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Mob City
Genre
Created byFrank Darabont
Based onL. A. Noir
by John Buntin
Written by
Directed by
Starring
ComposerMark Isham
Country of originUnited States
Original languageEnglish
No. of seasons1
No. of episodes6
Production
Executive producers
Producers
  • Wayne Carmona
  • Paul F. Bernard
Production locationCalifornia
CinematographyDavid Tattersall
Rohn Schmidt
EditorsNathan D. Gunn
Hunter M. Via
Running time43 minutes
46 minutes (pilot)
Production companies
  • Darkwoods Productions
  • Swiftly Productions
  • Michael DeLuca Productions
  • TNT Original Production
Original release
NetworkTNT
ReleaseDecember 4 (2013-12-04) –
December 18, 2013 (2013-12-18)

Mob City is an American neo-noir crime drama television series created by Frank Darabont for TNT. It is based on real-life accounts of the L.A.P.D. and gangsters in 1940s Los Angeles as chronicled in John Buntin's book L.A. Noir: The Struggle for the Soul of America's Most Seductive City.[1] The series premiered on December 4, 2013.[2][3]

On February 10, 2014, TNT canceled the series after one season.[4] In Germany the series was released via polyband on DVD and Regional lockout-free Blu-ray on July 2, 2015, however there are no known plans to release the series on home video in the U.S.[5][6]

Synopsis

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Mob City is based on a true story of a conflict that lasted decades between the Los Angeles Police Department (under leadership of police chief William Parker), and ruthless criminal elements led by Bugsy Siegel, who was in charge of the Los Angeles mafia operations. The series is a crime drama set in Los Angeles during 1947, with brief visits to the 1920s to show background information. The so-called noir period in L.A. was a time of flashy cars, newly minted movie stars and new beginnings; it was also a time of lies and corruption. Half of the LAPD was run by mafia families with money and there were huge loopholes in the system, which the mob exploited.[7]

Cast and characters

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Main

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Recurring

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  • Dana Gould as Tug Purcell, a member of Morrison's mob squad
  • John Pollono as Pat Dolan, a member of Morrison's mob squad and Mike's partner
  • Daniel Roebuck as Nick Bledsoe, a member of Morrison's mob squad and Tug's partner
  • Richard Brake as Terry Mandel, Rothman's right hand man
  • Iddo Goldberg as Leslie Shermer, a man involved in Hecky's blackmail
  • Mike Hagerty as Fat Jack Bray, an older member of Morrison's mob squad
  • Michael McGrady as Clemence B Horrall, the chief of the LAPD
  • Gordon Clapp as Carl Steckler, a former employee of Cohen's
  • Jeremy Strong as Mike Hendry, a member of Morrison's mob squad that butts heads with Joe
  • Paul Ben-Victor as Jack Dragna, a mobster and rival of Cohen's
  • Mekia Cox as Anya, the head bartender at one of Bunny's bars
  • James Hebert as Miles Hewitt, a lieutenant in the LAPD

Guest stars

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Production

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Development

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The project was first announced in January 2012, under the title L.A. Noir.[7] When asked about details concerning the show, Darabont said various cultures, such as those of African-Americans and Hispanics, would likely be explored, and he was interested in expanding upon already touched upon aspects from Buntin's book. Darabont also commented on the general nature of his project, explaining he wanted to avoid its coming off as a docudrama while still staying true to the book,[8] part of the way to doing that required inserting fictional characters into the timeline. The series was picked up for six episodes in October 2012.[1]

In January 2013, the title was changed to Lost Angels, as the original title was considered too similar to that of the video game L.A. Noire.[9] In August 2013, the title was changed again to Mob City.[10]

Casting

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Jon Bernthal was the first to be officially cast; after one month of negotiations he was officially cast as the lead.[11] Following after him were Milo Ventimiglia,[12] Jeremy Strong,[13] Neal McDonough,[13] and in a guest role Simon Pegg.[14] Alexa Davalos[15] was cast as the female lead after which two more cast members were announced, Jeffrey DeMunn and Andrew Rothenberg. Both of the latter previously worked with Bernthal and Darabont in The Walking Dead.[16] Following the six episode order Pihla Viitala (who was later replaced by Mekia Cox) and Gregory Itzin were confirmed to star.[17] Thomas Jane, who starred in Darabont's film The Mist, was in talks to join the show in the role of famous mobster Bugsy Siegel.[18] Edward Burns was later cast in the role of Siegel, instead of Jane.[19] Jeremy Luke was confirmed to be playing the legendary mobster Mickey Cohen in June 2013.[20] Robert Knepper confirmed that he had been cast in a recurring role in the series, but at the time his role was unknown.[21] Before filming of the rest of the series began Knepper was promoted to a series regular, as Sid Rothman, a mobster working for Cohen.[19] Ernie Hudson was cast in a recurring role as a mobster nicknamed "Bunny", in June 2013.[22]

Filming

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According to guest star Simon Pegg, filming for the pilot began on May 10, 2012, and wrapped shortly after sunset on May 25, 2012.[23] The rest of the series started filming in June 2013 and ended in late August of the same year. While the pilot was shot on 35mm film, the balance of the series was shot digitally. Darabont, a proponent of film who described himself as "one of the last holdouts", was sufficiently impressed with the approximation to film that digital had come to be able to accomplish.[24]

