October 2, 2025 • 21 mins
The source material provides an extensive overview of the highly anticipated two-season sequel series to the acclaimed British gangster drama Peaky Blinders, announced by Netflix and the BBC. This new series, set to air after the feature film The Immortal Man in 2026, will focus on a new generation of the Shelby family in 1953 post-World War II Birmingham, detailing their brutal contest over the city's massive reconstruction projects. The original creator, Steven Knight, is returning to write all twelve episodes, with star Cillian Murphy joining as an executive producer, assuring fans that the expansion into a sprawling cinematic universe maintains its signature style and gritty heart. Furthermore, the text reviews the original show’s cultural impact and critical success, noting its evolution from a modest BBC Two show into a global phenomenon that influenced fashion, tourism, and television production. Ultimately, the announcement signals an unshakeable faith in the franchise's ability to evolve and capture a new era of drama.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Welcome back to the deep dive. So October second, twenty
twenty five, an announcement drops, and honestly, it sent like
proper shock waves through prestige TV circles. Huge news, because
what many of us thought was, you know, a closed book. Yeah,
the whole Peaky Blinder saga. It just exploded, not just
(00:21):
a sequel, but well, a whole cinematic universe basically.
Speaker 2 (00:25):
Yeah. It really wasn't just a press release, was it.
It felt more like a declaration, a statement of intent exactly.
And the scale they announced a feature film and a
two season series commitment right off the bat, it just
screams that this isn't about nostalgia. Stephen Knight's got something
bigger planned. The sources we've looked at, they really frame
this as a bold evolution, not just a cash grab,
(00:45):
you know, more about cementing the Shelby legacy.
Speaker 1 (00:48):
And that's pretty much our mission today for you listening.
We want to unpack this massive decision. We're going to
chart how the Shelby's transition, how they move from that gritty,
smoky interwar Birmingham we knew.
Speaker 2 (00:58):
Yeah, the canals, the cold, the razors.
Speaker 1 (01:01):
Right into this totally new landscape post World War two Britain.
It's a huge leap visually thematically, yeah, everything.
Speaker 2 (01:10):
And the announcement laid out the structure, didn't it that
double order? First up the film The Immortal Man, which
they're calling the Narrative Bridge, aiming for twenty twenty six
on Netflix, okay. And then the main event really the
sequel series straight to series order, two seasons, twelve hour
long episodes total twelve hours.
Speaker 1 (01:29):
Yeah, upfront, that's massive confidence from Netflix and.
Speaker 2 (01:32):
The BBC, incredible confidence.
Speaker 1 (01:34):
But it throws up the big question, doesn't it The
one we have to tackle right away? Can lightning actually
strike twice for the Shelby? Yeah?
Speaker 2 (01:41):
Can they keep that edge?
Speaker 1 (01:42):
Can they kept that tension, that criminal energy, that that
peaky feeling in the nineteen fifties which is just fundamentally
different from the twenties and thirties politically, visually.
Speaker 2 (01:52):
Yeah, everything, it's the core challenge. Let's dig into it, okay.
So to really get a handle on the risk here
and the potential reward of this whole expansion, we absolutely
have to go back to the roots the original Peaky Blinders.
Why does it demand this kind of continuation even six
years after the finale.
Speaker 1 (02:10):
Well, it's because it was just so successful at mixing
real gritty history with this incredible style and drama.
Speaker 2 (02:17):
It's asy to forget. It started pretty small, didn't it
BBC two back in September twenty thirteen.
Speaker 1 (02:22):
Yeah, humble beginnings, and it was.
Speaker 2 (02:24):
Properly rooted in Birmingham's history. This wasn't a totally made up.
Speaker 1 (02:27):
Gang, no, inspired by a real street gang from the
late nineteenth early twentieth century.
Speaker 2 (02:32):
And the sources back up the key details, right, the
tailored suits which must have looked wild against the industrial
grind back then, completely a statement in itself, and of
course the razors. The whole story about blades sewn into
the flat caps. Maybe apocryphal, maybe not, but it's.
Speaker 1 (02:47):
Iconic now immortalized.
Speaker 2 (02:48):
Yeah, that image of Menace and Stephen Knight just took
that local history, that sort of dark folklore, and spun
it into this global epic.
Speaker 1 (02:56):
Exactly six seasons, tracing the family's rise from nineteen nineteen
right after the First World War.
Speaker 2 (03:03):
Yeah, the shell shock was palpable all the way to
nineteen thirty four, just as the world's heading towards another war,
and right at the center Tommy Shelby, silly and Murphy.
Speaker 1 (03:13):
An incredible performance. The sources always highlight him, not just
as a gangster, but that war veteran aspect. You felt the.
Speaker 2 (03:19):
Trauma constantly in the silence, the smoking, everything, and.
Speaker 1 (03:23):
That ambition, that cold, calculating ambition, always felt like it
came from that trauma, from trying to control the chaos
inside them.
Speaker 2 (03:31):
Yeah, he started small, didn't he, fixing bets and just
clawed his way up violence, intelligence, becomes an industrialist, even
an MP.
Speaker 1 (03:40):
But it worked because of the family around him.
Speaker 2 (03:42):
They weren't just sidekicks, No, they provided the heart, the friction.
You had Arthur Volta, Arthur completely madness and loyalty all
tangled up. Then John the hot head that was complicating thing,
and Ada the moral compass, maybe the intellectual.
Speaker 1 (03:55):
Voice, often the dissenting voice.
Speaker 2 (03:57):
Yeah, and you absolutely have to mention Aunt Polly Helen
mclar sorry, just irreplaceable power and prisons. The show even
handled her loss so respectfully within the narrative.
Speaker 1 (04:06):
Yeah, it did. But the real genius, the thing that
lifted it beyond just another gangster show. It was that mix,
wasn't it history and style.
Speaker 2 (04:15):
That unique fusion It wasn't just watching history. It felt
like you were in it. But through this really modern lens, Night.
Speaker 1 (04:21):
Wasn't afraid to weave in big historical moments.
Speaker 2 (04:24):
No really significant stuff, the nineteen nineteen Race Riots, the
General Strike in twenty six.
