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Pierce Brosnan gets a 'fascist' criminal haircut as head of twisted 'MobLand' family

Pierce Brosnan gets a 'fascist' criminal haircut as head of twisted 'MobLand' family

USA Today01-04-2025

Pierce Brosnan gets a 'fascist' criminal haircut as head of twisted 'MobLand' family
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Harrison Ford and Helen Mirren talk partnership on '1923'
Helen Mirren and Harrison Ford, stars of the Paramount+ show, '1923,' explain why their characters' relationship has resonated with viewers.
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Many James Bond debates will never be resolved. But even in a movie universe that sparks hair-splitting debate, Pierce Brosnan stands atop the superspy actors who've played Bond with the best mane of hair — especially when you factor in Brosnan's high-volume 1980s hair days in NBC's "Remington Steele," his breakout role.
So when Brosnan, 71, finally worked with fashionable English gangster specialist Guy Ritchie (creator of Netflix's "The Gentleman"), who directs episodes of the Paramount+ TV series "MobLand" (streaming Sundays), the follicles were going to fly when the esteemed actor got clipped.
"We wanted to deconstruct the look of Brosnan, somewhat of a signature part of my life as an actor," Brosnan tells USA TODAY. He pondered shaving it all off, but changed his mind. After consulting with Ritchie, Brosnan let his hair stylist go on a cutting spree. "I said, 'Just go for it.' And she did. And then Guy saw it and said, 'Very good, very neat,'" he says.
What role does Pierce Brosnan play in 'MobLand'?
The "peculiar, dramatic, angular, cubist hairstyle" is not only versatile — Brosnan combed it to look his usual dapper self at the "MobLand" March 31 New York premiere. But it's also the perfect topper for the mercurial crime head, patriarch Conrad Harrigan. "It's a fascist haircut," says Brosnan.
He joins other top-notch talent going gangster, including Helen Mirren as wife and Machiavellian matriarch Maeve, "House of the Dragon" ruler Paddy Considine as Conrad's tattooed son Kevin, and Tom Hardy as the family's fixer Harry Da Souza.
Under Ritchie's direction, the multi-generational story of a crime family protecting hard-won turf makes Brosnan a highly dysfunctional John Dutton-style patriarch. Brosnan appreciates the "Yellowstone" comparison, once it's fully explained. "I haven't been watching too much TV to tell the truth; I've been busy working," he says. "But my character is very damaged; the whole family is damaged. Then you mix that in with drugs and violence."
Is 'MobLand' a twist on 'Yellowstone'?
The twisted Yellowstone comparison is amplified by co-star and onscreen conspirator Mirren (who recently lashed out at the Bond franchise, saying it was "born out of profound sexism").
Mirren, 79, is also currently starring as the wholesome but steely matriarch Cara Dutton on the "Yellowstone" prequel series "1923," protecting the early Dutton ranch with husband Jacob (Harrison Ford). In "MobLand," Maeve retrieves cocaine, hidden in her bra, to console her maverick grandson Eddie (Anson Boon) and encourages the family to expand into the fentanyl racket. "She wants to make money. But she loves the lifestyle, living in the country, the cars, the clothes," says Brosnan.
Between scenes, the two revered actors discussed how juicy the gangster parts are. "It's very dark, with an almost operatic theatricality," says Brosnan. "This really lets you play as an actor."
The duo has their Harrigan couple backstory. Conrad was raised on a farm and met the fellow wild-child Maeve. "He was crazy; she was even crazier," says Brosnan. They moved to London, where Conrad became a car thief and gangster with his wily wife rising the criminal ranks alongside him.
'MobLand' began as a 'Ray Donovan' spinoff
The series initially began as "The Donovans," a loose generational backstory to Showtime's "Ray Donovan." But Irish novelist and creator Ronan Bennett ("Top Boy") switched the family to the Harrigans, based in London and the serene Cotswolds. Conrad might fish off the dock of his lakeside Gloucestershire pile, but he's Ireland-born, just like Brosnan.
Brosnan tried to talk to Ritchie about Conrad's accent on the haircut day. But the discussion went unresolved until months later, on the first day of filming.
"Then Guy said, 'Go Irish,'" Brosnan recalls. He had already dialed up his dialect coach and based Conrad on a real-life Irish politician that he won't name. It took work to hone the County Kerry accent. "My father was a Kerry man. Brosnan is a Kerry name," he says. "But my Irish accent is very soft and has diminished over the years into the back of my memory."
Working with the enigmatic Hardy, who propels the action in the series, was the final major piece of the puzzle for Brosnan. As fate would have it, his actor-producer son Sean Brosnan, 41, is best mates with Hardy. The screen pairing was like a warped homecoming.
"Tom is like a son to me," Brosnan says. "We had a wonderful time. And he has such a powerful presence. The atmosphere he creates around himself is intoxicating. It's sensuous."