Changes were made to the original pilot due to the lengthy timespan between production and the series proper as well as to better establish series regulars. A new prologue from prohibition era New York was conceived introducing the characters of Bugsy Siegel, Sid Rothman, and Meyer Lansky which becomes contextualized in the finale. The pilot originally began with a flashback introducing young Mickey Cohen and William Parker; this was moved to the second episode. A new scene at a church which introduced the character of Leslie Shermer and further expanded Sid Rothman's role was also incorporated into the premiere. Some characters from the pilot were also recast: Gregory Itzin replaced Ron Rifkin as the mayor of Los Angeles,[25] and Mekia Cox replaced Pihla Viitala as Bunny's Jungle Club bartender Anya. A production still from the pilot featuring Viitala was used prominently in the show's online marketing despite her absence in the show.

Episodes

[edit]
No.TitleDirected byWritten byOriginal release dateU.S. viewers
(millions)
1"A Guy Walks Into a Bar"Frank DarabontFrank DarabontDecember 4, 2013 (2013-12-04)2.29[26]
In 1925, Bugsy Siegel, Meyer Lansky, and Sid Rothman kill a group of men and steal their booze-laden truck. In 1947, a man drops off a note in Police Detective Joe Teague's mailbox; Joe later discovers the note inside a matchbook and goes to a bar called "Bunny's Jungle" at 8 pm, as directed on the matchbook. While there, stand-up comic Hecky Nash gives Joe a bodyguard job in exchange for a grand to back him up on a blackmail deal. Joe is hesitant about it, and Nash leaves the bar awaiting his answer. Joe immediately pulls Nash's files and tells his superiors, Detective Hal Morrison and Captain William Parker, about the deal and how it could involve something big. Morrison sets up an undercover mob squad in the LAPD. Joe agrees to Nash's deal and meets with him later in the oil fields hills, in a more private area, while backup awaits down the hill. Sid Rothman meets with Nash, and they exchange some negatives for cash. Joe is hesitant to signal his fellow officers upon recognizing the pictures. Rothman leaves with his package, and Nash celebrates his victory at getting 50 grand in cash. However, he is quickly gunned down by Joe who then wipes the gun down, leaves it near Nash's body, and hides the money in his car. Morrison and the cops arrive, and Joe fabricates a story which points to Rothman as Nash's killer. Joe retreats to Bunny's Jungle, guilty of killing Nash. There, Ned Stax, a mob lawyer, sits next to him. Joe slides him the match book with the note on it, revealing that Ned was the one who had left it in his mailbox, and then gives him Nash's money. Ned offers the money back to Joe, claiming that his boss Bugsy Siegel wants him to have it, but Joe turns him down, not wanting to be an enforcer for the mob. The two part ways wishing each other Semper Fi, the U.S.Marine Corps motto, revealing they had fought in the war together.
2"Reason to Kill a Man"Frank DarabontFrank DarabontDecember 4, 2013 (2013-12-04)2.29[26]
In 1922, a young Mickey Cohen attempts to rob a movie theater. The event inspires William Parker to join the LAPD. Back in 1947, Bugsy Siegel arrives at Mickey Cohen's cabaret, "The Clover Club", where he receives Hecky's negatives from Rothman and asks for them to be burnt. Ned then reports to Siegel that Joe has killed Nash, free of charge. This angers Seigel, as he does not want to be seen as a charity case. Morrison brings in Nash's girlfriend, Jasmine Fontaine, to interrogate her about her relations with Nash, Cohen, and Siegel. After being unable to get any information out of her, Captain Parker suspects she is hiding something and puts a 24-hour surveillance team on her. While keeping a close eye on Jasmine, Joe follows her to Union Station, where she hides multiple photographs and a box of camera equipment in a locker. Meanwhile, Rothman is tipped off by Carl, a former employee of Cohen's who is now a busboy, that two men he is looking for are currently eating at a restaurant he works at. Rothman disguises himself as a busboy and guns the two men down. Joe later meets Ned at Bunny's Jungle, where Ned informs Joe that Siegel is unhappy with Joe's refusal of payment. Joe does not seem to care and begins to gaze at a picture in his wallet. Ned tells him to burn the picture and move on. Joe burns the picture, which is of him and Jasmine on their wedding day, revealing a past relationship between the two.
3"Red Light"Frank DarabontMichael SloaneDecember 11, 2013 (2013-12-11)1.39[27]
Three weeks prior to Hecky's death, it is shown that he witnessed Bugsy Siegel killing Abe Greenberg, an informant for the LAPD. Hecky has Jasmine take photographs of the incident, the ones he would later use for blackmail. Three weeks later, Captain Parker and his mob squad are investigating the murders Sid committed at the restaurant. The murder victims are revealed to be informants who knew that Siegel had killed Greenberg. The next day, the squad gathers up dozens of mob figures hoping to gather some information on the recent crimes. One of the mobsters let it slip that Hecky's blackmail was pictures, worrying Joe about Jasmine's safety. Suddenly, Ned Stax arrives with Sid, who has come to willingly be interrogated. Sid taunts Joe during the interrogation and is then sent to a police line up. An eye witness to the murders identifies the wrong man, forcing the police to let Sid go. Meanwhile, Jasmine meets a man named Leslie Shermer, who claims to have been in on Hecky's blackmail and threatens Jasmine to give him the money Hecky owes him for the deal. Joe visits Jasmine later that night to tell her she is no longer under surveillance and that he knows about the locker at Union Station; he takes the key for safekeeping. Suddenly, Mickey Cohen and Sid visit Jasmine to question her about anything she might know about who helped Hecky take the photographs. Joe hides outside on a fire escape, where he over hears Mickey and Sid talk about how Carl, the busboy from the previous night, is about to get murdered by their men. Joe quickly goes looking for Carl, whom he finds being chased by Cohen's men on a carousel. Joe guns down the men, saving Carl's life. Carl then confesses he knows who committed the restaurant murders, Sid Rothman.