Speaker 1 (04:30):
And Oswell Moseley, the Rise of fascism that felt terrifyingly real.
Speaker 2 (04:34):
It showed how crime and extreme politics can intersect. It
was smart.
Speaker 1 (04:38):
And then there was the look, the style, ah, the.
Speaker 2 (04:41):
Rock and roll fever dream aesthetic as people called it,
that desaturated look, the smog, the rain, Small Heath felt
so specific, visually iconic.
Speaker 1 (04:50):
Boner cut by that soundtrack, electrifying.
Speaker 2 (04:52):
Totally anachronistic. Arctic Monkeys, Bowie Nick Cave.
Speaker 1 (04:56):
Yeah, shouldn't have worked putting modern angst over nineteen twenties gangsters,
but it did.
Speaker 2 (04:59):
It made it feel urgent, immediate, revolutionary, almost addictive.
Speaker 1 (05:05):
And that style, that whole package is what made it
explode culturally, wasn't it It was just critics loving it?
Speaker 2 (05:11):
No, it became a global phenomenon. Netflix picking it up
in twenty fourteen was huge for that right.
Speaker 1 (05:15):
That pushed the viewership way up over ten million per
season apparently, and.
Speaker 2 (05:19):
The real world impact was just wild, flat cap sales
going up three hundred percent crazy.
Speaker 1 (05:25):
And although Shelby speakeasy pubs popping.
Speaker 2 (05:27):
Up, yeah, in one, BAF does Emmys for design. Even politicians,
the sources say, started trying to copy Tommy's swagger.
Speaker 1 (05:36):
Which is slightly terrifile.
Speaker 2 (05:37):
A little bit. Yeah, and then the finale in twenty
twenty two, Tommy writing off that ambiguous ending.
Speaker 1 (05:43):
Seemed like closure maybe, but the fans never stopped wanting more, never.
Speaker 2 (05:48):
And now well they're getting it on a scale nobody
really predicted.
Speaker 1 (05:51):
Okay, so the original show ends what nineteen thirty.
Speaker 2 (05:54):
Four, mid thirties, Yeah, and we know the sequel.
Speaker 1 (05:56):
Series jumps way ahead to their early.
Speaker 2 (05:58):
Fifty nineteen fifty three specifically.
Speaker 1 (06:00):
Which leaves this massive gap almost twenty years. That's the
big narrative problem they have to solve.
Speaker 2 (06:06):
It's huge historically, that's World War Two and the entire
birth of modern Britain pretty much.
Speaker 1 (06:12):
So that's where the film comes in. The Immortal Man.
That's the bridge.
Speaker 2 (06:16):
Exactly sent for twenty twenty six on Netflix. It has
to span that DAP and reports suggest it's well into
post production already, so they're serious. About hitting that date.
Speaker 1 (06:25):
Night called it one for the fans, which sounds nice,
but I don't know is it really for the fans
or is it more like a necessary piece of plot mechanics,
giving people one last big dose of silly and Murphy
as Tommy before they shift focus.
Speaker 2 (06:40):
That's a fair question. Is it pure fan service? Maybe partly,
but its function seems absolutely vital.
Speaker 1 (06:47):
Also, well, the.
Speaker 2 (06:48):
Original series ended with fascism on the rise, Moseley becoming
a real threat. The Immortal Man needs to throw the
Shelby's right into World War two.
Speaker 1 (06:55):
Okay, so the blitz espionage.
Speaker 2 (06:57):
Maybe definitely the Blitz. Imagine the Shell operating in that chaos,
black markets, wartime industries. The opportunities for them would be immense,
but so would the danger. It lets them use the
familiar characters in that high stakes environment one last time, and.
Speaker 1 (07:11):
The plot details confirm that. Right, Tommy's wartime schemes.
Speaker 2 (07:14):
Yeah, this isn't about fixing horse races anymore. This is
big lead stuff, moving supplies, influencing war production, maybe deeper
intelligence games than before. Right, and crucially, according to the outline,
whatever Tommy gets up to during the war directly sets
up the situation in nineteen fifty three. It creates the
power vacuum the sequel series explores.
Speaker 1 (07:34):
So the film has to explain how they go from
being threatened by fascists in the late thirties to being
powerful enough to potentially control the rebuilding of Birmingham in
the fifties after the city has been bombed to.
Speaker 2 (07:47):
Bits exactly that it has to show their survival and
maybe even their consolidation of power during the war years.
Speaker 1 (07:54):
And we know Tom Harper, who directed early episodes, is
back directing the film, and Silly and Murphy.
Speaker 2 (07:58):
Stars, which is key, especially after Oppenheimer. Murphy is a
massive star now very selective.
Speaker 1 (08:04):
So him coming back even for this Bridge film, it
signals quality control, dedication.
Speaker 2 (08:11):
You'd hope. So it certainly adds weight. But like you said,
is it confidence or is it kind of a safety
net making sure this first big leap for the franchise
lands properly because the film has a lot writing on it.
It needs to reintroduce whoever survived the war, maybe a
much older, more damaged Arthur Ada in some government role perhaps,
and it needs to hand over the story smoothly to
the next generation, setting up that nineteen fifty three scenario.
(08:35):
It needs to show how they held onto power while
Birmingham was being pounded by bombs.
Speaker 1 (08:39):
So the title The Immortal Man, it suggests Tommy or
maybe the Shelby Enterprise itself survives the war against all odds.
Speaker 2 (08:47):
It seems likely that ending where he wrote off, maybe
that was just a pause. He or the family name
endures the ultimate test of.
Speaker 1 (08:54):
The war, setting them up for this new face. Are
they still criminals or have they become legiti corrupt construction magnates.
Speaker 2 (09:02):
Maybe that's the transition the film has to establish. And yeah,
the sequel success really depends on this movie sticking the landing.
Speaker 1 (09:07):
No pressure, right, So let's get to the main course,
the sequel series itself.
Speaker 2 (09:12):
The big one.
Speaker 1 (09:12):
The announcement was clear, straight to series two seasons, six
episodes each twelve hours guaranteed.
Speaker 2 (09:19):
Which is huge, no pilot, just Boom, full commitment BBC
one in the UK, Netflix globally, Kudos and Garrison Drama producing.
