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WARNING: Spoilers Ahead! This article includes major plot details from the season finale of HBO’s “The Penguin,” currently available for streaming on Max.

In the realm of television spinoffs from blockbuster films, “The Penguin” stands out as a remarkable accomplishment. Although the character of Oswald Cobblepot, known as the Penguin, isn’t Batman, the portrayal by Colin Farrell, enhanced by stunning prosthetics, captivates audiences so thoroughly that few find themselves reminiscing about the cinematic universe he originated from. Nevertheless, showrunner Lauren LeFranc concludes the season with a striking image of the Bat-Signal casting its shadow over the Gotham skyline. This visual serves as a haunting reminder that Oswald Cobb’s rise to power, having defeated rival mob families and forged alliances with city legislators, places him squarely in the sights of Gotham’s elusive protector, the Caped Crusader.

“We were searching for an elegant way to transition our story to ‘The Batman,’” LeFranc explains to Variety. “It felt fitting to include the Bat-Signal, subtly undercutting his triumph by signaling, ‘You haven’t reached the pinnacle yet. You might be living in a fantasy, but there’s a broader reality out there waiting for you.’” This clever narrative device emphasizes the ever-present tension between Gotham’s criminal landscape and the vigilantism that seeks to restore order.

The final shot is just one of many topics explored in conversation with LeFranc, co-stars Cristin Milioti and Deirdre O’Connell, and executive producers Matt Reeves and Dylan Clark, regarding the eighth and final episode of “The Penguin.” This HBO spinoff, which originates from the 2022 film “The Batman”—co-written and directed by Reeves, featuring Robert Pattinson as Bruce Wayne—charts Oswald’s trajectory toward success and legitimacy, albeit at a significant personal cost. Among the casualties of his ambition are mob matriarch Sofia Gigante (Milioti), whom he betrays; his mother, Francis Cobb (O’Connell), who suffers a severe stroke; and his young protégé, Victor Aguilar (Rhenzy Feliz), whom he tragically kills after leveraging Vic’s help to disrupt the city’s criminal power dynamics.

In addition to discussing the series’ shocking twists and the profound losses and gains experienced by the characters in the finale, this group dives into the foundational concepts that propelled the show toward its impressive success. They explore the intricate character dynamics and story arcs that rendered “The Penguin” a compelling watch throughout the season. Additionally, they discuss how Reeves and Clark empowered LeFranc to advance the narrative, not only to set up Reeves’ upcoming theatrical sequel to “The Batman,” which is slated to begin production early next year, but also to cultivate a world that mirrors the franchise’s rich, gritty reality.

Exploring the Depths of Gotham City

In broadening the portrayal of Gotham City to accommodate this expanding ensemble, LeFranc sought to craft a more nuanced depiction of the city. This effort aims to establish a stark contrast between the events of “The Batman” and “The Penguin.” “We had the opportunity to explore eight hours in Gotham City, compared to Matt’s film, which is around three,” she explains. “We were able to showcase specific neighborhoods like Victor’s; we saw where the Falcones live. We truly aimed to tell a story about class disparity, which is an essential aspect of understanding who Batman is as a character. This involves delving into Bruce Wayne’s history while also recognizing where we left Batman at the end of the first film.”

Reeves shares that he initially intended to chronicle Oswald’s rise in the sequel film. However, he quickly realized that a series format would allow for a more detailed exploration of his character without compromising the focus on Batman. “This is the initial step in guiding him toward that dark, aspirational goal of becoming the kingpin,” Reeves states. “To achieve this, we needed him to reach a certain level of status first, which would necessitate an unexpected gang war that elevates him to a position of power.” Consequently, Reeves and his producing partner, Clark, provided LeFranc with loose parameters to fulfill this vision.

“We were sort of like, ‘This is the beginning, and then this is broadly the end,’ without any of that being a hindrance to the larger goal of illuminating who Oswald and the other characters that Lauren wanted to focus on are,” he continues. “When you transition into the film, it’s not about teasing the audience by holding back information. Instead, it’s about showing that he has now achieved this new status, meaning that when Batman encounters him again, he will be more formidable in various ways.”

Clark emphasizes that “The Penguin” aims to expand the narrative landscape of stories told within the Batman mythology while also enriching the narratives focused on Batman himself. “HBO provides us with the opportunity to develop the characters in our canon, particularly marquee characters like the Penguin,” he explains. “In films, the perspective is often on Batman; here, we aim to elevate Oswald in ways we previously didn’t have the chance to explore. Once we go through that experience in the series, we can bring him back into the film, where he’s better defined and more developed.”

“The key is to never make any of it feel like it’s hyper-dependent on watching everything,” Reeves adds. “It won’t be the sort of narrative where we’re teasing you just to drive you to see the film. That feels like we’re mocking the audience.” This approach ensures that viewers can enjoy each medium without feeling pressured or compelled to engage with all content to grasp the story.

