origins of the villains, something not possible in the films. This will make these characters more developed when they reappear in the movies. Moreover, similar plans are being considered for other villainous characters as well.
Batman Returns
In the early stages of planning for the series, I, along with my collaborators, pondered whether we should introduce Penguin’s most formidable enemy. The question of whether Batman should feature in the show was raised, particularly since I had already developed each character emotionally. The dilemma was, where could Batman be introduced without making the story revolve around him? This was a concern because I didn’t want to divert focus from Oswald’s narrative. In fact, I imagined that Oswald himself would be furious if I were to suddenly hand over the story to Batman.
As a passionate cinephile, I can’t help but agree with her sentiments – ending the film with that shot was indeed fitting. It underscores Oz’s delusional nature, a point LeFranc emphasizes repeatedly. He exists in his own world, convinced of his success despite the evident flaws and cracks in his ambitions.
Adam B. Vary contributed to this story
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2024-11-11 06:18