Speaker 1 (09:26):
It's a massive vote of confidence. Yeah, and we have
to keep coming back to that time jump because it's
the boldest move they're making, leaping right over the war
past the film setting into nineteen fifty three Britain, and.
Speaker 2 (09:36):
It's just it's a different universe, almost, not the smoky,
grimy nineteen twenties. This is postwar, the welfare state, the
start of the modern era.
Speaker 1 (09:45):
The atmosphere, the look, the politics all.
Speaker 2 (09:48):
Changed, fundamentally changed. Nineteen fifty three Britain is barely recognizable
from nineteen thirty four. Birmingham itself scarred by the Blitz,
over two thousand bombs dropped between forty and forty one. Wow,
fifty three. There's this complex mood. People are exhausted from war,
from rationing, but there's also this kind of austere optimism.
Speaker 1 (10:08):
The services call it okay.
Speaker 2 (10:09):
Hope from the new welfare state, this drive towards modernism.
I think the Festival of Britain in fifty one showcasing technology, rebuilding,
looking forward.
Speaker 1 (10:17):
Okay, I see the contrast. The Festival of Britain is
all planned, clean.
Speaker 2 (10:21):
Utopia, exactly forward looking, and.
Speaker 1 (10:23):
The Shelby's they operate in the cracks, in the shadows,
feeding off the chaots and maybe the corruption or reconstruction.
Speaker 2 (10:29):
Precisely, the old industrial city is becoming this concrete jungle,
brutalist architecture starting to go up, and that clash old
world versus New world seems to be the heart of
the new.
Speaker 1 (10:38):
Conflict, and Knight's logline for the series points right at that,
doesn't it?
Speaker 2 (10:42):
It does very poetic Birmingham building a future out of
concrete and steel, and the plot the core conflict is
described as the race to on Birmingham's massive reconstruction project.
Speaker 1 (10:55):
Wow, okay, so forget fixing horse races. This is about
controlling huge construction.
Speaker 2 (11:00):
Contracts billions potentially in today's money, and he promises this
race becomes a brutal contest of mythical dimensions.
Speaker 1 (11:07):
Right, so the razor blade gets swapped for what the
wrecking ball the dodgy contract.
Speaker 2 (11:12):
Metaphorically, yeah, it means that Shelbys have to be operating
on a whole new level, dealing with city councils, planners,
big engineering.
Speaker 1 (11:20):
Firms, subverting them presumably.
Speaker 2 (11:22):
Or controlling them. It's a shift from street level crime
to systemic corruption, rigging government tenders, controlling supplies.
Speaker 1 (11:29):
So the clash is old school gangsters versus like town
planners and architects.
Speaker 2 (11:36):
That seems to be the tension. Imagine Tommy Shelby or
his successor facing off against a bureaucratic committee. But the
stakes are way higher, controlling the city's infrastructure exactly. It's
not just about illicit gin anymore. It's about black market concrete,
controlling steel supplies as rationing ends, manipulating labor unions, sophisticated,
large scale stuff.
Speaker 1 (11:57):
But does that risk losing the the visceral danger, the
mud and blood fights in the back alleys. Yeah, if
they're just arguing over blueprints.
Speaker 2 (12:06):
That's the tightrope they have to walk. How do you
keep the peaky danger when the setting is boardrooms and
construction sites. Yeah, but the phrase brutal contest suggests the
violence is still there. Maybe it's just corporate violence now.
Higher stakes mean deadlier consequences, sabotage, political maneuvering, maybe using
legit businesses as fronts for darker activities.
Speaker 1 (12:25):
It's a fundamental shift. Though. They were outsiders fighting the system.
Now they're trying to be the.
Speaker 2 (12:30):
System, or at least control it from within. That's a
huge thematic challenge. Night seems ready for. The methods might evolve,
but the ruthlessness remains. Control of a city's future is
a bigger prize than a few streets.
Speaker 1 (12:41):
And what about the wider world. In nineteen fifty three,
the sources mentioned the Cold War.
Speaker 2 (12:45):
Yeah, that shadow hangs over everything. How does that filter
down to a Birmingham construction war. Good question, Well, reconstruction
was about national stability and national security, controlling vital supplies,
strategic industries that could easily attract interest from MI five,
maybe even Soviet intelligence, industrial espionage, perhaps political leverage.
Speaker 1 (13:08):
So a dodgy concrete deal could suddenly have international implications.
Speaker 2 (13:12):
Potentially it adds another layer of high stakes paranoia, which
fits the peaky world perfectly.
Speaker 1 (13:17):
And then that phrase mythical dimensions. What do we think
that means? Is it literal magic? Again? Curses?
Speaker 2 (13:24):
It could be, given the romani mysticism that always threaded
through Tommy's story, Maybe curses prophecies affecting the new generation,
like Tommy's opium visions in season six.
Speaker 1 (13:34):
Or maybe it's more symbolic.
Speaker 2 (13:35):
Possibly maybe the Shelby's become so powerful in rebuilding the
city they start to see themselves or are seen as
these larger than life figures God's remaking the world in
their image. It suggests an operatic scale. The fight for
a building contract isn't just business. It's a battle for
the soul of the city. It keeps that poetic darkness
even amidst the concrete.
Speaker 1 (13:56):
Okay, pulling off something this ambitious it needs serious leadership
behind the.
Speaker 2 (14:01):
Scenes, absolutely, And the good news the sources confirm, is
that the core team is still there, especially Stephen Knight.
Speaker 1 (14:08):
The beating Heart as they call him.
Speaker 2 (14:10):
And he's not just overseeing it. He's writing all twelve
episodes himself.
Speaker 1 (14:14):
Wow. Okay, that's crucial for consistency, keeping that unique voice,
that brutal poetry.
Speaker 2 (14:20):
And his commitment to Birmingham remains fierce. He always says
Birmingham is the.
Speaker 1 (14:24):
Anvil on which the story is forged.
Speaker 2 (14:26):
Yeah, and he's literally putting his money where his mouth is.
Isn't he building that huge dig Bethlock Studio complex in Birmingham.
Speaker 1 (14:33):
The two hundred million dollar hub. That's serious investment back
into the city.