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‘The Americas' producers on NBC's ambitious docuseries, Earth's most varied landscapes, and ‘absolute joy' working with Tom Hanks
‘The Americas' producers on NBC's ambitious docuseries, Earth's most varied landscapes, and ‘absolute joy' working with Tom Hanks

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‘The Americas' producers on NBC's ambitious docuseries, Earth's most varied landscapes, and ‘absolute joy' working with Tom Hanks

Five years. 180 expeditions. One supercontinent. NBC's The Americas takes viewers on an epic journey from pole to pole, unveiling Earth's most dazzling landscapes, jaw-dropping wildlife, and never-before-seen phenomena — with a little help from Tom Hanks and Hans Zimmer. Buckle up, this is not your ordinary nature doc! The unprecedented scale and ambition delivers remarkable world firsts: new species, new intimate courtship, dramatic deep sea hunting and some of nature's strangest stories. Each hourlong episode features a different iconic location across the Americas: 'The Atlantic Coast,' 'Mexico,' 'The Wild West,' 'The Amazon,' 'The Frozen North,' 'The Gulf Coast,' 'The Andes,' 'The Caribbean,' 'The West Coast' and 'Patagonia.' More from GoldDerby Everything to know about 'Toy Story 5': the Pixar franchise returns June 2026 with new themes and familiar faces 'It almost killed me': Horror maestro Mike Flanagan looks back at career-making hits from 'Gerald's Game' to 'Hill House' to 'Life of Chuck' First look at JFK Jr. and Carolyn Bessette in 'American Love Story,' 'A Minecraft Movie' sets streaming premiere date, and more of today's top stories Executive producer Mike Gunton and editor Holly Spearing recently spoke to Gold Derby about their most ambitious project yet and collaborating with a legendary pair of two-time Oscar winners. Gold Derby: The Americas was five years in the making with over 180 expeditions, land and sea. So how do you even begin to conceptualize this sort of ambitious series? Mike Gunton: The word ambitious, I think, is the key word, because that was the goal, to do something that had the same level of ambition as something like a Planet Earth 2, which is a series I had just been working on. Is there anything on the planet that could match that in scale and ambition and that hadn't been done before? I scratched my head quite a lot, thought about Africa, maybe a few other places, and then thought, "No, there isn't anywhere." But then I thought, "Well, hold on a minute. North America's been looked at, maybe, South America. But what about thinking about them together?" As far as animals are concerned, and as far as nature is concerned, it is all joined together. It's a kind of a supercontinent. So I thought, "Well, maybe somebody must've done that," and then looked around and they hadn't. It doesn't have lions and it doesn't have elephants, but that's about it. In fact, it does have some kind of lion — it has mountain lions. It has all the biggest, the longest, the most impressive natural phenomena you can imagine. So it just had to be done. You've both worked on so many nature documentaries and series in your careers, what separates this from what you've done previously? Holly Spearing: Well, I think the scale is a big part of it. Ten episodes and covering an entire supercontinent that actually has its head up in one pole and its feet down in another pole — that is absolutely massive. It does really set it apart from anything I think either of us have done before. Gunton: Also, doing a project for this audience was a really interesting challenge because. ... We work for the BBC and so we make programs for British audiences. They do, of course, get shown around the world and they do get shown in America. But to make a series that directly speaks to an American audience on a national level is something I've never done. Nobody's ever done it to be absolutely honest with you. The opportunity of doing that was a very big part of why we wanted to do it. Did each location have an independent film crew? Were they taking place simultaneously, or how do you work that out logistically for these 10 episodes? Spearing: It was massively ambitious to cover the area, all the different seasons, all the different animal behaviors. And of course, yes, some of them were happening all at once. So the series is broken down into its 10 different episodes, and those teams work on their shoots, so it was a huge logistical exercise. It was 180 separate shoots, and these are expeditions. They're not just driving up to a location and getting out of a vehicle. Some of them are scaling up a mountain. They're going to one of the most remote islands off the end of South America where you actually have to take a medic with you because it would take so long to get to facilities that you'd need if anything happened. These were really ambitious shoots. And of course, we were covering different habitats from underwater to scaling up trees, deserts, all of those things that we had to face and encounter. But our crews, I have to say, are absolute masters at this. They're experienced and they did an absolutely outstanding job. Gunton: Holly's like a military commander. This is like a military operation. You have got so many resources to deploy because it's not just personnel, it's the most