As a long-time fan of Batman and its various incarnations, I must say that “The Penguin” seems to be shaping up as a compelling neo-gothic crime series, much like Matt Reeves’ The Batman. While it may not share much in name or appearance with Robert Pattinson’s Batman, that’s perfectly fine by me. I don’t see the need for Bruce Wayne/the Batman to make an appearance in this show, as the villain is often the protagonist of every good Batman story.
In the case where Gotham City is submerged, those who inhabit the lofty heights – individuals such as Bruce Wayne and the Falcones – may only notice the power void resulting from a deceased patriarch. However, for the multitude residing at street level, disorder prevails. To anyone accustomed to any rendition of this city, the broadcasts of news voices and images of urban decay will resonate as all too familiar reminders of chaos.
In Matt Reeves’ Batman Universe, now known as the “Batman Epic Crime Saga,” we find ourselves in a continuation of WB/DC projects that have been extended for multiple seasons on HBO/Max. Under the skillful guidance of showrunner Lauren LeFranc, The Penguin, played by Colin Farrell, undergoes a transformation into a powerful figure, one that fits seamlessly among HBO’s crime dramas as well as series such as Peacemaker and Harley Quinn focused on DC villains.
In Matt Reeves’ “The Batman,” we rediscover Oswald Cobblepot (Oz) in the same spot we left him at the end of the film, gazing over the city from a position that seems to be neither here nor there – a space between two cities. The voiceover of Batman towards the end of the movie hints at worsening conditions before they improve, and Oz perceives this as an opportunity for seizing control of Gotham, especially with the Riddler’s attack on the city. Although his strategy remains unclear, his piercing gaze speaks volumes about his malice, anger, and burning ambition hidden behind a grotesque, neo-gothic visage. Preliminary reviews suggest that this portrayal of Oz will be one of the most striking comic book villain performances in recent years, largely due to Farrell’s expressive eyes conveying pain, fury, and unquenchable ambition beneath a disfigured face.
One week after the incident, Oz secretly enters the Iceberg Lounge under the cover of night to retrieve some incriminating documents from his late boss’s safe. He successfully hides a substantial folder of blackmail evidence before Alberto Falcone unexpectedly appears with a gun pointed at Oz. Despite being caught off guard, Oz maintains his composure and feigns submissiveness to deceive the new boss. Although Alberto is somewhat skeptical, he allows this charade to continue as he enjoys manipulating his newly-acquired subordinate. At Oz’s suggestion, they celebrate Al’s new role as the “kingpin of Gotham” with a drink. However, Oz cringes when Al presents him with an ostentatious necklace from the family treasure chest; the gesture feels belittling. Yet, in his arrogance, Al discusses his ambitious plan to expand the Gotham drug trade beyond Drops, hinting at a new shipment on its way and questioning if he will be able to match up to his father Carmine’s legacy.
In a heartfelt speech, Oz recounts the story of Rex Calabrese, a respected neighborhood boss who acted selflessly. Known as a benevolent underworld leader, Calabrese earned admiration by helping those in need. He would find a doctor for someone who was ill and lend money to those struggling with rent. Even more remarkable, he remembered everyone’s names without fail. The community honored him with a modest parade after his passing. Oz reflects on this display of affection, saying, “It wasn’t extravagant, but it was a tribute—a demonstration of love and respect. Imagine being remembered like that? Being admired and revered?
The lesson sails over Al, and his retort ultimately leads to his demise. “Do you want me to become just like some insignificant jerk?” he queries, not fully grasping that it was Oz’s ambition. “Really, are people going to create a float of your foolish visage and parade it down the street shouting your name?
Alberto Falcone slumps lifelessly in his chair, heavy with bullets, and for a fleeting instant, it seems as if the ghost of Travis Bickle from “Taxi Driver” flashes a smirk. However, Oz soon comprehends the chaos he’s orchestrated. Killing the Falcone dynasty’s heir at such a crucial juncture is hardly an elegant means to seize control. The immediate task: move the body into the trunk. This latest predicament offers another chance for Oz to think quickly and find a way out.
When Oz encounters teenagers stealing rims from his car outside the Iceberg Lounge, he perceives Victor Aguilar (Rhenzy Feliz), the timid, stuttering boy who doesn’t escape, as an unexpected chance for a sidekick. Here is a kid from the same neighborhood as Oz, desperate to survive and yearning for a chance. If this kid wants to stay alive, he must demonstrate drive by following his new boss’s conditions: make the powerful feel superior by acting submissive.
The situation at Falcone headquarters seems precarious, with Underboss Johnny Vitti and enforcer Milos summoning Oz to their family mansion regarding his Drop operation. They plan to close his plant and transfer all operations to Robbinsville, as the authorities are closing in and rival gangs are encroaching. Oz contests this move, fearing it would hand over control to the Maronis. He presents a counterargument by hinting at an incoming shipment that could drastically alter the drug industry.
