The Penguin Does Not Disappoint

G iven the endless waves of comic-book content nowadays, it was easy to dismiss The Penguin, the latest DC series, as nothing more than another trite adaptation prior to its debut. Then came the first episode, which exceeded practically everyone’s expectations. The show maintained its quality thereafter, despite my persistent doubts it would stick the landing. After the finale, it’s safe to say The Penguin is one of the best shows of 2024.

Despite its superhero setting, The Batman spinoff is a gangster series first and foremost. It’s like The Sopranos but set in Gotham, which, interestingly enough, is located in New Jersey. It only alludes to the Caped Crusader and features no city-ending stakes. Instead, The Penguin tells a personal story about a man vying for power in the criminal underworld and how he’ll do whatever it takes to rise to the top.

Oswald “Oz” Cobb (Colin Farrell) wants to become the next mob boss of Gotham after a citywide flood and associated mayhem created a power vacuum following the climax of The Batman. The only obstacles that stand in his way are the two existing crime families, the Falcones and the Maronis. Oz becomes a double agent of sorts, still working for the Falcones while secretly defecting to the Maronis, seeking to pit each against the other in an all-out gang war. Ultimately getting caught, he must contend with Sofia Falcone (Cristin Milioti), who proves to be a formidable opponent.

Oz is a multifaceted character with compelling motivations that sharpen into focus as the story progresses. Even though he’s a criminal, the titular character wants to rise up in the world to provide for his dementia-suffering mother, Francis Cobb (Deirdre O’Connell). There’s a slight twist to this motive later on that shows Oz for who he really is. At first, he’s a sympathetic character that the audience identifies with and even roots for. By the end, you absolutely hate his guts — the reasons for which will remain unspoiled.

Part of Oz’s attraction is his charisma. He schmoozes everyone to get what he wants. He also adopts a young protégé, Victor Aguilar (Rhenzy Feliz), who tries to steal his car rims when they first meet. Instead of shooting the boy, Oz spares Victor partly due to the latter’s stutter. The speech impediment reminds Oz of his own clubfoot deformity, which is why he limps and is called the “Penguin” — a nickname that he doesn’t appreciate. The two end up forming an almost familial bond as the mentor teaches the apprentice about how society overlooks them.

“The world wasn’t built for guys like us. That’s why we gotta take whatever we decide is ours. ‘Cause no one’s gonna give it to us. I mean, not without a fight,” Oz tells Victor. This moment is a microcosm of the protagonist’s fascinating psychology.

Farrell delivers an Emmy-worthy performance. The seasoned actor completely disappears behind the facial prosthetics, creating a whole new character unto himself, similar to how Heath Ledger transformed into the Joker for The Dark Knight. Farrell is unrecognizable, portraying an unpredictable villain that transcends the comic-book genre.

The rest of the cast is brilliant as well. Milioti plays a psychotic foil to Oz in Sofia, who is as unnerving as she is determined. Sofia’s traumatic backstory is a highlight of the miniseries, as her past informs how she becomes a force of nature. Meanwhile, Victor eventually becomes Oz’s confidant. Being the outsider in Oz’s world, Victor gives audiences a glimpse into the Penguin. While not impossible, it would be more difficult to discover revelations about Oz’s life if he flew solo.

Like Victor, Francis provides a deeper insight into Oz. Haunted by the deaths of his two brothers, she is a tough-love mother who wants her son to succeed and make something of himself. Their relationship is borderline Oedipal, as Oz strives to give his ailing mother everything she deserves.

The Penguin hits the ground running when Oz makes an impulsive decision, one that follows him through all eight episodes. The fact that this scene occurs within the first ten minutes is a testament to the writers, who are economical with the time they’re given to tell this story. Each episode carries weight, with characters making decisions that affect others and further progress the narrative.

As excellent as the show is, it does have a few minor flaws. Oz repeatedly escapes impossible situations because someone else rescues him or luck lands in his favor. But he is cunning, and gets himself out of predicaments, too. It’s just not as satisfying when you realize he’s wearing some plot armor. Moreover, Batman is nowhere to be seen in Gotham, and citizens wonder where he’s gone.

Now, I didn’t expect the hero to show up because that would have taken the focus away from the Penguin. But it would have been nice to briefly show that he’s around in the city or that criminals feel his imposing presence like they did in the film. The final shot depicts the Bat-Signal in the night sky, which is a perfect set-up for The Batman Part II. It’s a shame that the sequel won’t be coming out until October 2026.

After years of bland superhero television, it’s refreshing to watch a show that has well-written characters operating in a fully realized world. Unlike Marvel Studios’ Agatha All Along, which also features a villainous protagonist that frequently backstabs others, The Penguin actually does the work in developing Oz. Contrary to Marvel’s latest entry, the DC series has the balls to take itself seriously and even handles some pretty dark themes.

From start to finish, The Penguin grabs the audience’s attention and never lets go. Instead of turning the protagonist into a misunderstood antihero, it makes clear that Oz is a tragic villain. That’s why it stands out. Not only is it a great comic-book show, it’s a great show, period.