Published Oct. 23, 2026, 11:30 a.m. ET
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It’s time to have the Maeve discussion. Are you as tired of this miserable person as I am? Always with the unfunny insults, overflowing with vulgarity that thuds to the floor rather than ringing in your ears. Loyal to no one, out to get everyone, and never honest for a moment, a characteristic that over time proves very boring indeed. A constant threat to everything from the lives of characters who are a whole lot more interesting than she is to simple peace and quiet around a goddamn dinner table.
So I admit I took grim satisfaction in how poorly things went for the Harrigan family’s mad queen this week on MobLand Season 2 Episode 6 on Paramount+. On the run from Kat McAllister and Frankie Cooper, she’s forced to hide at the Mallorcan villa of Priyanka (Koël Purie Rinchet), a woman she hates because Conrad had a fling with her that resulted in Seraphina, whom she also hates.
To her shock, she finds Harry there waiting for them, with Eddie and Gina in tow. She demands to know what’s going on, and Eddie unwisely tells her he carried off her mission to murder the Medusa as planned. I can think of a million reasons why this is stupid, not the least of which is Harry and Gina can both contradict this version of events and neither of them like Eddie one bit anymore. But Maeve sees through his bullshit anyway, estranging her from her chosen one.
Harry then pulls Maeve away to discuss the disaster he narrowly averted when he saved Eddie and Gina from the Medusa and his men. “I’ve yet to find anything that I would not do for you, or for Conrad,” he says. (I’m sure I’ve missed a few “yeah”s and “right”s, but that’s the gist of it.) “I have yet to find the line I will not cross in your service. Well, yesterday I found it, because yesterday you knowingly put my daughter in mortal jeopardy.” Eddie is hers to do with as she likes, he says, “but if you ever put my daughter in a dangerous situation again I’ll just kill you.” He says it just like that, no break, no comma. He’s not making a threat, he’s stating a fact.
Though she knows better than to talk back in the moment, Maeve is furious. But her fuming to Conrad goes unheeded, because he’s on cloud nine from the blowjob he just received from Priyanka. As Maeve suspects, Seraphina is up to something more than just offering her fractious family a safehouse with her mom and stepfather, billionaire Charlton (David Bedella). Priyanka is just doing her part to butter him up.
At dinner, Seraphina makes her pitch. It’s one Harry already knew was coming, a fact that upsets poor out-of-the-loop Kevin, who really isn’t respected by anybody in the family at all. Harry explains that both Kevin and Seraphina are Harrigans, and he works for the Harrigans, plural, but of course that doesn’t cut much ice with someone who thinks you’re his best mate. Kevin and Bella do share an actual moment of empathy when they both finally acknowledge he can never really be a father figure for Eddie, so at least that’s something tough but probably healthy that happens to the man this episode.
Anyway, Seraphina wants Conrad to go into business with Charlton, who can use his contacts, influence, and money in the legit world to secure the Harrigans’ reign over North London and beyond indefinitely. It’s a bold ploy, considering she’s only just barely convinced Conrad she was out to ratfuck Kat McAllister from the start, and that with Harry backing up the lie.
Conrad doesn’t go for it. Though he repeatedly shushes Maeve when she insults Priyanka and interrupts Seraphina — one more indignity she must suffer, which she does in silence — he says he can never be anything other than an outlaw. He’s a Sonny, not a Michael. For him, it all comes back to a magical night on the cliffs overlooking the water with Maeve, when they were young and dirt poor and new to London and high off the thrill of mugging some dipshit for his wallet together. He gets that feeling from being a gangster, not a CEO.
In his own fucked-up way, crooked cop Colin Tattersall can relate. By now Frankie has occupied the Harrigan home and killed Conrad’s beloved dogs, but literally all of the Harrigans are in the wind. Even Harry’s civilian wife Jan has eluded capture, and she’s still in London. Meanwhile, Frankie’s lost half a dozen men, including one who was badly tortured by Conrad. Why, he wonders, shouldn’t he just kill Colin on the spot?
The answer, Tattersall reveals, lies in his pants. Turns out he’s literally turned on by this gangster shit. “It is my plight to only truly feel alive in the company of the criminally insane,” he gasps with Frankie’s gun to his head. “No offense.”
“None taken,” Frankie says, before grabbing the copper’s dick and discovering just how alive he truly feels. “I like you, Colin, I do,” he says, putting his piece away and promising that when he tortures Jan to death, he’ll let Tattersall watch.
“Sounds unimprovable,” Tattersall says. He and Frankie are wonderfully nasty pieces of work, and Jez Butterworth and Esther Watson’s dialogue sings in their grinning mouths.
By the end of that night, the Da Souza family is in a very different place than they were when the day began. In one of Tom Hardy’s best scenes on the show to date, one that’s beautifully scored by composer Clint Mansell, Harry haltingly promises his traumatized daughter Gina that he’ll now tell her anything she wants to know about the criminal side of his life, in hopes that she’ll have a better understanding of what her recent decision to go gangster herself will ultimately mean for her. He finds her in his room a few hours later, where she hugs him hard, suddenly a little girl again, all her posturing gone.
Jan, meanwhile, has been pushed to her breaking point. On what she intends to be her final phone call with Harry, she puts a gun to her own head and threatens suicide if he or any of his or the Harrigans’ people contact her ever again. She then takes matters into her own hands, sneaking into Jamie/Donnie’s apartment and straight-up murdering him to avoid capture.
Joanne Froggatt is devastating here, ending the episode by making these horrible noises of utter moral disgust. You can tell she knows there is no coming back from this moment, the way Gina knows there’s no coming back from watching your father execute half a dozen people to keep you from being killed yourself. Not everyone is cut out to live in a world of Conrads and Maeves and Frankies and Tattersalls and Harrys, even the people who have no choice but to live there at all.
Sean T. Collins (@seantcollins.com on Bluesky and theseantcollins on Patreon) has written about television for The New York Times, Vulture, Rolling Stone, and elsewhere. He is the author of Pain Don’t Hurt: Meditations on Road House. He lives with his family on Long Island.