Speaker 2 (14:37):
It shows the commitment to authenticity. Isn't just talk. This
isn't going to be some generic outsource sequel. It feels rooted.
Speaker 1 (14:44):
But the other big name involved, Celine Murphy as an
executive producer.
Speaker 2 (14:48):
Yeah, post Oppenheimer, that's massive.
Speaker 1 (14:51):
His involvement even off screen. Mostly it feels like a
guarantee of quality or at least trying to maintain the
original standard.
Speaker 2 (15:00):
It has to be. It signals he's invested in protecting
the legacy. We might see cameos, maybe him directing an episode,
channeling that deep understanding of Tommy into the new story.
Speaker 1 (15:10):
But let's push on that again. Is his EP role
and maybe cameo. Is it really about quality control or
is it also maybe a smart move to reassure the
hardcore fans, the ones worried that a new cast won't
live up to the original look.
Speaker 2 (15:24):
It's probably both, isn't it. It's smart business and hopefully
a sign of genuine creative involvement. You can't deny his
presence adds huge weight, true, and the structure of the
deal itself BBC and Netflix together that guarantees the financial
clout needed.
Speaker 1 (15:37):
Yeah, the budget rumors are pretty high, north of ten
million per season, which.
Speaker 2 (15:41):
Means they can actually show that transformation of Birmingham from
the nineteen twenty smog to the nineteen fifties reconstruction. It
won't look cheap, right.
Speaker 1 (15:49):
Let's talk characters. They're really exciting bit for fans. The
focus is on a new generation.
Speaker 2 (15:54):
Of Shelby's descendants, grandchildren.
Speaker 1 (15:56):
So the big question is what are they inherent? The
raisers or the briefcases old violence or new corporate.
Speaker 2 (16:05):
Cunning, or maybe a bit of both. The Shelby ambition,
that core ruthlessness, that's probably the constant genetic trait, right
whatever the era.
Speaker 1 (16:12):
So who could be leading the family in nineteen fifty three?
We have to assume Tommy's still around.
Speaker 2 (16:16):
Maybe seems likely. Maybe a grizzled older Tommy pulling strings
from the shadows, dispensing advice connections.
Speaker 1 (16:25):
Yeah, I could see that, But I keep thinking about
Ada Sophie Rundle's.
Speaker 2 (16:28):
Character m h politically savvy, the smartest one.
Speaker 1 (16:32):
Arguably maybe her children, raised during the war are now
the ones in charge. Inherited her brains, but maybe with
more of Tommy's pragmatism.
Speaker 2 (16:40):
That's a really interesting possibility. Or maybe John Shelby's line
comes back, bringing that hot headed enforcer energy to the
new legitimate business.
Speaker 1 (16:47):
Could be It's all speculation, obviously.
Speaker 2 (16:49):
But what's exciting is Knight's track record. He made Silly
and Murphy a star with Peaky. He likes finding new talent.
Speaker 1 (16:55):
True, so maybe not big established names we might get.
Speaker 2 (16:58):
Some, but i'd expect some fresh faces too authentic Birmingham talent.
Hopefully they're keeping the casting super quiet, which just builds
the hype.
Speaker 1 (17:07):
And the fan reaction to the announcement showed that hype didn't.
Speaker 2 (17:09):
It was instant, absolutely explosive. Hashtag Peaky Blinders trending globally
half a million mentions in hours.
Speaker 1 (17:15):
And most fans seemed thrilled seventy eight percent ecstatic, according
to Boles, mostly because Murphy's involved a EP.
Speaker 2 (17:23):
There's definitely hunger for more. The stage is absolutely set, but.
Speaker 1 (17:28):
You can't ignore the other side. The skeptics.
Speaker 2 (17:31):
No, and there are legitimate concerns. Seqel fatigue is real.
People worry it's just stretching the brand too thin.
Speaker 1 (17:38):
And the time jump is the big one. People loved
that WWI grit, the interwar atmosphere. They're asking, where's that gone?
Speaker 2 (17:44):
Yeah, the nineteen fifties is such a clean break. Does
it lose something essential? That's the gamble. That separation from
the original street gang feel is probably the single biggest
creative risk.
Speaker 1 (17:54):
But if they pull it off, if this sequel actually works,
Peaky Blinders becomes something else entirely doesn't it like a
multi generational epiity.
Speaker 2 (18:03):
Yeah. I think it's the Godfather saga, tracing a family's
journey their corruption, maybe across huge societal shifts.
Speaker 1 (18:12):
And the nineteen fifty three setting gives them so much
new stuff to dig into thematically, stuff that really resonates now.
Speaker 2 (18:20):
Definitely, it's a moment of huge change in Britain. You've
got the very beginnings of decolonization happening.
Speaker 1 (18:25):
Right. Could the Shelbys have ties business or criminal to
the end of the Empire, India, the Caribbean.
Speaker 2 (18:32):
It's plausible. Adds a global dimension, and then there's immigration, huge.
Speaker 1 (18:36):
Waves starting in the fifties, right, people coming to cities
like Birmingham to.
Speaker 2 (18:39):
Help rebuild exactly. So if the Shelbies are controlling construction,
controlling labor, they're inevitably going to clash with these new communities.
Speaker 1 (18:46):
Which opens up complex new storylines about race, power, exploitation. Yeah,
way beyond the nineteen nineteen riots.
Speaker 2 (18:52):
It makes the setting feel incredibly relevant, not just historical,
and with Netflix involved, the show moves beyond being just
a UK hit.
Speaker 1 (18:59):
Towards that mythic status like Game of Thrones.
Speaker 2 (19:02):
Potentially you could see conventions merchandise, maybe even those ar apps.
Letting you explore Shelby's Birmingham, the cultural footprint could get
even bigger.
Speaker 1 (19:11):
Okay, but let's be realistic. The risks are massive too.
Bringing back a show after six years, new cast, new era, that's.
Speaker 2 (19:20):
Tricky, very tricky, we keep saying it. But the Immortal
Man has to land perfectly. If that film doesn't bridge
the gap convincingly, the series starts on shaky ground with
the fans and the.
