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maxwell-grant · 6 days ago

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The Penguin Episode 7: "Top Hat" Breakdown

There’s a constant referencing of stunted childhood about Mr. Cobblepot – a baby grown enormous, grotesque and as needy as he ever was. The Hugh Hefner of crime. But the Penguin’s sublimated the desire for the tit for a desire for cash, power and empire. And this is why he’s Gotham’s greatest – and most outlandish – gangboss - TheMindlessOnes

The Penguin is the greatest Batman villain for the simple reason that he's the meanest. What the Penguin has that no one else has is a simple abundance of pure, unadulterated spite. In Batman's world there's madness, obsession, will and strength - but ultimately it all comes back to crime, pure and simple. The Penguin's motivations are pure because he simply resents the whole damn world and will not rest until he gets his. The Penguin is a criminal, nothing more and nothing less, with avarice in his heart and hatred in his eye. - Tegan O'Neil

(Episode 1) (Episode 2) (Episode 3) (Episode 4) (Episode 5) (Episode 6)

VLADIMIR CVETKO: We wanted Francis to never allow Oz to use his disability as a crutch, and to always have him be strong and move past it and use it to his benefit. But it is isolating. Like, it is. And so he'll never be the same as his brothers. And so there's an inherent jealousy of just his situation that's there - The Penguin Podcast Episode 7

RYDER ALLEN: He loves his brothers, but he loves his mom way more.

COLIN FARRELL: I think he probably all his life feels a little bit broken, and so he's constantly, constantly, looking for his mother's approval and her love. I think he's seen very up close and personal how his mother has toiled to provide for him and his brothers, and wants to give her a better life - Inside Episode 7

Massive props to all the actors here but especially to Ryder Allen, who is absolutely incredible as young Oz. It would be so, so easy to let this take on Colin Farrell's Penguin slip into pantomine but he makes it work brilliantly without feeling at all like an impression. He is so believable he even makes the adult version more believable. Like, that is the same guy, give or take decades of grime and grit and scars, but that's still the same little turd, just before he was truly practiced in hiding his simmering resentment, but already fast learning.

"My big strong bull of a boy", words that in Episode 01 embody such a dark aspect to their relationship began all the way here with Francis simply encouraging her sad little kid with a bum leg. I said as much in prior entries that it's Francis who lights the fire under him, that she is the force that pushed him from mere self-preservation into city-conquering ambition for her sake, and we see the most innocent form of that motivation here. Just a disabled kid whose mom loved him and wanted him to love himself more.

So the previous episodes had already given us small glimpses of what Jack and Benny were like when they were still alive - that Jack was presumably the older sibling and a baseball player and the de-facto "man of the house", given how readily Francis accepted the idea that he had gone downtown on his own to get the power back, and that Benny was presumably younger and more innocent or sweet, given she mistakes Victor for Benny and asks him to dance with her. The opening scene very much confirms and expands on these traits and already raises up Ozzie having a resentment for them, and where does that come from. That cocktail of self-preservation and insecurity and spite and overcompensating that defines him.

Because it's not even just that his mom loves them and he wants her to love just him, it's not pure greed, it also comes back to how little he thinks of himself, and how he's hyper aware of every advantage others have over him - He can't be the upstanding man Jack is, and he can't be the pure innocent source of joy that Benny is. He can't be trusted to talk to Rex like Jack, and he can't successfully drag her away from work to have fun like Benny. He can't go out and be relied on to take care of his mom like good and strong old Jack, and he can't run around the house like sweet and happy little Benny, can't join the three of them when they play and instead has to sit there and stew in rejection over all this love and affection he can't have.

I didn't think we'd get a glimpse of Rex, but the one we get is so fucking perfect. What we see so far shows he was basically just a piece of shit gangster, a cartoonishly evil Greaser extra with nothing special about him, he was just a guy Oz projected hardcore into because he got stuff done for Ma (and he wasn't even great for his mom, he underpaid her! Same shit Victor complained about with his own dad). Oswald stares at his money and his cigar and his attitude and already wants to be chummy with the guy while Rex doesn't even look at him, he talks to Jack only, and Francis doesn't want Oswald to be involved with him. But even so, he's the closest Ozzie has to an older male role model he looks up to.