4"His Banana Majesty"Guy FerlandDavid J. SchowDecember 11, 2013 (2013-12-11)1.39[27]
Bugsy Siegel arrives back in Los Angeles after a trip to Las Vegas. He is immediately arrested by Captain Parker for the murder of Abe Greenberg. This backfires on Parker, who lacks sufficient evidence against Siegel and only has 26 hours to find any. Word spreads about Siegel's arrest, and other mobsters who work for Jack Dragna try to take over Siegel's business while he is in prison. Jasmine receives a threatening message from Leslie, who is still demanding money from the blackmail. She seeks help from Ned, who gives her enough money to pay Leslie off. The two begin to discuss Joe and how he has changed since the war. Meanwhile, mob squad members Eddy Sanderson, Pat Dollan, and Tug Purcell plant a bug in Cohen's office. Eddy hears what Jasmine says about Joe but keeps it to himself. Jasmine tries to give Leslie the money, but he has now learned the deal was for a larger sum of money than he had thought and wants the whole 50 grand. Not having the money, Jasmine offers Leslie the pictures she has hidden at Union Station, which Leslie gives her 24 hours to get. Ned is called upon by a mobster named "Bunny", the owner of "Bunny's Jungle", who fears that a recent death during the mob takeovers during Siegel's incarceration could start a potential war. Mickey Cohen retaliates against the recent mob attacks by ransacking one of the mobster's warehouses, which is used for banana distribution. Later that night, Joe arrives home where he is met by Sid Rothman, who knocks him unconscious.
5"Oxpecker"Guy FerlandDavid Leslie JohnsonDecember 18, 2013 (2013-12-18)1.35[28]
In 1944, Joe wakes up from a nightmare and begins to strangle Jasmine, thinking he is still at war, but snaps out of it and breaks down crying over hurting his wife. Back in 1947, Rothman has Joe handcuffed in his apartment and wants to know where Carl is. Joe refuses to tell him, but Rothman finds out about Joe and Jasmine's past marriage after looking through a photo album and threatens her safety. A phone call comes through to Joe's apartment from Terry Mandel, Rothman's right-hand man. Terry and another mobster have disguised themselves as police officers and have entered the safe house where Carl is being held, having discovered its location from an unknown source. The two kill Carl and mob squad member Jack Bray; they also mortally wound Tug. With Carl dead and no evidence against Siegel or himself, Rothman lets Joe go free. Joe visits Jasmine, who cleans up his wound, and they spend the night together. Cohen and Jack Dragna meet with Bunny, who has them reluctantly agree to a truce. Tug awakens in a hospital and is unable to identify the men who killed Carl or Jack, leaving Parker and the squad with zero evidence, thus forcing them to release Siegel. Leslie shows up at Jasmine's apartment, demanding that they go to the locker immediately. The two stop at The Clover Club on the way, with Leslie thinking Jasmine is going to set up a meeting between them and Siegel for when they have the pictures. Jasmine tells Rothman and Cohen that she took the pictures and still has copies. She agrees to give them the copies if they handle Leslie when they arrive at Union Station. Meanwhile, mob squad member Mike Hendry interrogates Joe, suspecting him of being involved with the mob and being the one who tipped them off about the safe house. Joe then gets a phone call from Eddy, who has heard the whole conversation between Cohen and Jasmine through the bug in his office. At Union Station, Leslie and Jasmine open the locker, but nothing is inside. Rothman shows up, and Leslie threatens to set off a grenade if they come near him.
6"Stay Down"Frank DarabontFrank Darabont & David Leslie JohnsonDecember 18, 2013 (2013-12-18)1.35[28]
Joe turns up at Union Station, manages to subdue Leslie, and hands him over to Rothman. Rothman then asks for the pictures, which Joe had taken from the locker. Joe demands Jasmine's safety before handing over the pictures. Rothman tells Joe he will set up a meeting between him and Bugsy Siegel. After leaving Union Station, Joe tells Jasmine that it was he who killed Hecky, and he tells her to leave on the next train out of town and never come back, which she does. Joe then meets with Eddy, who gives him the recordings from Cohen's office, seeing that Joe really cares about Jasmine. Parker hires Tug to be the head of a new Internal Affairs Division, hoping to find out who gave away the safe house location and take down Chief Horrall, whom he believes to be corrupt. Before meeting with Joe, Siegel meets with his old associate Meyer Lansky, who informs him that he will no longer receive funding for the building of casinos in Las Vegas. Siegel then meets with Joe, whom he has beaten, and takes the pictures, telling Joe he plans to have Jasmine killed. Later that night, Joe sneaks into Siegel's estate and guns him down from outside his house, killing him. Joe later meets with Ned, who is the only one who has figured out he was Siegel's killer. Ned tells Joe he has only made the mob problem in Los Angeles even worse. Rothman burns all the remaining copies of the blackmail pictures. Cohen, who is now the head of the mob in Los Angeles, meets with Lansky, who wants him to find out who was behind Siegel's murder.