Inspiration from Classic Crime Dramas

As the creative team conceptualized the series, they discussed the theme of ambition and the extreme lengths individuals go to achieve their visions of success. “We explored the notion of a character who would go to any lengths to attain whatever success meant to them—be it respect or material wealth,” Reeves notes, emphasizing the importance of unearthing the emotional void that drives such aspirations. Having guided Bruce Wayne through a journey of hope in “The Batman,” he recognized that this narrative would remain tethered to the darker realities of Gotham, especially following a catastrophic flood that left the city reeling from loss and destruction. “We knew it would be a dark story, but Lauren found a way to explore that darkness in a profound way,” he adds.

Both Reeves and Clark credit Farrell for infusing Oswald with a sense of humanity and even humor. “It was exhilarating to have Colin on board because he brings a depth to the character that transcends mere villainy,” Reeves remarks. “You look at him and think, ‘I understand why he did that, and while I can’t forgive him, you’ve shown me that evil resides within him, just as it does in all of us.’” Clark adds, “Matt and I were constantly amazed at the sheer entertainment value Colin brought to the role, even in moments not intended to be comedic. He owned that character in a way that was irresistibly engaging.”

Recognizing that “The Penguin” would depict a rise-to-power narrative, LeFranc aimed to delve into Oswald’s motivations by creating new characters surrounding him. “I asked myself what Os wanted on a deeper level since the notion of power varies for each individual,” she shares. “I aimed to root it in something more emotional and thus created his mother to explore this dynamic. From there, I started to expand the universe and delve deeper into all the characters I believed would contribute to a psychological study of Oswald.” According to LeFranc, this resulting ensemble provided crucial counterbalance and objectivity to Oswald’s journey.

“It’s essential to offer the audience perspectives from other characters to avoid a distorted view of Oswald,” LeFranc explains. “Otherwise, our perception of him might become skewed—especially since Colin’s charisma might lead us to excuse his behavior.” This multifaceted approach fosters a richer understanding of his character and the world he inhabits, ensuring that viewers appreciate the complexities of both his motivations and consequences.

The Tense Mother-Son Confrontation

The season finale begins with a gripping scene featuring Oswald and his mother, Francis, confined together in a room as Sofia orchestrates a confrontation between them over a pivotal event from Oswald’s childhood. This event involves his abandonment of his brothers to drown in the sewers of Gotham, an act he subsequently lied about to his mother for decades. While this conversation was likely inevitable, O’Connell notes that Francis hesitates to confront the truth, especially in front of Sofia.

“I had numerous discussions with Lauren about how she could convey that truth in front of Sofia, knowing she was there,” O’Connell recounts. “The moment when Oswald says, ‘That’s your illness talking,’ ignites a fire within her. It’s at that moment that all the resentment and rage she has harbored for years about his actions come pouring out.” This moment underscores the complex dynamics of their relationship and the emotional stakes involved, amplifying the tension in the scene.

LeFranc emphasizes that although Oswald possesses a talent for deceit, he perceives himself as an honest character who articulates what he believes to be true. “His perspective on the American Dream, for instance, is realistic and practical in many ways, especially in how he communicates with Victor about seizing opportunities,” she says. There are elements of positivity in Oswald’s feeling of being an underdog and his longing for acceptance from Gotham’s broader community—and, of course, from his mother.

Despite the depth and nuance LeFranc brings to Oswald’s character, she does not shy away from critiquing his actions, acknowledging that he is a deeply delusional individual. “Many events that unfold in the finale are things he justifies or that we reveal have occurred prior, which he must accept for his own comfort,” she states. This acknowledgment of self-deception adds layers to his character, illustrating the psychological complexities associated with his journey.

While the heinous acts Oswald committed as a child are inexcusable, O’Connell suggests that Francis is not absolved of responsibility for shaping and perhaps inspiring his behavior. “I believe she feels a certain level of accountability—how could she not?—for having molded him into this creature capable of such acts,” she asserts. “Her internal pact becomes, ‘I will dedicate my life to caring for this ‘bad seed’ in some capacity.’” This dynamic illustrates the cyclical nature of trauma and the impact of familial relationships on individual development.

“I believe she harbors the tragic flaw of believing she can control him,” O’Connell reflects. “She craves some form of visibility and a reprieve from humiliation, so she constructs him to become a figure who can achieve that for both of them. However, he oversteps that boundary significantly, resulting in his transformation from a perceived hero to a true villain.” This exploration of Francis’s motivations and their consequences adds depth to the narrative, highlighting the complexities of maternal influence in the shaping of Oswald’s character.

Heart-Wrenching Betrayals

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