And so it doesn't matter that Rex Calabrese's car wasn't actually made of gold,, because Oswald will grow up to tell his next little brother, the next Benny, about the gold cadillac of the man who blessed his block. It doesn't matter that Alberto Falcone was 100% right about Rex Calabrese being just a small-time asshole, because Oz elevated him into a post-mortem myth.

Really, he's doing the same thing Sofia does and that Bruce did, elevating paternal figures into personal saints and guiding lights on their great life missions, with Bruce shattered when he learned about Thomas' mistakes and how said failings shaped everything currently wrong with the city, and Sofia describing her abused scared but loving mother as "a force too great for the Falcones to handle")

I think, way more than the murder, this is the part that most speaks to me about this guy being fated to become The Penguin, that on some level beyond explanation this is just what he was going to be, that he can already think of nothing else but wanting to be this guy. Dude came out of the womb wanting to be a criminal.

Crucially important to where this is going is the fact that there was real love between these brothers. They play flashlight tag instead of regular tag so that Ozzie can be included. Jack is constantly trying to protect him, always shielding him from Rex, warning him that he's a bad guy, taking the two in the tunnels to protect them from the rain, telling them that Ma deserves way better than what Mr.Calabrese plays them. Benny wants to play zombies with Ozzie, wants them to go to the arcade and play Double Dragon forever, puts him up first at tag. And even if all Ozzie wants is to stay and help Ma, even if all his brothers do is get in the way of the only thing he wants, he also wants to play with them, he wants for Benny to think that Rex's car is cool, he is proud to tell Jack that he knows about Rex being a gangster, he wants them to like the things he likes and he wants to be involved when they play.

Just as important is the extent to which Oz was genuinely hurt by what they did at the tunnel - that to him, they pretended to include him in a fair game that was actively unfair, they broke the rules by leaving the area and then broke them further by hiding somewhere he couldn't physically get to and cheating at what they agreed to and laughed all the while, and that's why Ozzie angrily closes the door on them at first, to punish them for doing this to him.

Everything they do here, even Oz's decision to lock the door on them, is childish, because they're just kids playing around. Jack and Benny even apologize and say they'll start over, but then, what will become the pattern of his entire life begins. Naturally, we hear a rendition of his theme when this happens.

KEVIN BRAY: I don't think that Oz had an intention of taking his brothers out in that moment. We've all known that child as a child. We've known the child that just strikes too hard or hits somebody with something and never thought the consequences would cut them open and they'd have to go get stitches. And he didn't have the impulse control, you know, to think this through. - The Penguin Podcast Episode 7

LAUREN LEFRANC: In his mind, they go down the ladder into a deeper part of the tunnel because they know it's hard for him to get down there. That's not true, but that's what he thinks, because he personalizes things. And this is reflective of what we see from Oz in 101 with Alberto. Alberto demeans him, and Oz impulsively shoots him. As the water begins to rise and he knows the rain is coming down and he has every opportunity to stop it, he lets that impulsive act become permanent. It's not that he actively kills his brothers. It's that he actively does nothing to stop it. - Inside Episode 7

Penguin with the Iceberg Lounge built atop the 44 Below where the fucked up shit he's covering up happens / Penguin with the Underground Railroad built atop the foundation of his original moiders he's covering up

Thinking about a description that stuck with me from the podcast, that Francis sent him like a stealth bomber into the world. So stealthy that he even bombed her life and she didn't notice

"They're your boys, and they're freezing" For the entire show this has haunted Francis again and again, even right in front of Oz

I kinda expected, given the Pain and Prejudice mention, that Oswald was going to be indirectly or directly responsible for killing his brothers, and that this was going to have a vastly better idea for that concept, and that it did. I've seen lots of people describe this as the show asserting he was ontologically evil from birth and that's, well that's just dumb, and that would be too easy, that attributes foresight and planning to Oz's decision that simply wasn't there, and wildly misunderstands much of the point of the show. Oswald is not beyond reason or empathy or humanity or feeling, precisely the opposite - he is all too painfully human, all too painfully real, in the atrocities he does and the ones he does nothing to stop.

He just is fearless, and I think it has to do with his empathy. You’re going to go, “God, I hate this guy, but I see where that comes from and that does not make it okay.” There’s a sense of tragedy within all of that. -Matt Reeves

Oswald's decision to lock his brothers in a fit of cruel and stupid spite after they insulted him (even if by accident) mirrors his decision to shoot Alberto after he's insulted and his decision to rat out Sofia after being insulted. Oswald walking home and deciding to do nothing while telling a different story, because it ultimately benefits him to do so, mirrors his decade of silence over Sofia's imprisonment and his complicity in Carmine Falcone's murders while telling Eve a different story. It is, indeed, the worst thing Oz has done yet, but nothing about it is fundamentally different than the patterns by which he's acted since Episode 1.