Speaker 1 (19:31):
Core created challenge remains. The shifting to nineteen fifty three,
to concrete and bureaucracy dilute what made Peaky special, That
raw anarchic energy.
Speaker 2 (19:41):
Yeah, the brutalist towers they'll be building, they symbolize a
different kind of power, more corporate, maybe more soulless.
Speaker 1 (19:48):
The Shelbys were compelling because they were rebels fighting the establishment.
What happens when they are the establishment or trying to
be Yeah, rigging concrete contracts.
Speaker 2 (19:56):
It's the central question. Can Night make that compelling? The
sources suggests they I know this risk that the tension
between the old ways and the new corporate world will
be key.
Speaker 1 (20:04):
So if Night finds that magic formula again, that mix
of history, violence, style, and heartbreak.
Speaker 2 (20:10):
Then Peaky Blinders cements itself not just as a great show,
but as a landmark, multi generational saga, redefining what period
TV can do.
Speaker 1 (20:19):
They promised a brutal contest of mythical dimensions. If the
Shelbys are involved, you know it won't be clean.
Speaker 2 (20:25):
So wrapping up this deep dive, the takeaway is clear.
The Shelby story is an over far from it. It's expanding, evolving.
Speaker 1 (20:34):
From those smoky nineteen nineteen canals, that the concrete jungle
of nineteen fifty three. The dynasty finds a way to endure, and.
Speaker 2 (20:42):
That big commitment from Netflix and the BBC, with night
writing and Murphy overseeing it, guarantees a serious continuation of
the legacy.
Speaker 1 (20:50):
The family's changing though, creating the back rooms for boardrooms.
Maybe small crime for big corruption.
Speaker 2 (20:55):
It's a hell of a trajectory. Remember what Tommy Shelby said,
All religion is a foolish answer to a foolish question.
Speaker 1 (21:00):
Yeah, his whole life was a search for an answer
to what power meaning like.
Speaker 2 (21:05):
Which brings us to that final thought for you to
chew on. Tommy wrote off in the finale, seemingly leaving
it all behind existential uncertainty.
Speaker 1 (21:12):
Right right, claiming he was done.
Speaker 2 (21:14):
But if this new generation is fighting tooth and nail
to control the legitimate rebuilding of Birmingham, doesn't that just
prove his point That ambition, whether it's fixing races in
nineteen nineteen or rigging concrete deals in nineteen fifty three,
is maybe just the shell Bey Way their own foolish
answer to that same old question of power.
Speaker 1 (21:33):
So you have to ask yourself, Yeah, when the prize
is that big rebuilding their city, how far will this
new generation really get from the razor's edge? The times change,
the tools change, but does the essential Shelby nature ever
really change?
Speaker 2 (21:45):
We'll have to wait and see by order of the
peaky blinders
Welcome back to the deep dive. So October second, twenty
twenty five, an announcement drops, and honestly, it sent like
proper shock waves through prestige TV circles. Huge news, because
what many of us thought was, you know, a closed book. Yeah,
the whole Peaky Blinder saga. It just exploded, not just
(00:21):
a sequel, but well, a whole cinematic universe basically.
Speaker 2 (00:25):
Yeah. It really wasn't just a press release, was it.
It felt more like a declaration, a statement of intent exactly.
And the scale they announced a feature film and a
two season series commitment right off the bat, it just
screams that this isn't about nostalgia. Stephen Knight's got something
bigger planned. The sources we've looked at, they really frame
this as a bold evolution, not just a cash grab,
(00:45):
you know, more about cementing the Shelby legacy.
Speaker 1 (00:48):
And that's pretty much our mission today for you listening.
We want to unpack this massive decision. We're going to
chart how the Shelby's transition, how they move from that gritty,
smoky interwar Birmingham we knew.
Speaker 2 (00:58):
Yeah, the canals, the cold, the razors.
Speaker 1 (01:01):
Right into this totally new landscape post World War two Britain.
It's a huge leap visually thematically, yeah, everything.
Speaker 2 (01:10):
And the announcement laid out the structure, didn't it that
double order? First up the film The Immortal Man, which
they're calling the Narrative Bridge, aiming for twenty twenty six
on Netflix, okay. And then the main event really the
sequel series straight to series order, two seasons, twelve hour
long episodes total twelve hours.
Speaker 1 (01:29):
Yeah, upfront, that's massive confidence from Netflix and.
Speaker 2 (01:32):
The BBC, incredible confidence.
Speaker 1 (01:34):
But it throws up the big question, doesn't it The
one we have to tackle right away? Can lightning actually
strike twice for the Shelby? Yeah?
Speaker 2 (01:41):
Can they keep that edge?
Speaker 1 (01:42):
Can they kept that tension, that criminal energy, that that
peaky feeling in the nineteen fifties which is just fundamentally
different from the twenties and thirties politically, visually.
Speaker 2 (01:52):
Yeah, everything, it's the core challenge. Let's dig into it, okay.
So to really get a handle on the risk here
and the potential reward of this whole expansion, we absolutely
have to go back to the roots the original Peaky Blinders.
Why does it demand this kind of continuation even six
years after the finale.
Speaker 1 (02:10):
Well, it's because it was just so successful at mixing
real gritty history with this incredible style and drama.
Speaker 2 (02:17):
It's asy to forget. It started pretty small, didn't it
BBC two back in September twenty thirteen.
Speaker 1 (02:22):
Yeah, humble beginnings, and it was.
Speaker 2 (02:24):
Properly rooted in Birmingham's history. This wasn't a totally made up.
Speaker 1 (02:27):
Gang, no, inspired by a real street gang from the
late nineteenth early twentieth century.
Speaker 2 (02:32):
And the sources back up the key details, right, the
tailored suits which must have looked wild against the industrial
grind back then, completely a statement in itself, and of
course the razors. The whole story about blades sewn into
the flat caps. Maybe apocryphal, maybe not, but it's.
Speaker 1 (02:47):
Iconic now immortalized.
Speaker 2 (02:48):
Yeah, that image of Menace and Stephen Knight just took
that local history, that sort of dark folklore, and spun
it into this global epic.
Speaker 1 (02:56):
Exactly six seasons, tracing the family's rise from nineteen nineteen
right after the First World War.
