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      ‘The Penguin’ Review: The Dark Blight

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      The HBO series starring an unrecognizable Colin Farrell is further proof that there is no fun in the Batman universe.When was fun banished from Batman’s world? Certainly the tide turned with “The Dark Knight Returns,” Frank Miller’s 1986 series of comics. As exciting as they were, Miller’s books enshrined a claustrophobic, dystopian approach that has smothered many subsequent screen treatments.In the immediate aftermath of the books, the Tim Burton films “Batman” and “Batman Returns” found thrills in the darkness. But when I sit through the subsequent Christopher Nolan blockbusters, or Todd Phillips’s “The Joker,” or even Matt Reeves’s recent reboot film, “The Batman,” I feel as if I were being punished for not being a serious enough (or depressed enough) viewer.Reeves (“Dawn of the Planet of the Apes”) is a very talented director, and “The Batman” was easier to sit through than some of its ballyhooed predecessors. But it was ruinously long at three hours, its small store of familiar ideas about revenge and social decay running dry well before the movie ended. And Reeves’s Batman was such a stone-faced mope that poor Robert Pattinson spent the whole movie looking as if he were wondering where the bathroom was, not that he would have been any happier had he found it.But the movie was beautifully shot, and Zoë Kravitz was the latest in a line (Julie Newmar, Eartha Kitt, Michelle Pfeiffer) of great Catwomen. And it had an odd, sideshow-like bonus: a beautiful movie star, Colin Farrell, rendering himself unrecognizable under a reported 50 pounds of latex to play a battered, ugly, all too human variation on a classic villain, the Penguin. The performance wasn’t fun, exactly, but it was definitely something to look at.Now Farrell and his latex are back in “The Penguin,” an HBO series spun off from “The Batman.” (It premiered on Thursday night; its second episode will not appear until Sept. 29.) Even though the show is set in the immediate aftermath of the film, and the story features large-scale chaos, Batman is nowhere to be seen; apparently he’s taking a long vacation. So “The Penguin” is not a superhero show.Instead, as developed by Lauren LeFranc (“Impulse,” “Agents of S.H.I.E.L.D.”) with Reeves as an executive producer, it is a particularly self-conscious gangster saga. Farrell’s Oswald Cobb (shortened from Cobblepot) is a midlevel mobster who sees an opportunity when his boss is killed and sets out to take over the Gotham City drug trade, peddling a new high called Bliss. Alternately opposed to him or allied with him is the boss’s daughter, Sofia Falcone (Cristin Milioti), recently released from Arkham Asylum with designs of her own on the top spot.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘The Penguin’ Waddles Onto HBO

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      Played by Colin Farrell under pounds of prosthetic makeup, the character anchors the latest superhero series, a bridge between “Batman” films that aims to be more than a mere brand extension.When Matt Reeves was preparing his 2022 film “The Batman,” his sprawling, blockbuster exploration of crime-ridden Gotham City and its hometown vigilante, he would sometimes remark — half-jokingly and half-not — that it really needed to be an HBO series.Reeves, who directed and co-wrote the nearly three-hour movie, felt there were still stories to tell and characters to explore, like Oz Cobb, a midlevel mobster played with foul-mouthed gusto (and pounds of prosthetic makeup) by Colin Farrell.Though the character appeared in only a few scenes, Reeves said, “There was something electric about Colin. He just completely embodied a spirit that was so fresh and so powerful. You wanted to look at him under a microscope and understand, who is that guy?”That desire is fulfilled in “The Penguin,” an HBO series premiering on Sept. 19. Picking up immediately after the events of “The Batman,” its eight episodes return to Reeves’s grungy incarnation of Gotham while chronicling Cobb’s rise to his perch atop the city’s empire of organized crime.“The Penguin” is an unapologetic bridge to a planned “Batman” sequel, but it is also trying to use TV to provide something that movies cannot: a longform character study of its crude and wily title character, who is very different from the dapper, top-hat and monocle-wearing bad guy seen in decades’ worth of Batman comics.“The Penguin” is arriving amid a boom-and-bust cycle of cinematic superhero universes. “The Batman” was a $772 million-dollar hit for Warner Bros. at the worldwide box office. And while the summertime success of Disney’s “Deadpool & Wolverine” shows there’s still an appetite for the cinematic adventures of comic-book heroes, it’s not always a certainty that viewers want to follow these characters onto TV.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How a TV Critic Navigates an Age of Endless Content