It wasn't that his brothers were mean, not intentionally anyway, or even Oswald was always planning to kill them, he very clearly wasn't. But A: They did something that really hurt and upset and offended him, and so were the first to find out what happens when you do that to Oz. And B: They were the first people to be in the way of something Oz wanted, the only thing he ever really wanted which is his mother's love, and so it's good they had to go. Not a premedidated crime, not even something he actively wanted, but it was a happy acident turned chance, and he wound up taking it and doubling down on it.

It's evil and fucked up to the degree I think works best for Penguin being evil and fucked up: Not sadistic and over-the-top cruel, not the Joker or any of that fetishistically elaborate revenge bullshit he's had since Joker's Asylum, but as someone who profoundly does not care about what he has to do or who gets crushed along the way for him to get what he needs. Does not go out of his way to murder for the sake of it, but will not blink at whatever body count happens to get him what he wants, more indifferent than actively malicious and that doesn't actually make it a lot better.

I believe Oz to this day still loves his brothers. I believe he means it when he says "I lost em too", it's just he doesn't think about the contradiction involved.

As someone who never liked the hypothermia/forced into always going out with an umbrella origin (always thought the latter one was real forced and dumb as far as justifications for the umbrella-theme went), it's cool they actually did incorporate that classic Penguin origin element so strongly here. In the broadest strokes possible, they managed to work in "Penguin's mother lost her family due to hypothermia and so her smothering concerns for Oswald pushed him into situations where he was frequently belittled and mistreated until he became more and more insecure and spiteful and twisted"

That's the cornerstone around which everything is built, the rest of his life. And it certainly is the foundation, or the springboard upon which he is launched into the world, that decision that he makes as a child in that moment, and the reasons why he does it – so that he can have the isolation of his mother's love directed solely towards him." I think he washes his hands of it totally, and has convinced himself that it didn't happen the way it did. It's that grave. But it's in there somewhere – the darkness. - Colin Farrell

Something I should bring up is also the Portuguese title given to this episode: instead of translating Top Hat (which would be Cartola), they called it Manda-Chuva. Manda-chuva is a conjoined slang term for boss, big shot, head honcho, that kind of thing, but it translates more literally to "Rain sender/commander" (Manda = order/sender, Chuva = rain). Like you're the guy who makes it rain in the village, you command the rain and everything else. Fucking excellently horrible name choice here, like it better than the original title.

To quote @book--wyrm

the juxtaposition of the tapdancing and the raindrops and the slamming and the shooting and then the hum of the TV and the buzz of the streetlights (get back home when those go on) and the rushing of the water into the grillthat shot of the jar outside the window, all filled up with water, two toys floating in themthe highest point in his life. when his mom is still happy and whole and he doesnt' have to share her untainted love and he doesnt' have to think about the consequences of what he's done while his brothers are drowning in a sewer under the city

him literally turning away from the camera after the shot of his brothers screaming underwater, turning away from who he might have been—the steady, honest man, and the bright, innocent child as they drown horrifically, to stare at a glitzed and glamoured version of who he will eventually become

Oswald's first crime, the first time he learns he can get what he wants by skipping the line. That he actually can have everything if he just does things a certain way. It's the first time he won, the first time he managed to take out his enemies/competitors and won what he wanted for it, pushing his brothers out of the nest so he could hog mama all to himself.

Nobody has to know, nothing that could be done, they hurt me first, it didn't happen like that, I deserve this, I'm making her happy, I can take care of her.

"The city took them."

All he was doing was punishing them for playing a mean hurtful prank on him. And then he went home. And then at some point realized they were not going to come back, but he kept going. Isn't it warm here, with Ma? Isn't it everything he ever wanted? Look at the tv, the man with the top hat dancing away the night. Isn't it cool when he shoots down everyone in the back? Isn't it cool, this larger-than-life thing he will map his life around, showing him how much it rules to be like this? His very own Mask of Zorro, in Fred Astaire shooting his back-up dancers, The Gentleman Criminal taking form as he commits the most horrific despicable betrayal of his life. The fantasy he will spent the rest of his life grasping for and projecting on pieces of shit like Rex Calabrese and Carmine Falcone in the hopes of one day taking their place, while he at every turn works to destroy and undermine it.

