The Penguin Review: Plot: The border areas of Gotham have been ruined and destroyed after Riddler blasted the city walls, causing floods. The same is true for the criminal underbelly of the city, where Carmine Falcone's death has left the position of Crime Boss open. How could Penguin, aka Oz Cobb (Colin Farrell), not try his luck? He kills Alberto Falcone, but little does he know that Sofia Falcone/Gigante (Cristin Milioti) is out of Arkham Asylum and now behind him, suspecting he killed her beloved brother. Now, the race is on between Oz and Sofia, where only one can rule the Crime World. And with the Maronis in the mix, how Oz defies all odds to reach the top and pave the way to The Batman Part II takes up the rest of the plot! 

The Penguin Review: Analysis

Who could have thought there’d be a show in Warner Bros’ DCU that works without Batman, not even a mention until the final scene, yet appeals to audiences, fans, loyalists, and comic nerds? Matt Reeves, Lauren LeFranc, Cristin Milioti, and the team defied all odds to create a show solely reliant on two villains, making the absence of the hero feel neither jarring nor a void. The Penguin, airing its season finale tomorrow, has consistently delivered not only one of the finest works in DC TV but in television in general. It’s wild yet grounded, ambitious yet balanced—a tough act to follow for years to come.

The Penguin boldly refrains from mentioning Bruce Wayne’s Vengeance/Vigilante (considering he’s yet to establish himself as Gotham’s Batman in The Batman Epic Crime Saga), despite being set right after The Batman Part I. Created by Lauren LeFranc, with a team of seven writers, Matt Reeves as executive producer, and four directors, the show turns Batman’s absence into a superpower. The writing flourishes with a TV-MA rating, reaching new heights of violence and intensity without a vigilante to foil the plans. The show’s haunting beauty lies in its perfect timing of key events, knowing which character deserves the power and the spotlight.

The Penguin does what seemed impossible by showing Gotham in a way no previous show or movie dared. The typical dark city with its usual skyline and isolation from the world (excluding The Dark Knight trilogy) becomes a living, breathing character. People mention the world outside Gotham’s walls, talking of flights to Europe or vacations in Italy, making the city part of a relatable world. Sunlight and a suffering population emphasize real-world struggles with imbalances in power and resources. Gotham has never looked so real, a credit to LeFranc’s dedication to building not just Oz’s story but a world he dominates, explaining why the title centers solely on him.

This Sopranos-coded show skillfully avoids letting its ambition crush its potential. It shapes a man who, after committing heinous crimes as a child, craves validation from his mother. For Oz, the ultimate reward is hearing his mother say, “she is proud of him.” So, when a man with no vulnerabilities is put among criminals, there’s bound to be drama. LeFranc resists the typical drug deals, car chases, and killings, opting instead to explore these people’s minds. Oz is Oz because of his past, but that doesn’t mean he deserves sympathy. LeFranc keeps reminding us of this. When he kills the only family he has, it’s a pointed reminder: Oz is a villain, not a hero.

That awareness enhances the show’s appeal, as there’s no moral compass for these characters. Colin Farrell is equally committed to breaking the moral compass himself. What else explains his prolific performance under layers of prosthetics? His portrayal is deeply rooted in the world Matt and Lauren create. His brilliance shines in the finale, as he shifts from a scared child to an arrogant adult in seconds while rescuing his mother. This performance belongs in the history books, in golden letters.

Then, there’s Sofia Falcone/Gigante. If there’s one episode worth watching without blinking, it’s the fourth, which reveals the Hangman’s backstory. Though it may sound cliché, a woman writing a female character often brings out something special. LeFranc gives Sofia layers, showing her as a girl deceived by her father into bearing the blame for his murders as the Hangman. Tortured at Arkham Asylum, she’s now back to reclaim her own, yet her family sees her as a mere watchdog. She takes control, figuratively dancing on their graves (literally in the fourth episode’s climax), and reclaims it all.

Cristin Milioti is a masterful actor. Her range is extraordinary, and her intense gaze makes you forget she’s just playing a part; she becomes Sofia, determined to prove she’s not the Hangman. The Penguin peaks when Sofia joins Oz. Her unpredictability adds to her ruthlessness. What a performance! Rhenzy Feliz’s Victor is a strong character who meets a tragic end—a shock, but a fitting one. Deirdre O'Connell’s portrayal of Francis Cobb is one of the finest supporting performances of the year, shining in the finale (no spoilers).

The creators delivered one of the best finales for a show as massive as The Penguin in a long time. Their goal isn’t to make it chaotic or overly violent; they understand that the violence lies in the concept itself, and that idea is powerful enough to instill fear in every frame. Stunning visuals, realistic action, and attachment to a superhero IP make The Penguin even more compelling. It feels like a standalone show, not reliant on a flying superhero or fantastical elements. However, after eight weeks of buildup, a stronger connection to The Batman Part II might have been nice.

The Penguin Review: Final Verdict

This is how TV is done! The Penguin stands as one of the best shows ever written, not only in the DC Live Action universe but in television history. A Sopranos-coded world that leverages Batman’s absence and perfects storytelling with an extraordinary ensemble.

The Penguin premiered on September 20, 2024, and all eight episodes are now streaming on JioCinema in India, available in English, Hindi, Tamil, Telugu, Kannada, Bengali, and Marathi.

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