The Penguin (2024) | REVIEW

Created by Lauren LeFranc (Agents of S.H.I.E.L.D.).

There has been no shortage of superhero television or streaming shows in recent years. Following several years in which superhero shows were mostly CW series for DC Comics, Netflix’s Marvel universe, or ABC entries, we’ve been overwhelmed with a variety of different series with the rise of Netflix competitors. There are so many shows on Prime Video, Max, or, especially, Disney+ that can scratch that itch for you as a comic book fan, and, frankly, it’s been hit or miss for most audiences, with Prime Video’s The Boys easily being the biggest success with fans and critics alike. Now, however, the long-awaited The Batman spin-off series titled The Penguin has finished its run (or first season, in case it gets picked up for another season) on Max, and not only is it a great show, it may actually be the new gold standard for superhero series connected to big screen entertainment.

Set shortly after the events of Matt Reeves’ The Batman, The Penguin follows Oz Cobb (played by Colin Farrell) who, in the wake of the death of Carmine Falcone, is trying to move up in the criminal underworld by any means necessary, including Falcone’s presumptive heir, Alberto Falcone. Meanwhile, Alberto’s sister Sofia Falcone (played by Cristin Milioti) is released from Arkham Asylum full of questions following her brother’s death and hungry for vengeance. However, the question remains: How long can Oz stay off Sofia’s radar when he is actively trying to insert himself into Sofia and Alberto’s secret plans for Gotham’s drug scene?

Taking a dark big screen world and transitioning it to the small screen comes with a set of obstacles, including potential budget limitations. However, the series, which was created by Lauren LeFranc, hits the ground running and does a phenomenal job of capturing the tone of the world previously established. Although there are occasional but rare instances in which, perhaps, scenes set in Gotham in the daylight don’t capture the atmosphere, or rare instances in which a moment isn’t fully believable (like the ease with which one pivotal supporting character gets out of prison), the series, on the whole, manages to bring the right feelings and images to mind through its world-building, atmospheric decision-making, and tension-building. The realization of the Gotham crime scene is well done, and the dialogue is often even richer. There is an episode built around Sofia Falcone’s time in Arkham Asylum that does a really good job of making it seem hellish even on a TV budget. In addition to all of this, the writing of Oz’s relationships is super well-drawn, with them feeling true to life or like they have a shared history. There is a strong sense of verisimilitude to the relationship complexities, including in his relationship with his mother. Many will point out that it very clearly is built around certain character archetypes or ideas as were established in The Sopranos or Goodfellas, and while, yes, it wears its inspirations on its sleeves, I also think the show is much more than merely what it is inspired by.

It, of course, helps that you have a world-class movie star actor in the lead role. Even when buried under incredibly believable make-up and prosthetics that completely transform him, Farrell’s talent and performance shine through, as he delivers an incredibly effective performance that sucks you in. His rapport with Rhenzy Feliz’s Victor Aguilar is also a particular strength of the series. The other major performance in the show is the one delivered by Cristin Milioti, which it is only right to describe as star-making work. She completely captures her character’s intensity and emotional complexity, and she turns in powerhouse work (it also doesn’t hurt that she often wears character-building, distinctive, and memorable costumes). In addition to their performances, Deirdre O’Connell also shines in the role of Oz Cobb’s mother plagued by troubling past trauma and dementia. In totality, this is not just worthy of being considered one of the best superhero series ever made, this reinvention of the titular character’s story also happens to be one of the best shows of the year, regardless of genre.

A

– Review Written by Jeffrey Rex Bertelsen.