After being left for dead, Sofia Falcone must sit with the painful memories that led her there. This includes revealing the dark truth behind her infamous alias. Yes, that means yet another character centric episode of The Penguin. Luckily, this time we revisit many of the locations and characters seen in The Batman (2022) in an attempt to pierce the core of Oswald’s most menacing foil. Let’s discuss further below.
One of the minor plotlines in the big screen prelude to The Penguin series, The Batman, surrounds the tragic murder and abduction of several women from the Iceberg Lounge. Once Oswald’s domain and the headquarters of Falcone himself, the club doubles as a swanky hangout spot for Gotham’s elite and a way to collect blackmail on those who attend. Additionally, as seen in the feature film, Selina Kyle’s friend, and mother were victims of a vicious serial strangler, later revealed to be Carmine Falcone. However, HBO’s spin-off expands on this body count to seven other mysterious staged suicides subsequently attributed to “the Hangman killer.” With this new information, the audience becomes intimately aware of two major revelations: One, Falcone must have had a serious problem with strangling women, and two, Sofia’s entire persona has been a lie. In fact, the sphincter clenching expressions on the faces of Oz and the rest of the Falcone family likely weren’t out of fear, but all consuming guilt.
Ten years ago, John Turturro looked like Mark Strong, but Falcone and his family were on top. Most surprisingly, Carmine initially chooses the darling and well spoken Sofia as his prospective successor. In contrast, Penguin was still just handicapped chauffeur waiting for his moment like an opportunist. Back then, Cristin Milioti plays Sofia as the innocent mobster’s daughter, finding herself unable to comprehend the darkness within her family. Sofia’s life flips upside down when journalist Summer Gleeson, a character I only recognize from Batman: The Animated Series; challenges Sofia’s empathy with the death of so many women. Although Sofia is passionate to know the truth, she ultimately chooses to preserve her innocence. Yet, once again Penguin intervenes and perhaps accidentally or purposely propels his career further upon her sacrifice. What scares me the most is that because Colin Farrell’s Oz Cobb’s point of view is entirely absent in this episode, audiences get to see his sociopathic insincerity from Sofia’s perspective. Even in the present day, Oswald’s chilling selfishness and betrayal unmasks itself to Sofia and Nadia Maroni, further solidifying his untrustworthiness and willingness to screw over anyone in his way.
The meat and potatoes of this episode is primarily set during Sofia’s six month turned ten year stay in Arkham Asylum. Viewers have already seen parts of Matt Reeves’ Arkham in The Batman, but this series characterizes the institution as a claustrophobic and corrupt hellscape. Part of this lies in the twisted behavior of its medical staff led by the sadistic Dr. Venti and Theo Rossi’s Julian Rush. In previous episodes, we understand Julian to be someone Sofia retreats to, but despite his sympathy, we can see parts of his predatory curiosity. Moreover, Penguin briefly introduces us to the Batman villain Magpie as a taunting voice on Sophia’s cell block. In the comic books, Magpie is simply a thief compelled to steal shiny objects, but here she’s another psychotic tool of torment in our main character’s sentence. The writers utilize the disorienting lifestyle in the Asylum to show how easily Sophia is robbed of her sanity and her innocence. Upon arrival, her character is manhandled by the direction, tossed in and out of cells, tortured, taunted, and beaten by her peers, seemingly against their wills. Just before her trial, Alberto breaks her with the terrible revelation of her sentence length. Heartbreakingly, like the events of Arkham Asylum: Living Hell on Warren White’s sanity, Arkham takes away the last of her innocence.
What’s cool about this episode is that her tragic downward spiral is equally as awe-inspiring as her rebirth and much deserved revenge. In fiction, a beaten character will sometimes retreat into themselves, often literally “cocooning” themselves into a room of some kind. Upon reemergence, the character is renewed, comes to terms with their internal conflicts, and ready to face their external foes. I usually refer to this as “The Crucible.” For example, Ripley’s retreat into the pod in Alien, or Laurie in the closet in Halloween, but for Sophia, it is Julian’s office. Nevertheless, Sofia comes back with a vengeance, dolled up, unapologetic, and ready to speak her truth. The truth is, she grew up in a family where it was impossible to be all the way clean. In spite of this, she naively trusted in the family to protect her, to respect her, and reciprocate her love. In her final form, Sofia embraces all of the things the family transformed her into, strangely freeing herself and them from the guilt while abandoning her need for innocence or victimhood. Not violently this time, but with maniacal focus and trust in her own values.
Lastly, I believe this episode ends the first half of the show with a new status quo. Vic foolishly commits to Oswald’s gamble for the top, Sofia and Nadia learn the truth about Oswald’s plans, and the Penguin himself must hold onto Alberto’s drug as his only bargaining chip. Any other character would stumble with their backs on the wall, but Oz thrives in chaotic opportunities. With another excellent episode under their belt, The Penguin strides forward to inevitable conflict and self-awareness.
HBO THE PENGUIN available every Sunday on HBO/MAX. Images and Video from YouTube.