‘Agatha All Along’ and ‘The Penguin’ prove that the superior universe is on television

As a longtime Marvel enthusiast who has witnessed the evolution of their cinematic universe, I must say that “Agatha: House of Harkness” is a refreshing and delightful addition to the Marvel TV lineup. Kathryn Hahn’s portrayal of Agatha Harkness is nothing short of brilliant, bringing both humor and depth to this complex character.

It wasn’t foreseeable when Adam West donned the Batman costume – when Batman wore tights – that comic books would eventually shape Hollywood’s content. The 1966 “Batman” film, which originated from the TV series and had a budget of $1.48 million, did manage to make profits; however, it was only the most optimistic studio executive or enthusiast who could have envisioned that, following a 23-year hiatus, Warner Bros. would risk $48 million on resurrecting the Caped Crusader.

Undeniably, that wager proved fruitful, and we now inhabit a realm shaped by DC and Marvel productions. It’s no secret that these films have had an impact, if not always a beneficial one, on cinema – often being likened to amusement parks by critics like Martin Scorsese. Over time, as technology has advanced, these movies have unfortunately become less surprising than predictable. They may present slight differences, but they are essentially the same, as they are significant investments that studios cannot afford to fail. Even the more artistic versions are crafted to cater to the audience’s expectations.

In my previous and upcoming writings, I’ve often emphasized that television has significantly enhanced its appeal when it comes to superhero stories. The lower risks associated with these genres have led to greater creative freedom, transforming the genre into a wide array of styles such as romantic comedy, family drama, noir soap opera, and more. This diversity is complemented by various visual techniques, and importantly, allows for in-depth character development and exploration of relationships.

Two fresh television series based on comic books debut this week, each vying for viewer attention. Notably, they stem from longstanding corporate competitors: “The Penguin” (airing Sept 19 on HBO) originates from DC, while “Agatha All Along” (now streaming on Disney+) hails from Marvel. Both are parts of an extensive narrative continuity, but I find the overarching storyline less compelling, considering the numerous times these universes have been reimagined, rescripted, and revised throughout the years, given the complexity involved in following their developments and the brevity of our lives.

The Penguin” continues from the 2022 movie “Batman” and seems destined for “Batman Part II” in 2026; “Agatha” is said to be the second part of a three-part series that started with “WandaVision” in 2021, and it plays a role in the ongoing storyline known as the Marvel Cinematic Universe (MCU), which sometimes feels like an unwanted department within a hospital.

As a cinephile, I’ve noticed that although these two productions have unique tones and are fundamentally separate, there are some common threads that bind them. For one, each storyline revolves around an antagonist, a trend we’re seeing more of lately. However, Agatha, initially conceived as a hero in the comic books, presents an intriguing twist – she’s a villain with a wicked sense of humor that makes her delightfully engaging. On the other hand, “The Penguin” delves into the classic mob narrative, infused with comic book elements and over-the-top twists. Both are masterfully crafted, boasting top-notch production, performances, and intelligent screenwriting that leaves little room for criticism.

Originally, the character known as the Penguin was portrayed as a mad, upper-class gentleman with distinctive accessories like a top hat, monocle, and magic umbrella. However, in this latest portrayal, Colin Farrell plays the Penguin for the first time, transforming him into a working-class, heavily scarred underboss in the Falcone crime family. Although his deformed foot lends him a penguin-like waddle, his name has been shortened from Oswald Cobblepot to Oz Cobb. The Falcone family, whom he serves, are typical Italian-American mobsters found in New York City, and Farrell appears to have drawn inspiration from James Gandolfini’s acting style to shape his performance.

Essentially, the Penguin’s main goal is to rise above all others as the city’s criminal mastermind. This ambition leads him down a path of deceit, treachery, murder, and more cunning than people give him credit for. With its working-class background and emotional undertones, it draws inspiration from classic Depression-era films such as “Scarface,” “Little Caesar,” and “The Public Enemy.” The term “dirty rat” is used frequently, just like in the latter film, and the antihero has a deep affection for his mother (Deirdre O’Connell), who suffers from dementia.

Other than his mother, Oz maintains two meaningful connections. One is with Victor Aguilar (Rhenzy Feliz), a young man living in the projects whom Oz protectively guides, showing both aggression and gentleness towards him. They often discuss their childhood memories of the old neighborhood and contemplate life’s deeper questions (“The world isn’t designed for honest people to prosper”). The other relationship is adversarial, involving Sofia Falcone (Cristin Milioti, who delivers a strong performance reminiscent of Liza Minnelli’s style), previously Oz’s chauffeur who has returned from a ten-year stay at Arkham Asylum. She’s now determined to challenge the oppressive underworld hierarchy, much like Oz, and she also grapples with her own father issues.