Speaker 2 (03:03):
Yeah, the shell shock was palpable all the way to
nineteen thirty four, just as the world's heading towards another war,
and right at the center Tommy Shelby, silly and Murphy.
Speaker 1 (03:13):
An incredible performance. The sources always highlight him, not just
as a gangster, but that war veteran aspect. You felt the.
Speaker 2 (03:19):
Trauma constantly in the silence, the smoking, everything, and.
Speaker 1 (03:23):
That ambition, that cold, calculating ambition, always felt like it
came from that trauma, from trying to control the chaos
inside them.
Speaker 2 (03:31):
Yeah, he started small, didn't he, fixing bets and just
clawed his way up violence, intelligence, becomes an industrialist, even
an MP.
Speaker 1 (03:40):
But it worked because of the family around him.
Speaker 2 (03:42):
They weren't just sidekicks, No, they provided the heart, the friction.
You had Arthur Volta, Arthur completely madness and loyalty all
tangled up. Then John the hot head that was complicating thing,
and Ada the moral compass, maybe the intellectual.
Speaker 1 (03:55):
Voice, often the dissenting voice.
Speaker 2 (03:57):
Yeah, and you absolutely have to mention Aunt Polly Helen
mclar sorry, just irreplaceable power and prisons. The show even
handled her loss so respectfully within the narrative.
Speaker 1 (04:06):
Yeah, it did. But the real genius, the thing that
lifted it beyond just another gangster show. It was that mix,
wasn't it history and style.
Speaker 2 (04:15):
That unique fusion It wasn't just watching history. It felt
like you were in it. But through this really modern lens, Night.
Speaker 1 (04:21):
Wasn't afraid to weave in big historical moments.
Speaker 2 (04:24):
No really significant stuff, the nineteen nineteen Race Riots, the
General Strike in twenty six.
Speaker 1 (04:30):
And Oswell Moseley, the Rise of fascism that felt terrifyingly real.
Speaker 2 (04:34):
It showed how crime and extreme politics can intersect. It
was smart.
Speaker 1 (04:38):
And then there was the look, the style, ah, the.
Speaker 2 (04:41):
Rock and roll fever dream aesthetic as people called it,
that desaturated look, the smog, the rain, Small Heath felt
so specific, visually iconic.
Speaker 1 (04:50):
Boner cut by that soundtrack, electrifying.
Speaker 2 (04:52):
Totally anachronistic. Arctic Monkeys, Bowie Nick Cave.
Speaker 1 (04:56):
Yeah, shouldn't have worked putting modern angst over nineteen twenties gangsters,
but it did.
Speaker 2 (04:59):
It made it feel urgent, immediate, revolutionary, almost addictive.
Speaker 1 (05:05):
And that style, that whole package is what made it
explode culturally, wasn't it It was just critics loving it?
Speaker 2 (05:11):
No, it became a global phenomenon. Netflix picking it up
in twenty fourteen was huge for that right.
Speaker 1 (05:15):
That pushed the viewership way up over ten million per
season apparently, and.
Speaker 2 (05:19):
The real world impact was just wild, flat cap sales
going up three hundred percent crazy.
Speaker 1 (05:25):
And although Shelby speakeasy pubs popping.
Speaker 2 (05:27):
Up, yeah, in one, BAF does Emmys for design. Even politicians,
the sources say, started trying to copy Tommy's swagger.
Speaker 1 (05:36):
Which is slightly terrifile.
Speaker 2 (05:37):
A little bit. Yeah, and then the finale in twenty
twenty two, Tommy writing off that ambiguous ending.
Speaker 1 (05:43):
Seemed like closure maybe, but the fans never stopped wanting more, never.
Speaker 2 (05:48):
And now well they're getting it on a scale nobody
really predicted.
Speaker 1 (05:51):
Okay, so the original show ends what nineteen thirty.
Speaker 2 (05:54):
Four, mid thirties, Yeah, and we know the sequel.
Speaker 1 (05:56):
Series jumps way ahead to their early.
Speaker 2 (05:58):
Fifty nineteen fifty three specifically.
Speaker 1 (06:00):
Which leaves this massive gap almost twenty years. That's the
big narrative problem they have to solve.
Speaker 2 (06:06):
It's huge historically, that's World War Two and the entire
birth of modern Britain pretty much.
Speaker 1 (06:12):
So that's where the film comes in. The Immortal Man.
That's the bridge.
Speaker 2 (06:16):
Exactly sent for twenty twenty six on Netflix. It has
to span that DAP and reports suggest it's well into
post production already, so they're serious. About hitting that date.
Speaker 1 (06:25):
Night called it one for the fans, which sounds nice,
but I don't know is it really for the fans
or is it more like a necessary piece of plot mechanics,
giving people one last big dose of silly and Murphy
as Tommy before they shift focus.
Speaker 2 (06:40):
That's a fair question. Is it pure fan service? Maybe partly,
but its function seems absolutely vital.
Speaker 1 (06:47):
Also, well, the.
Speaker 2 (06:48):
Original series ended with fascism on the rise, Moseley becoming
a real threat. The Immortal Man needs to throw the
Shelby's right into World War two.
Speaker 1 (06:55):
Okay, so the blitz espionage.
Speaker 2 (06:57):
Maybe definitely the Blitz. Imagine the Shell operating in that chaos,
black markets, wartime industries. The opportunities for them would be immense,
but so would the danger. It lets them use the
familiar characters in that high stakes environment one last time, and.
Speaker 1 (07:11):
The plot details confirm that. Right, Tommy's wartime schemes.
Speaker 2 (07:14):
Yeah, this isn't about fixing horse races anymore. This is
big lead stuff, moving supplies, influencing war production, maybe deeper
intelligence games than before. Right, and crucially, according to the outline,
whatever Tommy gets up to during the war directly sets
up the situation in nineteen fifty three. It creates the
power vacuum the sequel series explores.
Speaker 1 (07:34):
So the film has to explain how they go from
being threatened by fascists in the late thirties to being
powerful enough to potentially control the rebuilding of Birmingham in
the fifties after the city has been bombed to.
