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The Penguin Recap: No One’s Untouchable
We might still be relying too much on gangster cosplay, but Colin Farrell and Cristin Milioti continue to have a blast with these characters.
But where “Inside Man” may come off as paying thin gangster-cosplay lip service to its The Sopranos/ Boardwalk Empire-baiting HBO time slot, The Penguin continues to make inspired use of the comic-book IP torch it’s been tasked with carrying. On one hand, the mini-action sequence of the Maroni guys crashing the Drop transport, with Oz talking and shooting his way out of the danger zone, is rife with the type of shoddy editing and flat photography that so many IP-friendly, vaguely prestige cable shows seem hellbent to wallow in. I have been and reckon I will continue to be a defender of The Penguin’s broadly drawn elements, but mostly as they serve the show’s mostly successful blend of pulp, grime, and genuine camp as they’ve always co-existed in the Batman oeuvre (in the context of the modern comic-book IP industrial complex, it’s even been easier to forget that DC stands for Detective Comics).
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