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      James Poniewozik, The New York Times’s chief television critic, discusses the state of modern television and the struggle to watch it all.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.James Poniewozik has a tough job: He gets paid to watch TV.“There’s a lot to keep up with,” Mr. Poniewozik, 56, the chief television critic for The New York Times, said in an interview. “But much of the time it is really interesting.”For nearly three decades, he has written about dramas, comedies, presidential debates, court hearings, interactive art installations and anything else that plays out on the small screen. Mr. Poniewozik began writing about television as a media columnist for Salon and later became the TV and media critic for Time magazine. He joined The Times in 2015, focusing his coverage on the intersection of TV, culture and society at large.Ahead of TV’s biggest night — the Emmy Awards — on Sunday, Mr. Poniewozik shared the TV trends he’s watching and how he decides what shows to cover in the seemingly infinite modern TV landscape. These are edited excerpts.Fourteen percent of American adults say they get their news from TikTok, up from 3 percent in 2020. Is TV still a force to be reckoned with?TikTok has certainly become more influential. But I was struck while covering the presidential debate between Biden and Trump that it was possibly the most politically consequential TV broadcast ever: Because of one or two hours of TV, a candidate for president changed. All of the reasons Biden dropped out were present before the debate, but once you had tens of millions of people focused on one performance at one time, it became an unstoppable force.How do you weigh how many people will watch a show against its quality when deciding what to review or cover?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Life-Changing Journey of ‘My Brilliant Friend’

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      The four actresses who played Lenù and Lila from adolescence to middle age discuss the end of the HBO series.In the fourth season of “My Brilliant Friend,” premiering Monday on HBO, the childhood friends and fierce rivals Lila and Lenù navigate marriage and divorce, motherhood, loss and middle age.This is the final chapter, catapulting the protagonists from the 1970s to the 21st century against the background of Italy’s upheavals, and is based on “The Story of the Lost Child,” the fourth book in Elena Ferrante’s wildly popular Neapolitan series.Writing in The Times, James Poniewozik called the show “one of the most incisive portraits of a lifelong relationship ever made for TV.” But this final season also ends a production project that started in 2016 and which all of its lead actresses agreed was the most important of their careers.Margherita Mazzucco, 21, played Elena “Lenù” Greco, and Gaia Girace, 20, played Raffaella “Lila” Cerullo, through three seasons — from the characters’ adolescence to their 30s. Neither had acted before they were cast in 2017, but they are both now stopped on the street at home and abroad.For the seasoned actress Irene Maiorino, 39, who plays Lila in Season 4, the show offered a chance to become better known outside Italy. And the already internationally acclaimed Alba Rohrwacher, 45, who narrated the series before being cast as the grown Lenù. Rohrwacher described the role as an “incredible journey” that “can only happen once in a lifetime.”The four women met together for the first time on a recent muggy afternoon in Rome, to discuss passing the baton from one pair of Lenùs and Lilas to the next and whether there were heightened expectations now that Ferrante’s “My Brilliant Friend” had been named the best book of the 21st century in a recent New York Times survey. (They all laughed: They’d heard.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: ‘My Brilliant Friend’ Comes to a Brilliant Conclusion

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      HBO’s Elena Ferrante adaptation completes one of the best portraits of a lifelong relationship ever made for TV.“I was born in a poor, run-down neighborhood, very run-down, where men’s fury, their violence, was and is a daily occurrence.”In an author’s talk, Elena Greco (Alba Rohrwacher), known to us as Lenù, is describing herself the way we encountered her in the first season of “My Brilliant Friend.” In a gang-ridden, suffocating area of 1950s Naples, she found an ally and sometime rival in Raffaella Cerullo, called Lila, with whom she would be bound for life.By the fourth and final season, which begins Monday on HBO, Lenù has become the writer of her own story, in acclaimed essays and novels. But she is also still very much living it — drawn back to her old neighborhood, its passions and its dangers, as one of TV’s best series reaches a potent, finely observed conclusion.Lenù and Lila met in the beginning of the series as classmates, two smart girls in a place of poverty and street beat-downs without much opportunity for women. (The younger Lenù was played by Elisa Del Genio and Margherita Mazzucco, Lila by Ludovica Nasti and Gaia Girace; in Season 4, Rohrwacher takes over as Lenù and Irene Maiorino as Lila.)Lenù’s intellect is controlled and her nature studious; she’s a hard worker who does well in academic settings. Lenù’s genius is wild and uncontrolled — it burns and bursts out of her. Lenù is cautious and a people pleaser; Lila is enigmatic and brave, with a fierce sense of justice. Each has something missing in the other. Lenù adopts something of Lila’s rebelliousness. Lila, though she sometimes denigrates Lenù’s ivory-tower pursuits, also seems to admire and perhaps envy her success.Fabrizio Gifuni plays Nino, a longtime crush of both of the friends.Eduardo Castaldo/HBOWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Sagar Radia Balances His Alpha-Male Energy on ‘Industry’ With Some Alone Time

