The Penguin: Not your ordinary villain origin story

Imagine a story, a Gotham story, set in the universe established by Matt Reeves’ “The Batman” back in 2022, without the usual familiar faces like Joker, Harley Quinn, the Waynes, or even Batman himself. That’s exactly what “The Penguin” (2024) just did, the series happens to be one of the most anticipated TV shows of 2024, following the success of “The Batman” (2022).

At first glance, the idea sounds risky—how do you make a Gotham story work, without its most recognisable names? Surprisingly enough, it works. It works much better than anyone, myself included, might have expected.

For those unfamiliar with comic books or the character, the Penguin, also known as Oswald Chesterfield Cobblepot, is one of Batman’s oldest foes. First appearing in “Detective Comics” #58 back in 1941, he’s been a constant in the superhero’s rogues gallery, even though he often played second fiddle to the much more prominent villains.

“The Penguin” is an American crime drama series created by Lauren LeFranc for HBO. It’s a spin-off from “The Batman” (2022) and focuses on Oswald Cobblepot (Oz Cobbs) rise to power in Gotham’s criminal underworld. Matt Reeves oversaw the project, and Colin Farrell returns as the Penguin, with Cristin Milioti and Rhenzy Feliz joining the cast. Production faced a few delays due to Hollywood writers’ strikes, but the series is set to hit Max on September 19, 2024.

At its heart, “The Penguin” is a gritty crime drama—a gangster format that looks like something from a Scorsese’s mob films. The grounded world from “The Batman” carries over, and basically what this means is the story is performances driven.

Deirdre O’Connell plays a key supporting role as Francis/mother, and while she might seem like a background character earlier on, her scenes, later on, with Colin Farrell changes the dynamic established earlier on in the show. Cristin Milioti’s playing Sofia Falcone is pivotal, she is the villain in a villain story. While I still think she was shoe-horned into the show, she adds an interesting new angle to the Falcone family and Cristin in her performance (eyes included) and a solid script is able to bring Sophia to life.

Rhenzy Feliz, as Victor Aguilar (Vic), starts out more of a sidekick and some might have difficulty buying into the character earlier on, but the show builds his arc slowly, and by the end, it really pays off. I was impressed by the direction they took with the character, the story throughout the show remains consistent, never for an instant forgetting that it’s a villain story.

The supporting cast is also great, with good performances from Clancy Brown, Mark Strong, Shohreh Aghdashloo and Theo Rossi, to name a few. Each actor brings their own energy including the younger actors, one in specific who stays consistent with the older version of a particular character. The writing gives them enough to sink their teeth into.

But let’s be clear and honest to ourselves—this is Farrell’s show through and through. His portrayal of Oz Cobbs is phenomenal. If you thought his brief appearance in “The Batman” was impressive, you are going to love this. Farrell doesn’t just look the part, thanks to the incredible prosthetics and makeup—he fully embodies and “becomes” the Penguin. From his cadence and body language to the way he uses his eyes, his walk (they make it make sense), his gestures, every part of his performance is well thought through.

The show gives him room to explore the character in ways that are both chilling and strangely charismatic. This version of Oz is a conniving, self-serving, narcissistic sleazebag, but you just can’t get tired of watching him, you can’t wait to see him manipulate his way out of a situation, yet in all this his motivation remains clear.

The Gotham we get in “The Penguin” is the same grimy, corrupt city from “The Batman”, but we see it from different angles. There’s more daylight here, literally, as the show pulls back the curtain on parts of Gotham we didn’t see in the film, like the suburbs. The contrast between the rundown streets and the clean, privileged suburbs is stark and visually striking.

This version of Gotham feels lived-in and real. The accents, the cars, the architecture—they all feel pulled from real-world cities like New York. This grounded approach makes Gotham’s brutality hit even harder. The city is a survival puzzle, where corruption runs deep and violence is a part of everyday life.

‘The Penguin” like most modern shows, takes its time, slowly peeling back the layers of its story. It’s a gangster story at its core, touching on themes of loyalty, morality, and power. A small thing that I appreciated about the structure is that the show picks up immediately after the events of “The Batman”, making it feel like an extension of that story.

Now if you haven’t seen the movie, the introduction catches you up without feeling forced. The direction keeps the tension high, thanks to good pacing. There are some really dark moments in the show but they are handled with care making them stay with you rather than just being repulsive.

The detailing in consistency with Oz’s character is also really good, it’s too early to mention somethings, but If you are going to be watching this, I want you to think of illiteracy.

Visually, “The Penguin” is not as good as what we got in the film but it holds up. The cinematography, with some wide shots helps highlight the divide between the different parts of Gotham. The set design makes the city feel tangible, grimy, and real. And, of course, the work done on Farrell’s transformation into Oz goes beyond just makeup. It’s an all-encompassing effort that adds to the believability of his performance.

Music, and even dance, are cleverly woven into the fabric of the story. The soundtrack isn’t just there for background noise—it’s carefully picked to complement the scenes and add depth to the characters. Everything you hear or see on screen adds another layer to what’s going on beneath the surface and the characters.

I thought Salvatore Maroni, perfectly portrayed by Clancy Brown, could have been given more depth. In fact I thought the conflict between his family and Falcones after the death of Carmine Falcone in “The Batman” should have been given more screen time.

Sofia Falcone’s storyline works, for the most part. But there’s an episode that goes into her past a little too predictably. You can see some plot points coming from a mile away. I also feel like her character could’ve headed in an interesting direction, especially given her relationship with Dr Julian Rush, it was a lost opportunity to take the character in the direction we saw in “Shutter Island”.

There are also small moments where the show slips into social commentary with Sofia’s arc, which doesn’t always feel like it fits with the brutal, unforgiving world that’s been established. And while Sofia’s motivations shift too quickly for my taste, it’s a minor issue in the grand scheme of things.

Overall, “The Penguin” is an intense, engaging crime drama with good performances across the board. The production design, world-building, and cinematography help flesh out a Gotham that feels real and tangible. The writing keeps you invested, while the direction ensures each episode has you hooked.

This is Farrell’s magnum opus (so far, at least). His work as Oz is a masterclass in performance, this is in how he completely transformed himself into a character who looks nothing like the actor. It’s hard to believe the man under all that makeup and prosthetics is Irish. From the way he moves, speaks, and emotes, Farrell “becomes” the Penguin in every sense of the word.

At the end of the day, “The Penguin” earns my respect for staying true to its villainous roots. It’s a gangster story centering on a sleazebag, and it’s all the better for it.