Reception

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Critical response

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Mob City received generally positive reviews from critics. On Rotten Tomatoes, the series has a rating of 66% based on 47 reviews, with an average rating of 6.43/10. The website's critical consensus reads: "Frank Darabont's love letter to classic noir, Mob City sometimes feels a bit too familiar, but it's stunning to look at."[29] On Metacritic, the series has a weighted average score of 63 out of 100, based on 34 critics, indicating "generally favorable reviews".[30]

Accolades

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Year Award Category Nominee(s) Result
2014 Satellite Award Best Miniseries or Television Film Nominated
ADG Excellence in Production Design Award Best Production Design – Television Movie or Miniseries Gregory Melton Nominated
Golden Reel Award Best Sound Editing: Long Form Dialogue & ADR in Television Lou Thomas Nominated
Visual Effects Society Award Outstanding Supporting Visual Effects in a Broadcast Program Jason Sperling, Michael Morreale, Valeri Pfahning, and Michael Enriquez Nominated

Legacy

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Though the show did not find commercial success, TNT chief Michael Wright defended the decision to greenlight the series in a 2014 interview, commenting that "Mob City was a chance. It didn't draw the audience, but I'd do it again tomorrow."[31]

In 2015, TNT premiered another serialized, period crime drama, Public Morals, which was developed by Mob City recurring actor Edward Burns. Burns was partially inspired by the positive relationship that Darabont had with TNT on Mob City to do the project with the network.[32] The series shares other actors with Mob City, including Neal McDonough and Robert Knepper.

See also

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Mob City

View on Grokipedia
from Grokipedia
Mob City is an American crime drama television series created by that premiered on TNT on December 4, 2013, and concluded its single season on January 15, 2014. The six-episode series is set in post-World War II in 1947, depicting the intense rivalry between the , led by reform-minded Chief William H. Parker, and figures including and his successor , who sought to dominate the city's and rackets. Drawing from historical events chronicled in John Buntin's 2009 book L.A. Noir: The Struggle for the Soul of America's Most Seductive City, the narrative centers on LAPD detective Joe Teague, portrayed by , a war veteran navigating moral ambiguities while torn between his police duties and personal ties to the underworld. Supporting roles feature as Parker, as Cohen, and as Teague's wife, with the production emphasizing period-accurate visuals, stark lighting, and themes of corruption and redemption typical of the noir genre. Despite acclaim for its cinematic style, strong ensemble performances, and faithful recreation of 1940s Los Angeles—evident in a 66% critics' score on Rotten Tomatoes—the series struggled with audience engagement, averaging under 2 million viewers per episode. TNT opted not to renew Mob City for a second season, citing insufficient ratings amid competition from established network dramas, marking another short-lived project for Darabont following his departure from The Walking Dead. The show's cancellation highlighted challenges in launching prestige cable series outside peak viewing slots, though it has since garnered a cult following for its uncompromised depiction of institutional clashes over urban control.

Series Overview

Synopsis

Mob City is a six-episode crime drama miniseries set in 1947 , centering on Detective Joe Teague's precarious position amid the escalating war between the (LAPD), under Chief William Parker's aggressive anti-mob initiatives, and elements led by figures like . Teague, a principled yet compromised officer, becomes deeply entangled in mob activities following the assassination of , forcing him to balance fragile alliances with Siegel's former associates while confronting internal . The core narrative revolves around Teague's loyalty trials, including coerced dealings with Cohen's to protect personal interests and a relentless pursuit of vengeance against the treacherous cop Hal Nash, whose betrayals exacerbate the chaos. As Teague maneuvers through schemes, witness intimidations, and shifting power dynamics post-Siegel, the plot underscores his moral dilemmas in a rife with graft and . The series culminates in a tense arc of high-stakes shootouts, double-crosses, and ethical gray areas, as Teague's actions propel a cycle of retribution that tests the boundaries between and criminal underworld in the shadowy underbelly of postwar urban America.

