Akhil Arora

With WandaVision, creator Jac Schaeffer made it clear that she wasn’t interested in the standard approach to superhero fare. For most of its running, the Marvel TV show’s exploration of Wanda Maximoff’s grief over the loss of her partner Vision took the form of a sitcom spoof, one that barrelled through decades of the format—from black-and-white 4:3 aspect ratio to the meta recasting and costume choices—in an episodic fashion. Sure, Schaeffer struggled to usher her non-standard superhero show away from the climactic final-third tropes of the genre. But there was still a lot of fun to be had in WandaVision. It was the perfect possible start for Marvel’s new television-heavy era on Disney+ (though what has come after has been more miss than hit).

CTRL lacks control. The new Indian Netflix original movie—directed and co-written by Vikramaditya Motwane—has a lot on its mind. It wishes to tackle the perils of building a business with your partner, the blurred lines between online validation and offline happiness, generational malaise and being severely attached to devices, and the dangers posed by Big Tech, deep fakes and generative AI models. There’s a lot more, some of it frivolous and the rest bordering on spoilers. And that’s exactly the problem—it cannot pick a lane. CTRL tries to pack in so much in its 100-minute runtime that it ends up doing none of it well. Worse, everything it does feels stale. We’ve heard and seen variations of this. Nothing it does shocks or surprises.

How do you approach a movie inspired by a series of gruesome killings that left a scar on the public but provided no closure? The police investigation into the 2006 Nithari serial murders—where a domestic help preyed on at least 19 minors, sexually assaulting them after their death, chopping their bodies into pieces and possibly indulging in cannibalism and organ harvesting, potentially with the tacit acknowledgement of his employer—was so badly botched that the case remains in the news in 2024, as the courts and agencies debate the sentencing. The two main accused were acquitted in 2023 over lack of sufficient evidence but India’s top crime body, CBI, has challenged it. With so many unknowable factors, this is rich territory for any filmmaker.

The Penguin—premiering September 19 on HBO and Max—arrives amidst a shifting mood in a space that’s been overdone. It’s another small-screen extension of a superhero movie. Who asked for it? This kind of blatant intellectual property exploitation, solely greenlit to boost a streaming service devoid of an identity, that expands the lives of minor Gotham characters and crime families. Comic book storytelling has already taken over everything. And, what, it’s on HBO too now? (The Penguin was greenlit as a Max original in 2022, but in July, the executives pivoted and stuck the HBO sticker on it.) Isn’t anything sacred anymore? Here’s the good news: infused with the energy of an all-time HBO hit, The Sopranos, the new DC spin-off miniseries is worthy of the HBO branding.