Speaker 2 (07:47):
Bits exactly that it has to show their survival and
maybe even their consolidation of power during the war years.
Speaker 1 (07:54):
And we know Tom Harper, who directed early episodes, is
back directing the film, and Silly and Murphy.
Speaker 2 (07:58):
Stars, which is key, especially after Oppenheimer. Murphy is a
massive star now very selective.
Speaker 1 (08:04):
So him coming back even for this Bridge film, it
signals quality control, dedication.
Speaker 2 (08:11):
You'd hope. So it certainly adds weight. But like you said,
is it confidence or is it kind of a safety
net making sure this first big leap for the franchise
lands properly because the film has a lot writing on it.
It needs to reintroduce whoever survived the war, maybe a
much older, more damaged Arthur Ada in some government role perhaps,
and it needs to hand over the story smoothly to
the next generation, setting up that nineteen fifty three scenario.
(08:35):
It needs to show how they held onto power while
Birmingham was being pounded by bombs.
Speaker 1 (08:39):
So the title The Immortal Man, it suggests Tommy or
maybe the Shelby Enterprise itself survives the war against all odds.
Speaker 2 (08:47):
It seems likely that ending where he wrote off, maybe
that was just a pause. He or the family name
endures the ultimate test of.
Speaker 1 (08:54):
The war, setting them up for this new face. Are
they still criminals or have they become legiti corrupt construction magnates.
Speaker 2 (09:02):
Maybe that's the transition the film has to establish. And yeah,
the sequel success really depends on this movie sticking the landing.
Speaker 1 (09:07):
No pressure, right, So let's get to the main course,
the sequel series itself.
Speaker 2 (09:12):
The big one.
Speaker 1 (09:12):
The announcement was clear, straight to series two seasons, six
episodes each twelve hours guaranteed.
Speaker 2 (09:19):
Which is huge, no pilot, just Boom, full commitment BBC
one in the UK, Netflix globally, Kudos and Garrison Drama producing.
Speaker 1 (09:26):
It's a massive vote of confidence. Yeah, and we have
to keep coming back to that time jump because it's
the boldest move they're making, leaping right over the war
past the film setting into nineteen fifty three Britain, and.
Speaker 2 (09:36):
It's just it's a different universe, almost, not the smoky,
grimy nineteen twenties. This is postwar, the welfare state, the
start of the modern era.
Speaker 1 (09:45):
The atmosphere, the look, the politics all.
Speaker 2 (09:48):
Changed, fundamentally changed. Nineteen fifty three Britain is barely recognizable
from nineteen thirty four. Birmingham itself scarred by the Blitz,
over two thousand bombs dropped between forty and forty one. Wow,
fifty three. There's this complex mood. People are exhausted from war,
from rationing, but there's also this kind of austere optimism.
Speaker 1 (10:08):
The services call it okay.
Speaker 2 (10:09):
Hope from the new welfare state, this drive towards modernism.
I think the Festival of Britain in fifty one showcasing technology, rebuilding,
looking forward.
Speaker 1 (10:17):
Okay, I see the contrast. The Festival of Britain is
all planned, clean.
Speaker 2 (10:21):
Utopia, exactly forward looking, and.
Speaker 1 (10:23):
The Shelby's they operate in the cracks, in the shadows,
feeding off the chaots and maybe the corruption or reconstruction.
Speaker 2 (10:29):
Precisely, the old industrial city is becoming this concrete jungle,
brutalist architecture starting to go up, and that clash old
world versus New world seems to be the heart of
the new.
Speaker 1 (10:38):
Conflict, and Knight's logline for the series points right at that,
doesn't it?
Speaker 2 (10:42):
It does very poetic Birmingham building a future out of
concrete and steel, and the plot the core conflict is
described as the race to on Birmingham's massive reconstruction project.
Speaker 1 (10:55):
Wow, okay, so forget fixing horse races. This is about
controlling huge construction.
Speaker 2 (11:00):
Contracts billions potentially in today's money, and he promises this
race becomes a brutal contest of mythical dimensions.
Speaker 1 (11:07):
Right, so the razor blade gets swapped for what the
wrecking ball the dodgy contract.
Speaker 2 (11:12):
Metaphorically, yeah, it means that Shelbys have to be operating
on a whole new level, dealing with city councils, planners,
big engineering.
Speaker 1 (11:20):
Firms, subverting them presumably.
Speaker 2 (11:22):
Or controlling them. It's a shift from street level crime
to systemic corruption, rigging government tenders, controlling supplies.
Speaker 1 (11:29):
So the clash is old school gangsters versus like town
planners and architects.
Speaker 2 (11:36):
That seems to be the tension. Imagine Tommy Shelby or
his successor facing off against a bureaucratic committee. But the
stakes are way higher, controlling the city's infrastructure exactly. It's
not just about illicit gin anymore. It's about black market concrete,
controlling steel supplies as rationing ends, manipulating labor unions, sophisticated,
large scale stuff.
Speaker 1 (11:57):
But does that risk losing the the visceral danger, the
mud and blood fights in the back alleys. Yeah, if
they're just arguing over blueprints.
Speaker 2 (12:06):
That's the tightrope they have to walk. How do you
keep the peaky danger when the setting is boardrooms and
construction sites. Yeah, but the phrase brutal contest suggests the
violence is still there. Maybe it's just corporate violence now.
Higher stakes mean deadlier consequences, sabotage, political maneuvering, maybe using
legit businesses as fronts for darker activities.
Speaker 1 (12:25):
It's a fundamental shift. Though. They were outsiders fighting the system.
Now they're trying to be the.
Speaker 2 (12:30):
System, or at least control it from within. That's a
huge thematic challenge. Night seems ready for. The methods might evolve,
but the ruthlessness remains. Control of a city's future is
a bigger prize than a few streets.
Speaker 1 (12:41):
And what about the wider world. In nineteen fifty three,
the sources mentioned the Cold War.
Speaker 2 (12:45):
Yeah, that shadow hangs over everything. How does that filter
down to a Birmingham construction war. Good question, Well, reconstruction
was about national stability and national security, controlling vital supplies,
strategic industries that could easily attract interest from MI five,
maybe even Soviet intelligence, industrial espionage, perhaps political leverage.
