HBO's The Penguin is an intriguing show that places Colin Farrell as a character infatuated with the allure of black-and-white Old Hollywood. Much like many stories told of TV and movie villains, The Penguin is built around the idea that even the worst characters have their villainy rooted in human conditions. The show is a spinoff from Matt Reeves’ The Batman, presenting Farrell's Penguin character not as a cartoonish villain but a relatable, second-tier gangster.
The plot picks up in the aftermath of The Batman, as Gotham faces the void left by deceased and imprisoned crime leaders. Creators leverage this opportunity to introduce a Penguin far removed from conventional iterations of the character - a mafia underdog striving for dominance in the city's underworld. There's a focus on other characters too, with Sofia Falcone, played by Cristin Milioti, outshining the Penguin in interest and intrigue.
On one level, the series, though set in the distinct Gotham cityscape, ostensibly reflects 21st century America on the brink of class rebellion. The Penguin offers references to gangster classics, inducing some viewers to compare it with TV series in the same genre. Nevertheless, the touch of the Batman franchise is, by design, lightly done, offering subtle Easter eggs for the eager fan.
Despite its merits, the story feels rushed, cramming several seasons of plot into eight episodes. The frequent violent power plays can feel repetitive and lack creative engagement. Still, the specter of Colin Farrell’s prosthetics impresses viewers, after an initial glimpse in The Batman.
Balancing acts come into play when Farrell portrays the Penguin - a transformation for a usually attractive movie star into an outcast, character actor. Farrell's rendition of Penguin is subtly softer yet capable, although the story itself may not feel fresh. Audience attention undeniably shifts towards Cristin Milioti's character, Sofia, who is treated as a tragic yet terrifying victim of Gotham's evil.
The series tends to leave high-profile supporting actors underserved, and cities like Gotham left unexplored. Despite these setbacks, The Penguin finds a middle ground in the subgenre. It doesn't revolutionize the origins genre but does manage to tell a curious, albeit familiar, backstory to an iconic villain.