It sprung from a very base animal selfishness, resulting from a perfectly understandable childish impulse, carried to unimaginably horrific proportions set to define the rest of his life. Ozzie Cobb never wanted to murder his brothers, but he got away with it, because The Penguin can get away with anything.

Oswald commits his first spiteful horrific childish self-serving murder, on the same day a sharp-dressed backstabbing criminal in a top hat dances before him and his adoring mother. He's seeing his future, the reward he gets for his first crime, and he likes it very much.

LAUREN LEFRANC: Without it sounding cheesy, love matters to him, and that doing right by whatever the (mafia) family traditionally would do isn't the most important to him. And that there's a brazenness to it, that he can do what he wants, and he can be with who he wants, and he'll make his family a mixed family. And that there's strength in that as well. That makes him a different man than we may have seen in different iterations of Salvatore Maroni -The Penguin Podcast Episode 7

"Fuck your guilt, just bring me an army" - That singlemindedness that makes Oz such a piece of shit, while also making him someone that you can follow and even look up to, a guy who can plausibly sell himself as Da Good Boss. He doesn't give Victor shit for what happened to his Ma, won't hear excuses and he doesn't care for them, we gotta get this done now. Like at the grave scene in Ep3, he doesn't want Victor's apologies, he wants him to get his shit together if he's gonna stick around (by what he thinks is entirely Victor's choice). He has no time for guilt or second-guessing or a conscience, not his nor anyone else's.

"Gentleman" is a term that's only been brought up once in some episodes and in the most bitterly ironic tones possible, here turned against Oswald by Sal berating him for having betrayed his gentleman's promise and thus now he'll get the same deal, which helped put something in perspective: Sal Maroni is right, he is a gentleman. In fact, if anyone in the entire show, if anyone in Gotham, could be described as a "gentleman criminal" the way Oz so desperately aspires to be, it would be Salvatore. And not only does he fail partially because of that, but Oz has nothing but contempt for him, only sees him as a sentimental preening idiot (exactly the way Carmine did) and not only that, he will spend the remainder of the episode dragging him down to his level and causing him to die for it.

I love that Oz tries twice to turn Sal against Sofia and it never works, not even a little. Zero pretense that she's not in control and Sal is fine with it, he just wants Oz dead more than anything else.

Definitely a good time to bring up that, the first time the name Oswald Cobblepot was ever introduced was in the Batman Sunday Classics newspaper strip, issue #119 in 1946, in a story about The Penguin's aunt who raised him, Miranda Cobblepot, coming to visit him after ten years, and him begging Batman to not reveal to her that he's a crook and hold off on arresting him until she's out of town. It's the first time we were also shown anything about Oswald's background and a maternal figure in his life, here seen as comically overbearing as well as completely oblivious to his criminal life, helping fight off mobsters and leaving while telling him to help his good friend Batman take these hoodlums to jail.

Miranda never really showed up again outside of this strip, but some of these ideas eventually carried over to mainline depictions of Penguin's mom, namely his dutifulness towards her and her control over him and her total obliviousness to his criminal deeds, which has always defined her. I bring this up because, while we've obviously seen before that Francis is his confidant and knows and encourages her son's brutality, dancing in giddyness when she hears about the Falcones being killed by him, it's a brutal contrast to her telling Sofia here that yes, she knows full well about the worst thing he had done up until the opening of this episode, she knows he burned alive a mother hugging her son, and she couldn't be prouder. Even now, she is the ultimate force in Oswald's life, the only authority he answers to and his guiding motivation, even as we learn now she was his greatest victim.

Francis burns with such eternal undying spite and hatred, the force that turned her boy from simple self-loathing self-preservation into city-conquering ambition, and she burns so strongly she trounces The Hangman in a verbal boxing match and cracks the façade that will be later shattered in the episode. Francis is tragic and sympathetic and loving only because she is interrupted with bouts of crushing despair and guilt and delude love brought on by her illness literally forcing these feelings on her, because otherwise she would be as good as, if not better, han her son at this. At steamrolling everything and everyone fueled by hatred, and hers still burns strongly at everything and everyone, except the person who most ruined her life.