extraordinary variety of equipment, as you hinted at: ships, and we're not talking about little boats, we're talking about massive, really huge boats, helicopters, airplanes, submersibles, and cave divers. There's a sequence there — which I think is probably the bravest thing I've ever seen — where two guys go through those underground caves in Florida. There's no escape. If anything goes wrong, you've got nowhere to go. That's an insanely dangerous thing to do. And all of this has to not just be coordinated in terms of logistics but also has to be made safe. How has technology changed how you approach these topics throughout the years? Gunton: Over the years, we've started to use drone technology a bit more. But what was very fortunate with this series is that the stars aligned and and drone technology has improved – they're smaller. The camera quality was better. The pilots were not necessarily better, but more exposed to shooting in nature. The cameras have to move slowly, they have to get close to the animals, but very, very carefully. And also, the recruitment of real natural history experts at the controls of those drones was just a perfect marriage. We were able to get cameras to places that four or five years ago, we wouldn't have even attempted. Spearing: I think ultimately, what we're trying to do with this new technology is immerse ourselves in the world of the animals so we can see these locations through their eyes, and as Mike says, get really close to them. We think we had about 35 different camera rigs throughout the whole series just to cover all the different environments from underwater to filming things the size of a grain of rice. We talked about drones, but there are crew members within feet of wolves, bears, pumas. Is there anything that feels like it's too dangerous? Spearing: Well, really interesting you mentioned the puma story because our camera operator, John Shire, had actually built a relationship with this particular individual puma over many years. In fact, he filmed her as a cub and many people believe that she still recognizes him by scent. Many of our camera operators are absolute experts on animal behavior as well, and they have to be. They're constantly reading cues from the animals and working with that because they're looking for the behavior that we want to capture. You mentioned Tom Hanks, who narrates the series. How did he become involved? Gunton: When I first pitched this to NBC I didn't mention a narrator. But I did actually write in my notebook at the time, "Ooh, Tom Hanks would be the right person to do this." I didn't think about that for another two or three years. When we finally mentioned him they responded "Oh, yeah, of course. There's only a list of one. It has to be Tom Hanks." Luckily, he had been aware of the series. So I went out to LA, sat down in this little viewing theater with a rough cut of one of the episodes and showed it to him. It was quite nerve-wracking. You're sitting next to a two-time Oscar winner. About a minute into it, he went, "Oh, God," and then turned around to the guy who was running things and said, "Guys, have you seen this? This is insane!" And from then I just thought, "We're sold. He's got this. He absolutely knows what we're doing." He was an absolute joy. He is what you hope your heroes will be — the loveliest man you could imagine; smart, funny, and added so much value to it. Spearing: He was so collaborative to work with as well and just wanted to do the very best he could. He is a filmmaker after all, and he was also incredibly interested in how we got the shots. He loved all the stories from behind the scenes and the cameras. And then finally, one of the more maybe unsung heroes of a docuseries like this is the music. You have the great Hans Zimmer composing music, how did that come about? Spearing: He wrote an extraordinary theme for The Americas, which I think then set the style for all the other music that followed behind it for the individual sequences. Mike is a long-time collaborator with Hans. Gunton: When we've done panels or or live screenings, people put up their hands and say, "We love the music." I think he and his team just got it dead right; not too much. It was incredibly evocative and deeply enriched the drama while also capturing the essence of the locations. One of the key aspects of this series was not just telling stories about life and animals but placing them within their environments — highlighting the personality and unique signature of where they lived. That was the foundation. It was like a "super safari." If we could take you on the most extraordinary journey across the Americas, where would we stop, what would we show you, and what makes those places special? A crucial role of the music was to evoke that sense of wonder, and I think he accomplished that superbly. This interview has been edited for clarity and length. The Americas is streaming on Peacock. SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby Asif Ali and Saagar Shaikh admit they 'never had the audacity to realize' a show like 'Deli Boys' was possible From 'Housewives' overload to the 'shadiest queens' alliance: The dish on 'The Traitors' Season 4 lineup Leslie Bibb breaks down her aha moments filming 'The White Lotus': 'Kate suddenly got jealous' Click here to read the full article.

