We all know the score. Television of the good ol’ days was known for soaps and mini series’ – and not necessarily ones that were going to change the game of the small screen (with the odd exception, of course). In the past ten years we have seen a ten-fold improvement in the quality of TV drama. From the good fellas at HBO producing cinematic series’ such as police drama True Detective, to AMC giving viewers a multi-layered exploration of an apocalyptic deep south in The Walking Dead; whatever your genre, there’s something, on some channel, to please you.
While America is way ahead with their budgets, their production values, and their star power, the UK is steadily catching up. Peaky Blinders is an exemplary case of such competition, with an ensemble to rival the best, an intricate narrative and a blistering soundtrack that creates a palpable atmosphere. BBC Two, you continue to surprise us all. As we reflect on the events of season three we are reminded of the utter strength of modern television.
With only six episodes per season, Peaky Blinders is a short series that packs a lot in. In season three we met new antagonists, said goodbye to familiar faces and welcomed new members of the family. Over just six episodes producer and writer Steven Knight creates a multi-faceted narrative that escapes genre cliches to provide audiences with substance and originality. While it isn’t always faultless, often it is close to small-screen perfection. Peaky Blinders is based on the notorious Romany gangster family of the 1920’s but Knight has attained poetic justice in his verve as a writer as he develops complex characters portrayed by a stellar ensemble cast of British actors.
Cillian Murphy leads a strong cast, all of whom share an electric chemistry fueled by fiery personalities and an underlying rage. Paul Anderson is an absolute triumph in his role as Arthur, a character who audiences have seen evolve over eighteen divergent episodes. With fierce story-lines comes a need for actors who can display range and, despite their wrongdoings and bandit behaviour, we are firmly rooted with the Shelby family thanks to the complexity of the characters we have somehow come to relate too.
Beyond the obvious strength in writing we have to applaud the cinematography, costume design and stylistic direction. Season three moved with the times and with a change in year came stunning flapper girl fashion and sociopolitical themes. These were offset by a ravishing aesthetic that balanced gritty inner-city Birmingham with lavish countryside, brilliantly balancing the opulence of the life recently acquired by Thomas Shelby and co with the roots of the family; an important element to the story and one which their foes seemingly never allow them to escape.
With many scenes a violent spectacle, Peaky Blinders isn’t for everyone, but as the series progresses its exploration of feminism, masculinity, violence, family – and much more – is a fantastic case study for what can now be achieved season by season. Atmospheric and challenging, Steven Knight and BBC Two should be proud of their popular creation which has confidently taken the world by storm.