Dr.Rush subtly but very clearly suggesting having Gia killed, lmao. I think it's good to have just one total pathosless bastard in the proceedings, when every other character has so much tragedy and history and whatnot. He has 100% wholly sublimated his guilt over the Arkham atrocities he was a part of into a drive to help his victim Sofia no matter what, and not actually improve as a person or rectify the problems he was a part of, thus becoming someone who can justify any atrocity because he's doing it in the name of someone else he must avenge and do right by.

A thing that @davidmann95 brought up for last episode that became extremely relevant for this one

this ep also illuminated Oz's true power for me: he understands more than anyone else the power of This Fuckin' Guy, and thus builds all his rhetorical swerves and master plans around painting someone else as that

he can't make people stop hating him, but he can make anyone the person you hate slightly more

His power is hate and spite, as is true of the Penguin, as he gets from his Ma. The one that fuels him, and the one he can stoke on others. Every reason they gave on that meeting as to why he's the most hated crook in town was twisted into an additional reason why they should hate the people he's up against more. Here, Oz tries to turn Sal against Sofia, and it doesn't work, so he buys a distraction by reinforcing his status as That Fucking Guy. Sal has him dead to rights in every sense, and Oz stokes up so much hatred that the guy actually fucking dies from it.

Hey Vic, don't you hate that your parents died over nothing? Don't you hate that the Falcones get everything and you get nothing? Hey Sofia, don't you hate how these old bastards treat you? Don't you hate how our friend Alberto got killed? Hey Crown Point, don't you hate how you've been abandoned? Don't you wish there was someone helping you get back at the bastards that left you to rot? Hey Gangs of Gotham, don't you hate those bastards up town wiping you out even more than you hate me and each other? Hey Sal Maroni, don't you hate ME? Let me remind you of why you fucking hate me so badly your heart's gonna explode.

Brought this gentleman Salvatore down to his level so hard that he made classic Sal Maroni, the seething vengeful bastard who will burn your face off if it's the last thing he does, into existence.

CLANCY BROWN: Oz is an American. He wants to win, and he wants to win on his terms, and he wants everybody to know it. That's why he throws the body out, you know. He throws the body out, for crying out loud. That couldn't have been easy. He throws the body out where everyone can see it.

LAUREN LEFRANC: No one is seeing this happen, so that then you sense Oz's delusion, right? He's talking to a dead man, and then he shoots him anyway, because he wanted to shoot him because he wanted to. And so, he got what he wanted, and he made it happen, even though it's not actually the way he imagined it. And then, what Clancy's saying, he throws the body out and then takes credit, like, "I killed him. I did it." And from that point on, in Oz's mind, he killed Sal Maroni. There is no other alternative. No one else is going to know that Sal died on his own. This is part of Oz's constructed narrative. - The Penguin Podcast Episode 7

I love how Clancy Brown put it, that Sal was all heart and passion and rage and so eventually it just had to go out. Perfect death. He is not the guy who can burn himself forever in the name of vengeance, he is not Oz and Sofia, he is not a Batman villain - he's the guy who dies to make way for them, and here, he dies denying Oz the satisfaction of taking him out. C'mahn man, twice already the big bad bosses of Gotham die before he gets to actually kill them, first Carmine and now this. Popping punk scrub bitch Alberto just wasn't that satisfying, and Sofia's just making everything too weird. With the Falcones gone, this was the guy he wanted to genuinely brag about killing to his mom, and now it's just gonna be another lie and delusion that Oz spins into reality.

Also further contextualizes why Oz is gonna be the guy who picks fights with Mr Vengeance. All he wants is to prove himself, but all his biggest opponents so far died on him before he could get satisfaction. He's happy to profit from the ring and from taking credit for killing Sal, and he may even rewrite his memory so as to delusionally believe he actually killed Sal, but the truth of that moment was personally wildly unsatisfying. He needs to be the big shot who clawed his way up there, he needs to be alone at the top, and he needs to push everyone out of the nest, like he did his brothers.

The station coin he pulls out of the car attached to his lie that the city took his brothers, and the ring he pulls out of the same car with the lie that he killed Sal Maroni

Just once in his life, he wants to say "I got you, I FUCKING GOT YOU!" to a big bastard who thinks they're better than him and died by his hand, and to actually mean it and have it stick, no asterisks attached.