Historical Inspirations

The television series Mob City derives its foundational narrative from John Buntin's 2009 nonfiction book L.A. Noir: The Struggle for the Soul of America's Most Seductive City, which documents the conflict between (LAPD) leadership and syndicates during the mid-20th century. Buntin's account, drawn from archival records, court documents, and interviews, emphasizes LAPD Chief H. Parker's efforts starting in the late to eradicate departmental that had enabled mob influence over , extortion, and vice operations. Parker, who rose to chief in August 1950, inherited a force where, by contemporary estimates, up to half of officers accepted payoffs from criminal elements, a systemic graft rooted in the department's underfunding and political ties to interests. Following the repeal of Prohibition in 1933, Los Angeles experienced a surge in mob activities as East Coast syndicates redirected profits from bootlegging into wire services for horse-race betting, casino skimming, and labor racketeering. Benjamin "Bugsy" Siegel, dispatched by Meyer Lansky and Lucky Luciano in the late 1930s, established a West Coast foothold through enforcement of gambling rackets and alliances with local figures like nightclub owner Billy Wilkerson, while Mickey Cohen served as his violent lieutenant, handling collections and intimidation. Siegel's 1946-1947 push to build the Flamingo Hotel in Las Vegas, funded partly by skimmed LA casino revenues, exemplified the era's interstate mob ambitions, though his June 20, 1947, assassination outside his Beverly Hills home—attributed to cost overruns and syndicate disputes—left Cohen to consolidate control over Los Angeles rackets by late 1947. Cohen's operations, which generated millions annually from protected betting wires and Hollywood extortion, thrived amid LAPD complicity until federal and local crackdowns in the 1950s. Parker's reforms, including mandatory polygraph testing for officers and the creation of specialized vice squads, directly targeted this infiltration, reducing corruption incidents from hundreds annually in the 1940s to near zero by the mid-1950s through dismissals and prosecutions, despite opposition from police unions and politicians reliant on mob-linked donors. The unsolved January 15, 1947, murder of Elizabeth Short, dubbed the case for its gruesome bisected corpse found in Leimert Park, underscored the period's unchecked violence and investigative failures, reflecting broader from wartime migration and vice proliferation that Parker's professionalization later addressed. While the series accurately depicts Siegel's and Cohen's real-world territorial expansions and the LAPD's graft-to-enforcement pivot, it employs composite characters and telescoped timelines for dramatic effect, diverging from Buntin's chronological evidence of gradual, policy-driven resurgence against entrenched criminal economies rather than isolated heroic confrontations. This fictionalization preserves causal links—such as economic voids post-Prohibition fueling mob resilience and rigorous internal policing enabling dominance—but amplifies personal vendettas over institutional causation.

Cast and Characters

Main Characters

Joe Teague, portrayed by , serves as the protagonist, a former U.S. Marine Corps and veteran who operates as a in the (LAPD). His character embodies moral ambiguity, frequently torn between professional duty under LAPD leadership, personal loyalties to underworld figures, and a rigid shaped by wartime experiences, leading to pivotal decisions that escalate conflicts between law enforcement and . Teague's arc highlights internal strife, particularly in safeguarding personal relationships amid escalating mob violence, underscoring themes of divided allegiances in post-war . William Parker, played by Neal McDonough, depicts the ambitious LAPD captain (later chief in historical context) committed to purging corruption and dismantling mob influence in 1940s Los Angeles. Portrayed as a resolute reformer confronting entrenched vice and political graft, Parker's drive for institutional overhaul positions him as a key antagonist to criminal syndicates, reflecting real-life efforts to professionalize the department through aggressive anti-mob campaigns. His characterization in the series emphasizes strategic maneuvering against powerful gangsters, contributing to the narrative tension between law-and-order zealotry and the gritty realities of enforcement in a city rife with vice. Mickey Cohen, enacted by Jeremy Luke, represents the primary mob antagonist as the ruthless to Benjamin "Bugsy" Siegel, aggressively expanding rackets in , , and vice during the post-war economic surge. Cohen's portrayal captures opportunistic criminality, marked by hot-tempered volatility and calculated ambition to seize control following Siegel's operations, fueling mob wars that challenge LAPD authority. This depiction draws from Cohen's historical notoriety as a Siegel associate turned independent operator, amplifying elements of betrayal and power struggles within the underworld.

Recurring and Guest Appearances

recurs as Jasmine Fontaine, the ex-wife of protagonist Joe Teague, whose romantic history with him intersects with mob entanglements, adding personal vulnerability to the central cop's moral dilemmas across multiple episodes. portrays Hal Morrison, the veteran LAPD detective heading the department's nascent anti-mob squad, whose investigative efforts underscore institutional pushes against gangster dominance in postwar Los Angeles. Robert Knepper recurs as Sid Rothman, a cunning mob operative involved in high-level criminal schemes, embodying the of the treacherous underworld lieutenant whose actions amplify tensions between and . appears as Ned Stax in the series' opening episodes, playing a charismatic yet duplicitous mob lawyer whose early arc exposes betrayals and alliances that layer complexity onto the era's police-gangster rivalries before his character's demise. These supporting portrayals, rooted in noir conventions of flawed allies, seductive complications, and expendable fixers, bolster the ensemble's portrayal of as a web of and fleeting loyalties, enhancing atmospheric depth without eclipsing lead dynamics.

Production

Development and Conception

Following his abrupt departure from The Walking Dead in July 2011 amid reported tensions with AMC executives over creative control and production issues, Frank Darabont shifted focus to a new project rooted in historical crime drama. In January 2012, TNT greenlit a pilot script titled L.A. Noir, adapted loosely from John Buntin's 2009 nonfiction book L.A. Noir: The Struggle for the Soul of America's Most Seductive City, which chronicles the real-life battles between the Los Angeles Police Department and organized crime figures like Mickey Cohen in the post-World War II era. Darabont cited the book's depiction of pervasive corruption and moral ambiguity in 1940s Los Angeles as a draw, viewing it as an opportunity to explore grounded, human-driven conflict after the supernatural elements of his prior series. The project emphasized aesthetic, blending factual historical events—such as the LAPD's efforts under Chief William Parker to dismantle mob influence—with fictionalized narratives of betrayal and violence, deliberately eschewing romanticized or softened portrayals of the period's underworld brutality. Darabont expressed a personal affinity for the era's "dark and stormy" atmosphere, drawing from classic influences to highlight causal links between institutional graft, wartime dislocations, and escalating gangster dominance in . TNT issued a full series order for six episodes on October 17, 2012, positioning Mob City (renamed from L.A. Noir and briefly Lost Angels) as a limited event series to capitalize on Darabont's pedigree while testing audience appetite for prestige cable drama. The network committed to a on December 4, 2013, structured as a two-night launch followed by paired episodes over three weeks, aiming to generate buzz through serialized momentum rather than an open-ended run. This format reflected Darabont's intent for a self-contained arc, allowing tight control over the portrayal of era-specific lawlessness without dilution for long-term viability.

