“MobLand (2025) Series: When Crime Families Play Kingmaker”

Power is up for grabs as two warring crime families clash in a battle that threatens to topple empires. In the crossfire stands Harry Da Souza, a street-smart 'fixer' who knows too well where loyalties lie when opposing forces collide.

https://youtu.be/BR-rkW5_zTI

I’ll be honest: when I heard MobLand was dropping, I braced myself for another shot-’em-up knock-off of every turf-war drama ever made. Instead, I got something that feels like Gangs of London hopped a ferry to Dublin, imported a little Snatch, sprinkled in some Ray Donovan lore, and then politely asked Helen Mirren to bench-press the whole thing from the shadows. Strap in, folks—this is the tale of two crime families duking it out for crown and coronet, with Harry Da Souza stuck in the middle like a human cork in a very expensive wine bottle.

First off, Tom Hardy—our resident henchman extraordinaire—returns to form, chewing up scenery with one glower and a limp that could double as a strategic disadvantage. He’s that silent bruiser who looks like he’d apologize before knocking you out, and yes, it’s as deliciously contradictory as it sounds.

Then there’s Harry Da Souza himself, played by the relatively new face Harry Da Souza (seriously, I’m not making that up). He’s the fixer—street-smart, greasy in a way that feels authentic, and perpetually mid-sentence about “sorting things out.” But between you, me, and the omnipresent cameraman, I found myself thinking: “Buddy, how about fewer hair slicks and more spine?”

Pierce Brosnan surfaces as Conrad Harrigan, and bless him, he based his Irish accent on Jimmy Cricket—the comedian, not the little green insect. Which means every time he’s on screen, you half-expect cymbals to crash and a jaunty piano to break out. It’s delightfully anachronistic, like watching James Bond deliver knock-‘em-down Irish one-liners.

On the other side of the ledger, we’ve got Joanne Froggatt and Jan Da Souza, holding down the more cerebral corners of their respective families—equal parts schemer and schemee. And let’s not forget Conrad Harrigan’s kid sister, Maeve Harrigan, who brings a kind of bratty precision to every scene, as if she’s already got a notarized restraining order against her own teen angst.

Finally, Tommy Flanagan pops up as Moody, whose name is apparently just shorthand for “bad news walking.” His every entrance is underscored by the collective intake of breath from the audience’s hard candy hostage.

What I Liked

Top-Shelf British TV Vibes. I mean, come on—this is more “excellent British TV” than you can shake a bonnet at. The production values are so slick you could eat off them, and they actually remember you need to earn your drama rather than just yell louder.

A True Rival to Gangs of London. If you’ve ever envied Gangs of London for its bravado and body count, MobLand is your answer. It’s like someone said, “You know what’s missing? More brooding in narrow alleyways.” There you have it.

Tom Hardy as the Henchman You Secretly Cheer For. I can’t explain why I root for the muscle-bound sidekick in these things, but Hardy makes it look effortless. He’s like a cuddly tank—with fists.

Helen Mirren Running the Show from the Shadows. I swear, half the time you’re watching this thinking, “Who’s yanking all these strings?” Then BAM—Helen’s silhouette, and suddenly you’re reminded that she could launch a nuclear warhead with one raised eyebrow.

What I Disliked

Pacing That Crawls Like a Stolen Cadillac in Rush-Hour. Sometimes the show takes its sweet time setting up payoffs—like waiting for a kettle to boil while someone rewrites War and Peace in crayon. It eventually gets there, but we are channeling serious Game of Thrones pacing here.

Slang Overload for Non-Brits. If you’re not steeped in Cockney or Dublin street chatter, you’ll be googling half the lines. “Fetch the scunner, mate”—what? I had to pause to make sure they weren’t talking about a dairy product.

Music Feels Like a U.K. Vibe Playlist on Shuffle. The soundtrack swings between haunting cello and drum-step remix, as if they couldn’t decide whether they were scoring a heist or an indie club night.

Swearing to the Point of Desensitization. I get it—criminals cuss. But when you hear “bloody” so many times your own teeth start to bleed, you wonder if F-bombs should qualify you for a parole hearing.

Every Character Needs a Harry Da Souza Name-Check. Yes, we know who he is. When everyone says “Harry” in every sentence, you start to think his real name might be “Excuse Me, Who Are You Again?”

Extra Tidbits for the True Crime Junkies

Originally conceived as The Donovans—a prequel to Ray Donovan that Paramount+ teased back in February 2024—this was supposed to chart the rise of Mickey and Ray’s family fortune. Picture Guy Ritchie at the helm, and you’ve got swagger to spare. But in October 2024, the spin-off was unceremoniously benched, rewritten, and repurposed as standalone MobLand, with Ritchie staying onboard in the executive chair (and presumably giggling at every “clash” pun).

And yes, that’s the Guy Ritchie, mastermind of Lock, Stock, Snatch, and those Sherlock Holmes flicks where Robert Downey Jr. tries not to look too British. His fingerprints are all over the hyper-stylized action and the banter that dances on the rim of pretentiousness—and yet still lands.

Why You’ll Keep Watching

Despite the bumps, there’s something addictive about this saga. It’s like emotional fast-food: you know it’s not dietary gold, but you keep coming back for another bite of salty grit. You’ll tune in for Hardy’s jaw, Brosnan’s unintended comedy, and Mirren’s silent menace. You’ll roll your eyes at the filler, but you’ll be right back next week, popcorn in hand, cursing under your breath and loving every minute of it.

Final Ranking

I’m slapping MobLand with a 7.2/10—a respectable score for a show that reminds you why you fell in love with British crime sagas in the first place, even if it doesn’t always stick the landing.