Warning: This post contains spoilers for MobLand Season 1, Episode 10 The finale of Season 1 of <em>MobLand</em>, titled “The Beast in Me,” draws its title inspiration from a poignant Johnny Cash song that resonates throughout the episode. This musical piece echoes at both the beginning and the conclusion, encapsulating the overarching themes of Ronan Bennett’s gripping crime drama. Much like the essence of many Johnny Cash tracks, the lyrics convey a raw simplicity: they hint at the inner turmoil of a person wrestling with their darker instincts. Released in 1994, this song reflects Cash’s personal battles with addiction, offering a fitting metaphor for the struggles of the characters in MobLand.

The “beast” referenced here symbolizes various vices such as alcoholism, drug addiction, or gambling—all of which are often hidden away from the public eye. This song expresses the sorrow and pain intertwined with fame, public perception, and personal dependency. In the context of MobLand, the term “beast” is used interchangeably with “monster.” The narrative suggests that every character in MobLand embodies this beastly nature. The deeper themes, introspections, and subtext are overshadowed by this singular identification; hence, the viewer is encouraged to engage with the content multiple times to fully grasp the intended message.

MobLand Struggles to Establish a Clear Narrative Direction

All Characters in MobLand Lack Distinctiveness and Depth

In the wake of Richie Stevenson‘s (played by Geoff Bell) death, many other characters also meet their demise throughout the season, yet their names and fates blend into a blur of insignificance. This is primarily because the stakes in MobLand feel inconsequential. Individual story arcs are frequently resolved through tidy monologues delivered by characters such as Kevin (portrayed by Paddy Considine), Bella (played by Lara Pulver), or Kat (performed by Janet McTeer). The loss of numerous named and unnamed characters is rendered meaningless as they are quickly replaced by interchangeable figures who contribute little to the narrative’s progression. For instance, the extrajudicial murder of an undercover cop is swiftly followed by the introduction of a new lawyer character, mirroring the previous one without any significant differentiation.

The intricate storylines we have attempted to follow throughout the season seem to have reached an impasse. It appears we are back at square one, with all tensions among the Harrigan family seemingly resolved, now cast as a resilient band of rebels committed to one another. They could just as easily be portrayed as treacherous snakes, each ready to betray the other, or perhaps as eccentric rulers of the underworld, with Conrad (played by Pierce Brosnan) receiving cheers from a prison filled with unsavory characters, as if he were a celebrated athlete basking in the glory of a triumphant moment.

All these possibilities linger not because they provide a compelling glimpse into the future, which MobLand might hope to achieve, but rather because the series struggles to define the Harrigan family’s identity. They are not carefully orchestrated pieces on a chessboard; instead, they resemble pieces on a checkerboard—easily removed, shuffled, and substituted with little to differentiate one from the next, aside from a few superficial traits.

The Consequences of Characters’ Actions Are Negligible in the Narrative

Harry Da Souza Finds Himself in the Same Position as in the Premiere Episode

In the finale of MobLand, the notion that nothing holds significance is more pronounced than ever. Conversations between characters, though plentiful, often lack substance. When two characters commence a dialogue, it’s safe to assume that you can momentarily divert your attention, as their exchanges are frequently filled with repetitive metaphors and irrelevant anecdotes that meander without leading to meaningful conclusions. Such dialogue serves as mere filler rather than contributing to the narrative’s richness.

Despite the numerous unresolved story arcs, “The Beast in Me” drags significantly, feeling longer than any previous installment. Key revelations are rushed, while newly emerging tensions between characters like Kevin and Conrad, or Eddie (portrayed by Anson Boone) and Bella, suddenly dominate the screen time, diverting focus from the narrative’s core.

The conclusion of the season leaves one scratching their head. While it seems that Conrad is poised to be released from prison, the episode closes with him triumphantly celebrating within the confines of his cell, as if he has found his true home. Meanwhile, Kevin and Harry (played by Tom Hardy) are depicted as taking over the fentanyl operation, with their dubious dealings laid bare, yet they appear to be gearing up to welcome Maeve (played by Helen Mirren) and Conrad back into their fold. Eddie‘s rage towards his mother escalates to a point where he attempts to harm her, but a few quick strikes from Zosia (portrayed by Jasmine Jobson) seem to pacify him.

The finale of MobLand suffers from the same pervasive issue that has plagued it since its inception: a lack of clarity in its identity. After ten episodes of experimenting with various plots, akin to Eddie and his ever-changing assortment of flamboyant coats, it seems that the narrative has reached a standstill. The season concludes without significant development, leaving viewers feeling as if they are right back at the start.

[nospin]You can find the original article here; the images and photos used in this article are sourced from there. We are not the authors; they have been used solely for informational purposes with proper attribution to their original source.[/nospin]

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