Rules that even before we can fully understand how deep in Batman Villain territory she is, Sofia is dressing up in wild hair and black furs and heavy eye to visit Gia. It is still visibly her covering up and dressing more conservatively than her past outfits, but she is so inseparable from her trademarks at this point that she goes to a children's mental hospital looking like she's hunting down the Baudelaire orphans for their inheritance money.

Sofia fully replicating the same attitude that was weaponized against her to cover up her mother's murder, and then when she sees the scars and realizes the degree to which she's created another Sofia, pivots instead to embracing her while telling her as openly as possible that yeah, I killed your mom and dad, you should be happy I did, they were scum, please be happy I murdered your family, you're free now like me. She won't accept becoming the same monster that they were to her, so instead she opts to become a different one.

As much as Eve was wrong about Sofia being the Hangman, she was right that she thinks in black and white: her worldview is based around compartmentalizing everyone between Victims and Victimizers. She very much placed Eve in the latter category at first and everything she was doing in that conversation at first, prodding her about performing for men, about her relationship with Oz, about her shallow lies to men, about being good at saying what people want to hear, seeing her as an extension of Oz, everything was to confirm and strengthen her already existing bias and intent to kill her, until The Hangman came and in part she realized that killing Eve would firmly make her a Victimizer.

Everyone she has killed up until this point? Victimizer. Alberto, who was very much complicit and aware of the fucked up shit Carmine did? Victim, because maybe he couldn't have known, he fought to keep her alive and get her out, she loved him, and he was killed by a Victimizer. The Crown Point followers of Oz she'll bomb later in the episode? Victimizers. Julian Rush? Victimizer, but he knows his place. Sal Maroni? Victimizer turned Victim. Oswald? Victim turned Victimizer a decade ago. Francis shook her up, but she can still justify doing horrific things to a mentally ill woman because she raised the monster who did all of this to her and is proud to have done so, ergo, Victimizer. But in Gia, her comic book view of morality shatters, because she's confronted with a Victim who is so because Sofia was her Victimizer and this is not fixable.

And to her detriment, Sofia has enough of a conscience to be aware that she created another Sofia, and so she speedruns self-awareness and reverts to the old Sofia, which causes her to start dying on the spot under the weight of everything that has happened to her and she's become. And so it falls to Dr.Rush to actually do what he should have always done for her and save her, as well as put her back on tracks to do the most fucked up thing she has ever done, steering her back into the mindset she needs to survive this.

She wants two wildly contradictory things, she wants to be free from it all and she wants her eternal revenge on her nemesis and she will forsake the former in pursuit of the latter. Her most sincere desire is freedom and peace away from this fucked up world her dad created for her, but she will never make it if she stops, and the only way she will make it is if she buries the part of her father's legacy that is still actively around and ruining her life. All she wants is to be free and she never will be until she kills him, until she kills everything he embodies in her life, and in her quest to kill him, she will most likely throw it all away.

As @book--wyrm put it, "Oswald is pursuing his dreams, and Sofia is running away from a nightmare". Sofia dreams of Arkham, of the yellow wallpaper, of Magpie chanting Haaangman inside endless dark metal walls. She dreams of her mother's corpse, of being hanged and murdered in her place, of Alberto's murder, and everything that causes her to scratch and tear at herself until she wakes up. Oswald? He dreams of Fred Astaire tap dancing and shooting his back-up dancers, and to even think of anything else is unthinkable. Nothing else matters.

But in spite of struggling with a conscience and an understanding of morality that Oz fundamentally lacks, I also like that Sofia is more imaginative in her cruelty than he is. She is sadistic to a careful, measured, elaborate extent Oz hasn't really learned to be yet. Even the burning of Nadia and Taj, as horrible and sadistic and premeditated as it is, was still rooted in self-preservation and a failsafe in case they backed out on the deal and petty revenge for stealing his shit and ruining his deal. But Sofia took the time to have Dr.Rush hypnotize Francis so they could learn the most thematically appropriate location to torture and kill the two and then engineered an outcome just to psychologically torture him before blowing him up, knowing he'd find a way to survive even that and setting this up just to flush him out of hiding.