Casting Decisions

Frank Darabont adopted a hands-on approach to for Mob City, prioritizing actors who evoked the authentic grit and understated masculinity of noir films over high-profile stars, to foster ensemble chemistry suited to the period's stylized and moral ambiguities. He sought performers with a "throwback quality" capable of delivering era-specific intensity without modern affectations, drawing from his prior collaborations to center the narrative on lead Joe Teague. This method aligned choices with character authenticity, emphasizing historical realism and genre fidelity derived from source material like John Buntin's L.A. Noir. Jon Bernthal was selected as Detective Joe Teague for his quiet, everyman intensity honed in Darabont's The Walking Dead, where the director first recognized his potential as a noir protagonist reminiscent of Robert Mitchum or John Garfield—rugged yet inwardly conflicted, with a genuine masculinity unmarred by contemporary polish. Darabont specifically wrote the role for Bernthal after confirming his availability post-Walking Dead Season 2, viewing him as ideal for portraying a war-weary cop navigating corruption between LAPD Chief William Parker and mobster Mickey Cohen. Neal McDonough portrayed Parker, the reformist LAPD captain determined to dismantle , leveraging his authoritative screen presence typically seen in antagonistic roles like Justified's Robert Quarles to embody the historical figure's black-and-white idealism clashing with postwar graft. Jeremy Luke embodied by auditioning in full attire, immersing himself in era-specific research including books on Cohen's obsessive-compulsive traits—such as ritualistic hand-washing—and mannerisms gleaned from biographical accounts, evolving the gangster's volatile psyche scene by scene for authenticity. fitted the noir archetype as photographer Jasmine Fontaine, a role Darabont assigned drawing from their prior work on The Mist, capturing a resilient entangled in mob intrigues amid ' underbelly.

Filming and Production Techniques

Principal photography for Mob City occurred primarily in Los Angeles, California, during 2013, leveraging the city's historic sites and studio facilities to recreate post-World War II settings. Key locations included for exterior shots and Union Station, a surviving 1930s-era structure that provided authentic architectural backdrops for the series' noir atmosphere. Soundstages were used extensively for interior scenes, allowing controlled replication of 1940s Los Angeles environments without relying on extensive digital enhancements. Frank Darabont directed all six episodes, a deliberate choice to maintain stylistic uniformity across the limited series. This approach facilitated consistent implementation of film noir-inspired , including high-contrast lighting and shadowy compositions that echoed the visual language of 1940s B-movies and pulp thrillers. Period-accurate props and set designs contributed to the production's retro aesthetic, with neon-lit elements enhancing the gritty urban feel of the era. The series' action sequences, particularly gunfights, prioritized visceral impact through on-set execution, aligning with Darabont's emphasis on raw over polished digital effects. Wardrobe and makeup teams focused on textured, lived-in appearances to convey post-war realism, sourcing fabrics and techniques true to the without modern sanitization. These elements collectively underscored efficient production logistics for a cable miniseries, balancing ambitious period recreation with practical constraints.

Episodes

Season 1 Episode Guide

Mob City's sole season comprises six episodes, broadcast by TNT in three consecutive two-hour blocks on December 4, 11, and 18, 2013, each pairing two episodes back-to-back. All episodes were directed by series creator and run approximately 43-49 minutes in length. The narrative follows Joe Teague's entanglement in a web of , mob , and personal loyalties amid 1947 .
No.TitleAir dateSynopsis
1A Guy Walks Into a BarDecember 4, 2013In 1947 Los Angeles, policeman Joe Teague accepts a $1,000 offer to bodyguard comedian Hecky Nash, who possesses blackmail material on a prominent mobster; Teague reports the situation to his superiors, initiating a police strategy to ensnare a major criminal figure.
2Reason to Kill a ManDecember 4, 2013Following Hecky Nash's death, mob enforcer Ned Stax updates Bugsy Siegel; Teague's fellow officers interrogate Nash's girlfriend Jasmine Fontaine, as Captain Parker pursues the blackmail evidence.
3Red LightDecember 11, 2013After a shooting involving mob figures, Parker's team probes the incident and uncovers Nash's possession of photographs depicting Siegel in a homicide; Teague grows suspicious that his former wife Jasmine captured the images.
4His Banana MajestyDecember 11, 2013Siegel faces arrest, yet rival mobster Jack Dragna capitalizes on the turmoil; Jasmine encounters intimidation, and Teague receives an unforeseen encounter with associate Sid Rothman.
5OxpeckerDecember 18, 2013With Siegel incarcerated, a tampered witness prompts his liberation; Jasmine orchestrates a staged peril for herself, while informant Bunny attempts to reconcile tensions between Mickey Cohen and Dragna.
6Stay DownDecember 18, 2013Teague relocates Jasmine for protection and proposes a bargain to Siegel for her security; Parker assumes accountability for the investigation's collapse and advocates establishing an internal affairs division; Meyer Lansky notifies Siegel of withdrawn financing for the Flamingo Hotel project.