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      “I think there’s this common misconception that actors are these big extroverts, and I couldn’t disagree more. Most actors I know don’t need to be the center of attention.”Sagar Radia calls Rishi Ramdani, the take-no-prisoners market maker he plays on the HBO finance drama “Industry,” a walking red flag.“He’s an alpha male, he leads with his chest out,” Radia said. “And he’s the epitome of bravado, which is so fascinating, because for someone like myself who comes from a British South Asian background as an actor, we don’t get the chance to play those types of roles.”He added: “Unless your name is Riz Ahmed or Dev Patel, everything in between is so limited.”So when Radia, 37, was told that he would be getting a stand-alone episode in Season 3, which started last month, he thought it was a lovely idea but didn’t expect it to happen. And yet it did.He recalled reading the script for the fourth episode, in which Rishi’s life spirals into chaos as he tries to extract himself from snowballing debt, and thinking, “I need to do everything I can to make them feel like they made the right choice.”In a video call from London, Radia talked about the pleasures of a “Suits” rewatch, working in retail as a struggling actor and the crepes he’ll happily stand in a 45-minute queue for.These are edited excerpts from the conversation.1CarsMy first car was a Rover 500, a very, very basic car that my mom was lucky enough to let me drive. It was hers. She insured me on it. And my second car was this Vauxhall that we had. It was a step up for me. And now, without sounding too bougie about it, I drive a Mercedes GLA. I’m an incredibly independent person. And I just really love driving.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Alan Cumming on ‘Chimp Crazy’: ‘I Really Do Understand the Deep Love’

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      A documentary series by a director of “Tiger King” tells a wild tale about human-chimp relationships. The actor and activist landed right in the middle.In 1997, Alan Cumming appeared in the film “Buddy,” playing an animal handler hired by an eccentric socialite (Rene Russo) who maintained a menagerie in her Long Island home. One of his co-stars was Tonka, a male chimpanzee on the cusp of adolescence. Cumming felt a special bond with Tonka.“He was very gentle,” Cumming, 59, said during a recent video call. “When the other chimps would get a little overwrought, he was a calming influence, a mediator.”Soon after filming ended, Tonka retired. (Once chimps go through puberty, they are considered potentially too strong and sexually aggressive to work on camera.) In 2017, Cumming, a supporter of the animal rights group People for the Ethical Treatment of Animals and a longtime vegan — “I thought if Mike Tyson could do it, I could do it,” he said — learned that Tonka was being held in substandard conditions at a former breeding facility in Festus, Mo.What happened next is the principal subject of the HBO series “Chimp Crazy,” which premiered on Sunday, a wild and occasionally woolly four-part documentary from Eric Goode, a director of “Tiger King.” (The three remaining episodes will air weekly.)PETA secured the release of six chimpanzees from the facility in 2021. Tonka was not among them. Eventually, PETA offered a $10,000 reward for news of Tonka’s whereabouts. Cumming matched that amount.While the twisty four episodes tell several fraught and often violent stories of chimp-human interactions, its permed, lip-plumped focus is Tonia Haddix, the owner of the Festus animals, including Tonka, and an exotic animal broker who describes herself as the “Dolly Parton of chimps.” (Given the reputation of “Tiger King” as a series that exposed animal mistreatment, Goode approached her through a proxy, a former circus clown who posed as the series’s director.) Cumming claims to feel sympathy for the women Goode turns his cameras on, even as they failed the animals in their care.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Chimp Crazy’ Is a Jaw-Dropping Look at ‘Monkey Love’

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      From a director of “Tiger King,” the four-part HBO documentary dives into the wild, salacious and dangerous world of people who have chimpanzees as pets.The four-part documentary series “Chimp Crazy,” debuting at 10 p.m. Sunday, on HBO, has plenty of chimps, and boy is it crazy. Sad and gruesome, too, and sometimes poignant and philosophical. “Monkey love,” we’re told, is a unique, radicalizing kind of love — more profound than the one between two humans. “The bond is much deeper,” says Tonia Haddix, one of the show’s central figures. “It’s just natural; it’s like your love for God.”Can she get an amen? Actually, no: Haddix, who describes herself as “the Dolly Parton of the chimps,” is an advocate for and a participant in the private chimpanzee market. She says she has a special, spectacular bond with Tonka, an adult chimp who was in several movies and whom she considers particularly docile and soulful. She insists, repeatedly, that Tonka, among others, is more of a “humanzee” — as much a person as he is a chimp. In one scene, she and Tonka watch Instagram videos of other chimpanzees, including his offspring.“Chimp Crazy” and “Tiger King” share an executive producer and director in Eric Goode, and they also share an ecstatic tabloid salaciousness. One woman breastfed a chimp baby alongside her human daughter. A man describes the chimp his mother housed as “the Tom Brady of chimpanzees,” on account of his handsomeness.Everyone in this documentary is suffering, and some of them are ridiculous. And others of them are chimps. “Chimp Crazy” is more textured than “Tiger King,” partly because of its closer attention to the plight of animals. Intertwined with Haddix’s saga are stories of other people who thought they could raise chimps and live together in unending familial bliss — until the chimps reached adolescence, at which point they attacked someone. These attacks are horrific and often fatal, though the chimp owners are rarely deterred.Haddix’s battle with the animal rights group People for the Ethical Treatment of Animals shapes much of the action of the documentary, and jaw-dropping details and twists are never more than a doleful recollection away. “Crazy” is both compassionate and manipulative, and the filmmakers themselves deceive some of their subjects and become major players in Haddix and Tonka’s story. (Also a player: the actor Alan Cumming, who once acted alongside Tonka and eventually offers a $10,000 reward for information leading to the animal’s whereabouts.) There’s an endless “OMG” feeling to everything here, the kind of show that puts the outrage in outrageousness. More