From ‘Housewives' overload to the ‘shadiest queens' alliance: The dish on ‘The Traitors' Season 4 lineup
From ‘Housewives' overload to the ‘shadiest queens' alliance: The dish on ‘The Traitors' Season 4 lineup

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From ‘Housewives' overload to the ‘shadiest queens' alliance: The dish on ‘The Traitors' Season 4 lineup

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And so The Traitors swoops in two weeks later, and they're like, 'OK, we want you in the castle.'" In other words, Survivor's "loss" is The Traitors' "gain." Other competition gamers about to go for the gold in Scotland include Yamil "Yam Yam" Arocho from Survivor, Natalie Anderson (without her twin sister, Nadiya Anderson) from The Amazing Race and Survivor, and Ian Terry and Tiffany Mitchell from Big Brother. "It's been a long time since we've seen [Ian]," Davidson realizes. "It'll be interesting to see what he's like now at age 34. He was so young when he was on Big Brother a thousand years ago." Tiffany was "the creator of the Cookout" and "America's Favorite Houseguest" on Big Brother, so "people love her," remembers Dixon. "I loved that whole season of Big Brother 23. I think it's the best season they've ever done, so I can't wait to see her. She's got a little villainous side." Dixon wonders if Carolyn Wiger "had any sway" in getting her Survivor 44 buddy, Yam Yam, onto The Traitors, since she was so popular in the castle last year. Just like Rob, Carolyn was in the running for Survivor 50, but she was ultimately cut, possibly because of her time on the rival series. "Jeff Probst is very jealous and protective, and does not like it when his Survivors are on The Traitors," Davidson warns. They also discuss the hot topic of Donna Kelce, the mother of NFL bros Travis and Jason Kelce, and whether Travis' girlfriend, Taylor Swift, might be posting about The Traitors this year. "You know she's going to watch," Davidson smiles. "She probably already does. I mean, I'm sure Donna had an advisor and got some advice from from Taylor and her kids, or at least spoke to them about it, so it'll be interesting to see their take." Season 4 of The Traitors is expected to air in early 2026, as the first three seasons all began in January. The show has already been picked up for a fifth season. Peacock SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby Asif Ali and Saagar Shaikh admit they 'never had the audacity to realize' a show like 'Deli Boys' was possible Leslie Bibb breaks down her aha moments filming 'The White Lotus': 'Kate suddenly got jealous' 'Agatha All Along' star Ali Ahn: Getting Patti LuPone's approval while singing was 'like I had died and gone to heaven' Click here to read the full article.

Paramount's 'South Park' streaming deal is in limbo as Skydance merger drags on
Paramount's 'South Park' streaming deal is in limbo as Skydance merger drags on

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Paramount's 'South Park' streaming deal is in limbo as Skydance merger drags on

