The Penguin Review

The trick is that it is barely a superhero show at all. No cape appears, the city is a drowned post disaster ruin where power is up for grabs, and the story is a straight succession drama about who inherits a dead crime lord's territory. Colin Farrell disappears completely under the prosthetics, and the performance is not the makeup, it is the wheedling, self pitying charm of a man who lies to himself first. Cristin Milioti is the reason the show is great.

Her Sofia Falcone, institutionalised for a decade by her own father for a crime she did not commit, is given a full episode of backstory that is genuinely harrowing, and she plays fury and calculation in the same breath. Rhenzy Feliz's Victor is the audience's heart, which the ending exploits ruthlessly. Faults exist. The middle stretch spends a lot of time on drug distribution logistics, one betrayal too many arrives in the sixth hour, and the finale's cruelty is telegraphed. It is still the best DC television since Watchmen.