'The Penguin' Finale Twist: Needless or Necessary?

Early reviews for HBO’s The Penguin were mostly mixed. While Cristin Milioti and Colin Farrell were praised for their standout performances, many critics found the storyline formulaic, reminiscent of The Sopranos, and lesser mob shows, but lacking its depth.

Having watched the entire season, I’d agree with that initial assessment, except for one exceptional episode exploring Sofia Falcone’s backstory and the fact that many reviews overlooked just how magnetic Milioti and Farrell are in their roles. Farrell’s portrayal, particularly his signature Penguin walk, adds layers to his character that go beyond prosthetics. If Emmy Awards were given for body language alone, Farrell would deserve a lifetime achievement for this performance.

Yet, the season’s arc feels inevitable, echoing the origin-story fatigue in today’s media landscape. Still, I appreciated how showrunner Lauren LeFranc blended mafia drama with comic-book themes and portrayed trauma inflicted.

Predictability, however, loomed large. Given the show’s title, The Penguin’s rise was expected. Even a chaotic scene where Sofia nearly severs Oz’s mother’s finger doesn’t fully shake the feeling of familiarity. In the end, Sofia captures Oz, he escapes (with Vic’s help), wins over the city’s other gangs with his manipulative, narcissistic working-man appeal (sounds familiar), and turns them against her. But he spares her life, sending her back to Arkham Asylum, where she’s sure to grow increasingly unhinged, waiting for another chance to seize the city.

Oz’s tragedy, meanwhile, is his own burden to bear. His mother, left in a vegetative state after a stroke, cannot express her pride in his rise, robbing him of the one satisfaction he can gain from winning. His mother can only blankly gaze out at Gotham from her hospital bed, trapped in her own silence.

Then comes a final, confounding twist. After thanking Vic for his loyalty, Oz strangles him to death when Vic calls him “family.”

“That’s the thing about family,” Oz mutters. “It gives you strength. But fuck if it don’t make you weak, too.” And with that, he extinguishes the show’s most sympathetic character—the closest thing it had to a moral compass.

Is this twist a necessary step in Oz’s transformation into the ruthless supervillain of The Batman 2, or a gratuitous act that erases the last shred of audience sympathy for The Penguin’s potential second season?