Media giant Paramount Global is trying to avoid a streaming future without Cartman, Stan, Kyle and Kenny. As Paramount struggles to complete a key merger, the company is in the midst of a protracted negotiation to extend one of its biggest and most important franchises: the long-running foulmouthed cartoon "South Park." Paramount's $900-million overall deal with "South Park" creators Matt Stone and Trey Parker doesn't expire for another two years. New episodes run first on Paramount's basic cable network Comedy Central. But efforts to renew that venture and bring the show to the Paramount+ streaming service have hit a major snag, according to three people familiar with the discussions who were not authorized to speak publicly. The situation highlights deep tensions and disagreements as a trio of executives try to manage Paramount until the company's sale to David Ellison's Skydance Media, which has the right to approve or deny large deals such as the "South Park" pact under covenants made with Paramount. Paramount leaders are desperate to lock down "South Park's" streaming rights in the U.S. and abroad. They've long been frustrated by a licensing arrangement made six years ago by the previous regime that sent "South Park" to rival HBO Max, owned by Warner Bros. Discovery. That deal expires this month. "South Park" is one of Paramount's most important shows. Along with "The Daily Show With Jon Stewart," the four boys and their celebrity-skewering ways put Comedy Central on the map for basic cable viewers, taking on hot-button issues from Scientology and the War on Terror to the royal family and the Trump administration. During a May earnings call, Paramount co-Chief Executive Chris McCarthy — who runs Paramount's media networks as well as Showtime and MTV Entertainment Studios — told investors that "South Park" episodes would begin streaming on Paramount+ in July. However, Paramount hasn't nailed down the streaming rights to "South Park," according to the three people familiar with the conversations. Since earlier this year, Paramount has made at least one offer to Parker and Stone as an early extension of their overall deal. The company also wants to secure rights to stream the 333 episodes of "South Park" on Paramount+. Some of the knowledgeable people expect "South Park" distribution fees to be valued at more than $200 million a year. But Skydance hasn't signed off, believing the deals to be too rich, according to the sources. Paramount executives believe the show is worth the big bucks, given the show's enduring popularity and legacy. Representatives for Paramount and Skydance declined to comment. Hollywood agent Ari Emanuel, whose firm WME represents Parker and Stone, defended Paramount and Skydance's handling of the situation on Friday by phone. "Nobody has rejected anything. They are just doing their analysis," Emanuel told The Times in a brief interview. "We've got offers from other distributors. Everybody wants this show." Skydance's $8-billion takeover of Paramount has been in a holding pattern for months as the two companies wait for federal regulators' approval. Skydance, backed by tech mogul Larry Ellison and RedBird Capital Partners, is eager to take over the storied media company. They intend to bring increased financial rigor to Paramount's operations, other sources have said. Paramount and Skydance have told Wall Street the deal will bring $2 billion in cost savings, with half of that coming in the first year. Deadlines are looming. The new season, the program's 27th, is scheduled to debut July 9 on Comedy Central. Unless Paramount strikes a deal with the creators by June 23, the company risks losing the franchise's streaming rights because Parker and Stone could shop the show to other interested streamers, such as Netflix, Amazon Prime Video or Hulu. However, sources cautioned that negotiations could go past the June deadline and that the parties expect a deal to get done. Read more: Oh my God, they sued Kenny! HBO Max and Paramount's battle for 'South Park' Represented by their longtime attorney Kevin Morris, who is leading the current negotiations, the duo carved out the internet rights nearly two decades ago. They formed a joint venture with Paramount (then known as Viacom) called South Park Digital Studios. That decision proved highly lucrative for Parker and Stone, also known for the hit Broadway musical "The Book of Mormon." Paramount runs the joint venture with Stone and Parker, sharing control of the streaming rights to the show that launched in 1997 on Comedy Central, although the duo can veto streaming deals they find unfavorable. Companies are typically not supposed to wade too deeply into another firm's affairs. Federal antitrust laws prohibit so-called gun-jumping, when an acquiring company begins calling the shots before a deal's official closure. But Paramount agreed to accept Skydance's input on big-ticket expenditures while the two sides wait for the deal to close. The "South Park" streaming rights negotiations also have been complicated by a lawsuit brought two years ago by Warner Bros. Discovery. That company accused Paramount of violating terms of its 2019 licensing pact for "South Park," after Warner paid about $540 million for the show's streaming rights. Paramount and the "South Park" creators developed specials featuring the four animated boys in a fictional Colorado mountain town to stream exclusively on Paramount+. Warner argued the move violated its licensing deal. HBO Max declined to comment. Two years after the HBO Max deal, Paramount struck a new accord with Parker and Stone for $900 million, sealing their partnership and ensuring new episodes of "South Park" would be made. That deal runs to 2027, although Paramount executives have offered to extend that arrangement for several years. Paramount has long intended to shift the show to Paramount+ as soon as the HBO Max deal expires. The various parties have long envisioned a scenario where domestic and international rights would be shared by at least two different streaming services. Although neither partner would have exclusive rights, the current trend in television is for studios to maximize revenue to help pay for expensive programs, like "South Park," while maintaining some streaming rights. Read more: Wide Shot: 'South Park' at 25; how to lose billions in streaming Paramount also has been dealing with another crisis that has been complicated by the Skydance merger. The company has sought to settle President Trump's $20-billion lawsuit claiming subsidiary CBS News deceptively edited a "60 Minutes" interview with then-Vice President Kamala Harris, an allegation CBS denies. Trump's case hasn't been resolved, and the Federal Communications Commission has been slow to review Skydance's proposed takeover of Paramount, extending the deal review. The Skydance transaction has been pending at the FCC since last fall, leaving Paramount executives in limbo. Sign up for our Wide Shot newsletter to get the latest entertainment business news, analysis and insights. This story originally appeared in Los Angeles Times.

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