Reception

Critical Evaluations

Mob City garnered mixed reviews from critics, earning a 66% approval rating on based on 47 reviews, with praise centered on its aesthetics, including stark black-and-white cinematography and period-accurate visuals evoking . Reviewers highlighted the series' stylish action sequences and Frank Darabont's assured direction, which infused episodes with a cinematic flair reminiscent of classic , though some noted reliance on familiar anti-hero archetypes and mobster tropes that limited originality. Variety commended Darabont's handling of the material, describing it as a visually compelling homage to noir traditions despite dramatic shortcomings. Criticisms focused on pacing inconsistencies and narrative predictability, with characterizing the series as merely adequate noir that recycled exhausted genre conventions without substantial innovation, potentially alienating viewers seeking fresh storytelling. Outlets like echoed this, deeming the execution competent but creatively stagnant, portraying it as noir tailored for audiences unfamiliar with the genre's depths rather than a bold reinterpretation. In contrast, appreciation for the ensemble cast's performances, including Jon Bernthal's gritty lead and supporting turns by and , provided a counterbalance, with praising the perfectly calibrated portrayals that grounded the stylized proceedings. Empirical strengths in historical and visual fidelity were frequently acknowledged, such as authentic depictions of post-World War II Los Angeles underworld elements drawn from real figures like , yet these were weighed against perceived weaknesses in plotting cohesion across the six-episode arc. IMDb user aggregates reflected a slightly more favorable consensus at 7.4/10 from nearly 8,000 ratings, underscoring strengths in and action while aligning with professional critiques on formulaic elements. Overall, the critical reception positioned Mob City as a polished but derivative entry in the landscape, valuing its technical merits over narrative breakthroughs.

Viewership Metrics

The two-hour premiere of Mob City on December 4, 2013, drew 2.3 million total viewers on TNT. In the adults 18-49 demographic, it achieved a 0.6 rating, equating to 801,000 viewers, while the adults 25-54 demo registered a 0.7 rating with 875,000 viewers. These live plus same-day figures marked a modest debut for a heavily promoted limited series, falling below typical benchmarks for TNT's original scripted programming in key advertising demographics. Subsequent airings reflected a steady decline in audience engagement, with on December 18, 2013, attracting 1.4 million total viewers. The six-episode run, presented in an event-style format of two installments per Wednesday night over three weeks, struggled to sustain initial momentum against competing broadcast and cable fare, including holiday-season programming. Overall metrics underscored limited retention, as live viewership drops were not substantially mitigated by delayed viewing, contributing to underwhelming commercial outcomes relative to production costs and network projections for prestige dramas.

Awards Consideration

Mob City received limited awards recognition, confined to technical categories without any major series or nominations. In 2014, the series earned three Primetime Emmy nominations through the Creative Arts Emmys: Outstanding Hairstyling for a or a Movie for the episode "A Guy Walks Into a Bar," Outstanding Special and in a Supporting Role, and Outstanding /Lighting Direction for a Variety Special (though the latter contextually aligns with production elements). None resulted in wins. Additionally, it was nominated for a Satellite Award for Best or Motion Picture Made for Television. The absence of nods for prestigious categories such as Primetime Emmy for Outstanding Drama Series or Golden Globe equivalents underscores the series' failure to achieve broad industry validation, despite creator Frank Darabont's prior success with , which garnered seven Academy Award nominations including Best Picture and Best Director in 1995. This disparity highlights how Darabont's feature-film pedigree did not extend to television honors for Mob City, likely tied to its niche noir styling and single-season format of six episodes aired from December 4 to December 17, 2013.

Cancellation and Aftermath

Factors Leading to Cancellation

TNT announced the cancellation of Mob City on February 10, 2014, opting not to renew the series for a second season following its six-episode limited run. The network attributed the decision primarily to insufficient viewership, stating that the ratings for the limited series had not warranted additional episodes despite a promotional push. This marked the third consecutive new drama series from TNT to be axed after one season, highlighting the network's stringent performance benchmarks for original programming. The series premiered on December 4, 2013, drawing 2.3 million total viewers for its opening night, including 801,000 in the key adults 18-49 demographic. However, audiences declined sharply in subsequent weeks, with viewership falling to 1.35 million by the third and final week of airings. These figures fell short of TNT's expectations for renewal, as the network typically required stronger sustained performance in both total viewers and demographics to justify further investment in non-procedural dramas. In the broader cable television landscape of 2013-2014, prestige-style miniseries like Mob City—emphasizing episodic storytelling over serialized arcs—faced heightened commercial pressures amid fragmenting audiences and rising production costs. Networks such as TNT prioritized content with reliable hooks for repeat viewership and syndication potential, and Mob City's format, while allowing creator Frank Darabont significant autonomy, did not translate into the retention needed to offset its high-budget period production. The cancellation underscored how even well-marketed originals struggled without broad demographic appeal in an era of increasing competition from streaming alternatives and established hits.