Introduce Sofia Falcone, also known as the Hangman – the bloodthirsty relative who has just been discharged from Arkham Asylum. The moment Milioti’s eyes lock with Farrell’s, an impressive DC pairing unfolds. Their unexpected lunch in the following scene is filled with sharp exchanges of shrewd and broken intellects.
Vitti may have ignored Oz’s offer to oversee a new drug operation, but Sofia reels him in with an appeal to their shared sense of outsider status. Then she flips the switch and lets Oz know Alberto told her he was going to the Iceberg Lounge the night before. Lo and behold, the next day, Oz pitches her brother’s secret new drug operation as his own. “So I’m going to ask you again,” Sofia says, “do you know where my brother is?”
In this scenario, Oz manages to find a way to escape from trouble temporarily, using a combination of “he kept us both in the dark, my dear” and “I’m convinced he’s just on another drinking spree, he’ll be back soon.” With crisis management in full swing, Oz leaves his old neighborhood and hops on a train to retrieve his mother (Deirdre O’Connell). From Victor’s point of view, we gain an insight into Oz’s family background as he studies the photographs adorning Francis’ living room. It appears that Oz is the youngest in a household of three sons raised by a single mother. Francis, Oz’s mom, seems to be the typical mafia matriarch – offering support and shaping her son’s career in the underworld. Oz didn’t kill Alberto Falcone on impulse, she implies, but instinctively. Now is his chance to seize control of the city rather than fleeing.
After making adjustments, Oz has another dark conversation with Victor at the station. “The world isn’t designed for men like us,” he says. “That’s why we have to seize whatever we choose as ours. Nobody will hand it over to us. Only if there’s a fight.
After solidifying Victor’s allegiance, Oz ventures to Blackgate Penitentiary for a conversation with Salvatore Maroni (Clancy Brown), who’s behind bars. This marks the start of his ambitious scheme. He proposes that Maroni’s gang conducts a heist on the Drops operation using Oz’s intel – they pretend to be victims, then share the profits. For now, Sal turns down the offer, but Oz carries with him Sal’s old ring – once worn by Carmine as a symbolic “up yours” from beyond prison walls and a display of dominance in the city. It seems Oz might be more than what Salvatore perceives.
After returning home, Oz finds Sofia and some thugs ambushing him. They quickly identify his distinctive plum-colored car and manage to knock him unconscious before keeping him prisoner (following a heated fight in the driver’s seat and a rather darkly amusing standoff with a school bus). He awakens naked in the Falcone’s greenhouse, with Sofia standing over him. It seems as though Oz has no more moves left, and Sofia’s henchman is about to brutally take his arm off using a wire, but just when things look dire, a car smashes through the front yard and into a garden statue, carrying Alberto’s lifeless body. The pinky finger and Salvatore Maroni’s ring are missing from Alberto, along with the words “PAYBACK” etched under the hood. Oz lets out a sigh of relief — it appears that Sal now possesses the ring, suggesting he ordered a hit on Alberto. Although Victor was supposed to leave only Alberto’s head in the trunk, he did a decent job nonetheless.
With that move, the plan to capture the city is set in action: just a bit more flattery here and there, add some more ruthlessness, and return it all multiplied by ten – that’s the key to claiming the position of a powerful crime boss.
Under the Plum Hood
It turns out that aside from being your go-to guide for crime-show recaps, I’m quite a fanatic when it comes to Batman. Ever since my days of watching Saturday morning cartoons, particularly Batman: The Animated Series, I’ve been hooked on superheroes. I’ve also watched countless superhero movies and read numerous comics, from the New 52 era to Tim Sale’s Long Halloween and Dark Victory series which have influenced The Penguin directly. In other words, I’m a Batman enthusiast, but not overly attached to any specific interpretation or portrayal of the character. My focus will be on determining if The Penguin can deliver a modern gothic crime series as captivating as Matt Reeves’ The Batman, which was a gritty, emotionally charged reimagining of the classic “Batman origin story.
It appears that the character portraying Bruce Wayne/Batman in this series won’t be very similar in name or appearance to the one played by Robert Pattinson, and that’s alright with me. I’m looking forward to seeing the new Batman soon enough, and I’m not sure how his addition would contribute to the narrative. Interestingly, the villain is often the central character in great Batman stories, from the Adam West TV series to Christopher Nolan’s Dark Knight Trilogy.
• When it comes to comparing “The Sopranos”, there will undoubtedly be numerous parallels, but from my perspective, most of these comparisons are likely to be superficial and potentially unfair for “The Penguin”. Competing with one of the greatest shows ever made is no easy task, even when associated with an HBO-affiliated brand. Although showrunner Lauren LeFranc’s portrayal of the character as a ‘monster’ shaped by psychological trauma from the life of a disadvantaged street kid to a hardened criminal echoes some similar themes, it is equally rooted in the tradition of Batman’s rogues gallery as it is in the narrative of Tony Soprano or Vito Corleone.
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2024-09-20 06:54