As a film enthusiast, I’m excitedly anticipating the power struggle over the potent drug known as Bliss. Over eight thrilling episodes, the balance of control will shift like a continuous ping-pong rally. However, with flashback scenes that delve into their psyches, it becomes challenging to sympathize with either character – they’re both morally questionable individuals! Nonetheless, the storyline will reach some form of resolution, leaving room for future continuation in Franchiseville style.

In “The Penguin” (by Lauren LeFranc), you don’t need extensive Batman background to enjoy, although Batman doesn’t show up in this story. On the other hand, it might be beneficial to watch “WandaVision” first before diving into “Agatha All Along”, both of which were created by Jac Schaeffer. While you can understand and laugh at many parts without watching “WandaVision”, your experience will be enhanced if you do, as the series contains humor as well as emotional depth.

WandaVision” is a show set in the town of Westview, New Jersey, where its inhabitants are mysteriously trapped within parodies of old sitcoms like “The Dick Van Dyke Show” or “Bewitched.” The cause is Wanda Maximoff (Elizabeth Olsen), also known as the Scarlet Witch, who’s trying to create a life with Vision (Paul Bettany) despite the Marvel writers preventing it. One of those trapped was Agatha Harkness (Kathryn Hahn), a witch with malicious intentions, disguised as the neighbor Agnes, reminiscent of Gladys Kravitz and Millie Helper in appearance and behavior. At the series’ conclusion, Agatha remained stuck as Agnes. The show’s creators composed a theme song for Agatha called “Agatha All Along,” which became popular, charted on Billboard, and even won an Emmy for composers Robert Lopez and Kristen Anderson-Lopez.

The story of “Agatha” doesn’t originate from a comedic imitation of a traditional sitcom but rather, it kicks off with an accurate spoof of a serious crime drama (“Agnes of Westview,” inspired by the Danish series ‘WandaVision’). In this twisted reality, Agatha assumes the role of a detective investigating a murder. As events unfold, her adversary, Rio Vidal (portrayed by Aubrey Plaza), enters the scene – possibly a more malevolent witch than Agatha, disguised as a federal agent. This character will confront Agatha in the somewhat genuine world. Additionally, the narrative subtly hints at “The Wizard of Oz,” which “Agatha” will reinterpret in a mysterious and distorted manner, echoing in a mirror when a deputy describes a deceased person as “truly very deceased.

To regain her powers, Agatha embarks on the risky Witches’ Trail and works hard to suppress her sharp, unsociable nature to gather the coven necessary for her journey. This motley group, each struggling in their own way, consists of Jennifer (Sasheer Zamata), skilled with potions; Alice (Ali Ahn), whose mother was a renowned witch rock star; Lilia (Patti Lupone), making ends meet as a psychic; and cheerful Sharon (Debra Jo Rupp), who wasn’t initially part of the group but was added to fill out the numbers. She was once Mrs. Hart in Wanda’s sitcom world and isn’t actually a witch. A devoted fanboy of Agatha named Joe Locke, also known as “Teen” or “Toto,” follows her closely on this journey. Additionally, Rio is expected to join them along the way.

In the upcoming four episodes, their story will delve into other TV series: a high-class soap opera reminiscent of Nicole Kidman’s work (“Huge Tiny Lies” is the title given), and something similar to “Daisy Jones and the Six”. Each offers a mystery to be unraveled as they progress to the next phase. Will they reach the Wizard? Or will poppies cause them to slumber?

The production is cleverly crafted, filled with humor yet suspenseful and slightly terrifying, blending the extraordinary (witches’ squabbles about pitchy vs flat tones in a magical song) with the mundane. Agatha may not be a model witch, but she has her motives. Hahn is both amusing and endearing, making her great to hang out with despite her antics or sharp words.

Marvel has been creating television shows for over a decade, but it’s really taken off creatively since “WandaVision,” producing unique, sometimes quirky series like “Ms. Marvel” (a character with Pakistani-American origins), “She-Hulk: Attorney at Law,” and “Loki.” These shows delve into humor and explore areas of the Marvel Cinematic Universe that might have been considered too unconventional for the main screen. You don’t need to be an expert on Marvel’s different phases, like Phase Four or Five, to enjoy these shows because they are distinctly self-contained and engaging.

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2024-09-19 00:02