Impact on Frank Darabont's Career

Following the cancellation of Mob City on February 10, 2014, after its single six-episode season failed to attract sufficient viewership, effectively withdrew from active involvement in television and film production for over a decade. The series' demise, described in contemporary reporting as marking a "zombie-crawl" start to his post-The Walking Dead endeavors, underscored the challenges he faced in transitioning to serialized television amid network expectations. Unlike his earlier acrimonious exit from The Walking Dead in 2011, which involved a prolonged against AMC settled in 2018, no legal disputes arose specifically from Mob City, though the outcome reinforced Darabont's longstanding frustrations with studio interference. Darabont's hiatus, spanning from 2013 until his return in 2024, reflected a deliberate retreat to prioritize personal projects and avoid the collaborative pressures of episodic TV, as he later articulated in interviews. He directed no feature films or series episodes in the interim, with his last credited work being three episodes of Mob City itself, leading observers to characterize the period as an unofficial retirement. This stall contrasted with his prior output, including acclaimed films like The Shawshank Redemption (1994), and aligned with his expressed preference for auteur-driven control, a theme echoed in his 2013 criticisms of The Walking Dead producers as "sociopaths" who undermined creative autonomy—sentiments that Mob City's quick cancellation appeared to validate without prompting further public confrontation. Darabont broke his professional silence in 2024 by directing two episodes of Stranger Things season 5—"The Turnbow Trap" (episode 3) and "Shock Jock" (episode 5)—marking his first directing work since Mob City. In discussing the decision, he cited the Duffer Brothers' hands-off approach and the project's alignment with his strengths in character-driven storytelling as factors overriding past setbacks, signaling a selective re-engagement rather than a full return to high-volume television production. This involvement, confirmed amid the season's production in 2024, represented an empirical pivot toward limited, prestige-oriented commitments, though it did not immediately spawn additional projects by late 2025.

Legacy and Analysis

Thematic Elements and Historical Fidelity

The series examines the causal factors behind organized crime's expansion in 1940s , linking mob prosperity to regulatory gaps after Prohibition's repeal in 1933, which shifted illicit enterprises from bootlegging to , , and amid the post-World War II population surge and economic boom that strained oversight. Mickey Cohen's dominance following Bugsy Siegel's 1947 murder exemplified how systemic graft— including LAPD officers accepting bribes for protection rackets—enabled such syndicates to thrive without robust countermeasures, reflecting individual choices to prioritize personal gain over civic duty rather than abstract structural inevitability. Central to the narrative is law enforcement's pivot under figures like William H. Parker, portrayed as embodying pragmatic discipline against entrenched venality, with his 1950 ascension as chief initiating reforms that expelled corrupt officers, elevated training standards, and curtailed vice operations through aggressive actions, yielding a department recognized for professionalism by the mid-1950s. These depictions align with empirical shifts, as Parker's tenure correlated with diminished internal graft and higher operational integrity, countering pervasive cynicism toward policing by underscoring accountability's role in restoring order, though overall reported crime escalated with urban expansion, necessitating expanded forces rather than signaling reform failure. In terms of historical fidelity, Mob City draws from documented events such as Cohen's bookmaking empires and the LAPD's internal purges, achieving gritty in its and institutional rot, yet occasionally veers into stylistic elevation of mob figures' charisma, potentially underemphasizing the banal brutality and ethical erosion driving criminal ascent over romantic allure. This balance prioritizes causal realism—rooted in verifiable graft dynamics and outcomes—over fictional embellishments, though the series' noir aesthetics heighten drama at the expense of unvarnished individual agency in moral compromise.

Cultural Influence and Availability

Mob City has maintained a niche presence within and crime drama enthusiasts, valued for its atmospheric recreation of 1940s and stylistic homages to classic gangster films, though its single-season run curtailed broader cultural permeation. Fans of lead actor , known for intense portrayals in similar gritty roles, often highlight the series' visual flair and period authenticity as strengths outweighing pacing critiques in online discussions. However, it lacks the expansive legacy of contemporaries like Boardwalk Empire, with no documented spin-offs, reboots, or adaptations extending its narrative universe, underscoring its status as a contained artifact rather than a genre-defining staple. As Frank Darabont's sophomore television endeavor following his departure from The Walking Dead, the series represents a stylistic pivot toward pulp noir, influencing select revivals in limited-run formats but fading from mainstream discourse due to its brevity and modest viewership. Its enduring appeal resides in thematic echoes of James Ellroy's L.A.-centric crime sagas, attracting a dedicated subset of viewers who prioritize aesthetic highs—such as Mark Isham's jazz-infused score and period-accurate production design—over narrative resolution. Empirical indicators, including sustained IMDb user ratings averaging 7.4 from over 7,900 votes as of 2025, suggest persistent appreciation among crime tale aficionados without translating to widespread cultural artifacts like merchandise lines or academic analyses. The series remains accessible primarily through digital purchase rather than subscription streaming, available for download on platforms including Amazon Video and Apple TV, reflecting its post-cancellation distribution as a back-catalog title. options include limited collector's edition DVDs, often sourced via secondary markets like , catering to archival fans seeking the complete six-episode run. Absent free streaming on major services such as or Max in 2025, its availability underscores a model favoring ownership over ubiquitous access, aligning with its niche rather than mass-market footprint.

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