For those keeping score at home, in this episode, Sofia Gigante attacked his sidekick with a crowbar, sicced her goons to beat him up and steal his shit, kidnapped his mom and had her sidekick, the Arkham doctor who begged to be her Harley Quinn, do hypnotic mental torture on her, baited Oz into a trap within a trap within a fake surrender and with an accompanying speech about how the old game is gone and she is playing new ones, bombed his Batcave and his loyal army, banked on him surviving that so she could send someone to pick him off as he escaped, and is now taking him and his mom to a showdown at a deeply and thematically important place for them, which is also a fucking theater by the way. I've been raving about her being the real Batman Villain of the show since Episode 03 but at this point, she is more Joker than the actual Joker in this saga. She's fully thrown herself into happily and merrily pulling a grand horrible caper on him and his entire life and everything he cares about with little practical consideration to her own criminal empire but extensive thought given into the panache and thematic meaning of what she's doing, it's amazing.

Fun thing to think about, whether Oz would have left Victor to die down there along with everyone else, or really just if he would have bothered to warn him before he bolted to the hole made just for him. We've already seen Oz quickly sell out one of Victor's friends out to die, someone who could have been Victor himself if he had gotten away. We've already seen in the burning of Taj and Nadia how monstrous Oz can be without Victor around. And now here we see how quickly and efficiently Oz can ditch all "the good people of Crown Point", the people who actively put themselves in danger to save him from Sal, to die at a moment's notice.

Credit to @book--wyrm for pointing how the bottom two rungs of the ladder he climbs are broken. The first two bodies he ever climbed over to get what he wants.

And thus we see by their last scene together how Oswald and Francis's present relationship began. The moment he transformed into the amalgamate of everything she lost and needed in her life, when he needed to step and be everything that Jack and Benny and dad and Rex had to be for her, because it's just the two of them now and forever, Kids raised by financially struggling single mothers often very much have to pull double or triple duty and work to compensate for much of what a husband or uncle or support network are supposed to do (speaking from personal experience here), and so from an early age Oswald already had to transform into the character he'd play as an adult.

He has to be the replacement man of the house who leaves her to get shit done for her, and he has to be her sweet boy who tends to her emotional needs, and he has to be her big strong bull of a boy who survived and stuck around and now grounds her in reality so she won't lose herself, and he has to be the provider and caretaker that her husband failed to be, and he has to be her Rex Calabrese who won't take shit from anyone and make sure she gets what she asks for even if it's by illegal underhanded means, and it's too much. Following his first crime and his first victory, we thus get the first moment that Oz began to spin far too many plates to keep his life in one piece and avoid consequences for the shit he put himself and someone else in.

He broke her due to his need for her love, and she broke him due to her need for his love. He turned her selfish and cruel and broken like him, and she turned him into someone who would never, ever grow up and change past this. Oswald's maturity and Francis' hopes died with the two and now, as Oz said to Benny 2 back in Episode 3, "there is just this - survival".

So obviously the climax of the show / Oz's relationship with his mom is gonna happen in a theater club, of course. Of course it's the same place that he swore as a child his eternal mission to do right by her.

Though he lacks the money and the umbrella gadgets and bird armies and supervillain resources, they've managed to firmly establish what the Penguin has in extreme abundance, the superpowers in his soul that allowed him to make his way through the world and win.

Ozzie's failings are human failings, Ozzie's attitudes are human attitudes, everything done in the flashback, even the closing of the door, was fixable. But The Penguin is unmatched at getting away, with an almost preternatural ability to fuck people over to get ahead, to slip from a catastrophe and land right into another one. This is a guy who is, in his own way, every bit the absurd uncanny freak that any other version of Oswald Cobblepot has ever been, and if his lack of evening wear and verbosity makes him distinct from classically-flavored Penguins, everything that matters to the character is and always has been there.

This is a guy who is better than anyone at "the wiley schemes and the quick, last minute escapes, who always has a trap door, an unbrellachute, some other trick up his sleeve to thwart and evade his dark nemesis at the eleventh hour". This is a guy deep in unshakeable childish delusion and devotion to the hustle, who burns a bottomless black hole of ambition in his gut and who was born with cigarette ash for blood and a top hat instead of a heart. He may not have been born evil, but he was born ready. Ready to be the embodiment of Gotham's criminal element, to be a child's idea of a master criminal in much the same way Batman is a child's idea of crimefighter, born ready to do this shit forever and ever.

#dc comics #the penguin #batman #the penguin hbo #oswald cobblepot #sofia falcone #colin farrell #cristin milioti #clancy brown #sal maroni #lauren lefranc #matt reeves #hbo max

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