Speaker 1 (13:08):
So a dodgy concrete deal could suddenly have international implications.
Speaker 2 (13:12):
Potentially it adds another layer of high stakes paranoia, which
fits the peaky world perfectly.
Speaker 1 (13:17):
And then that phrase mythical dimensions. What do we think
that means? Is it literal magic? Again? Curses?
Speaker 2 (13:24):
It could be, given the romani mysticism that always threaded
through Tommy's story, Maybe curses prophecies affecting the new generation,
like Tommy's opium visions in season six.
Speaker 1 (13:34):
Or maybe it's more symbolic.
Speaker 2 (13:35):
Possibly maybe the Shelby's become so powerful in rebuilding the
city they start to see themselves or are seen as
these larger than life figures God's remaking the world in
their image. It suggests an operatic scale. The fight for
a building contract isn't just business. It's a battle for
the soul of the city. It keeps that poetic darkness
even amidst the concrete.
Speaker 1 (13:56):
Okay, pulling off something this ambitious it needs serious leadership
behind the.
Speaker 2 (14:01):
Scenes, absolutely, And the good news the sources confirm, is
that the core team is still there, especially Stephen Knight.
Speaker 1 (14:08):
The beating Heart as they call him.
Speaker 2 (14:10):
And he's not just overseeing it. He's writing all twelve
episodes himself.
Speaker 1 (14:14):
Wow. Okay, that's crucial for consistency, keeping that unique voice,
that brutal poetry.
Speaker 2 (14:20):
And his commitment to Birmingham remains fierce. He always says
Birmingham is the.
Speaker 1 (14:24):
Anvil on which the story is forged.
Speaker 2 (14:26):
Yeah, and he's literally putting his money where his mouth is.
Isn't he building that huge dig Bethlock Studio complex in Birmingham.
Speaker 1 (14:33):
The two hundred million dollar hub. That's serious investment back
into the city.
Speaker 2 (14:37):
It shows the commitment to authenticity. Isn't just talk. This
isn't going to be some generic outsource sequel. It feels rooted.
Speaker 1 (14:44):
But the other big name involved, Celine Murphy as an
executive producer.
Speaker 2 (14:48):
Yeah, post Oppenheimer, that's massive.
Speaker 1 (14:51):
His involvement even off screen. Mostly it feels like a
guarantee of quality or at least trying to maintain the
original standard.
Speaker 2 (15:00):
It has to be. It signals he's invested in protecting
the legacy. We might see cameos, maybe him directing an episode,
channeling that deep understanding of Tommy into the new story.
Speaker 1 (15:10):
But let's push on that again. Is his EP role
and maybe cameo. Is it really about quality control or
is it also maybe a smart move to reassure the
hardcore fans, the ones worried that a new cast won't
live up to the original look.
Speaker 2 (15:24):
It's probably both, isn't it. It's smart business and hopefully
a sign of genuine creative involvement. You can't deny his
presence adds huge weight, true, and the structure of the
deal itself BBC and Netflix together that guarantees the financial
clout needed.
Speaker 1 (15:37):
Yeah, the budget rumors are pretty high, north of ten
million per season, which.
Speaker 2 (15:41):
Means they can actually show that transformation of Birmingham from
the nineteen twenty smog to the nineteen fifties reconstruction. It
won't look cheap, right.
Speaker 1 (15:49):
Let's talk characters. They're really exciting bit for fans. The
focus is on a new generation.
Speaker 2 (15:54):
Of Shelby's descendants, grandchildren.
Speaker 1 (15:56):
So the big question is what are they inherent? The
raisers or the briefcases old violence or new corporate.
Speaker 2 (16:05):
Cunning, or maybe a bit of both. The Shelby ambition,
that core ruthlessness, that's probably the constant genetic trait, right
whatever the era.
Speaker 1 (16:12):
So who could be leading the family in nineteen fifty three?
We have to assume Tommy's still around.
Speaker 2 (16:16):
Maybe seems likely. Maybe a grizzled older Tommy pulling strings
from the shadows, dispensing advice connections.
Speaker 1 (16:25):
Yeah, I could see that, But I keep thinking about
Ada Sophie Rundle's.
Speaker 2 (16:28):
Character m h politically savvy, the smartest one.
Speaker 1 (16:32):
Arguably maybe her children, raised during the war are now
the ones in charge. Inherited her brains, but maybe with
more of Tommy's pragmatism.
Speaker 2 (16:40):
That's a really interesting possibility. Or maybe John Shelby's line
comes back, bringing that hot headed enforcer energy to the
new legitimate business.
Speaker 1 (16:47):
Could be It's all speculation, obviously.
Speaker 2 (16:49):
But what's exciting is Knight's track record. He made Silly
and Murphy a star with Peaky. He likes finding new talent.
Speaker 1 (16:55):
True, so maybe not big established names we might get.
Speaker 2 (16:58):
Some, but i'd expect some fresh faces too authentic Birmingham talent.
Hopefully they're keeping the casting super quiet, which just builds
the hype.
Speaker 1 (17:07):
And the fan reaction to the announcement showed that hype didn't.
Speaker 2 (17:09):
It was instant, absolutely explosive. Hashtag Peaky Blinders trending globally
half a million mentions in hours.
Speaker 1 (17:15):
And most fans seemed thrilled seventy eight percent ecstatic, according
to Boles, mostly because Murphy's involved a EP.
Speaker 2 (17:23):
There's definitely hunger for more. The stage is absolutely set, but.
Speaker 1 (17:28):
You can't ignore the other side. The skeptics.
Speaker 2 (17:31):
No, and there are legitimate concerns. Seqel fatigue is real.
People worry it's just stretching the brand too thin.
Speaker 1 (17:38):
And the time jump is the big one. People loved
that WWI grit, the interwar atmosphere. They're asking, where's that gone?
Speaker 2 (17:44):
Yeah, the nineteen fifties is such a clean break. Does
it lose something essential? That's the gamble. That separation from
the original street gang feel is probably the single biggest
creative risk.
Speaker 1 (17:54):
But if they pull it off, if this sequel actually works,
Peaky Blinders becomes something else entirely doesn't it like a
multi generational epiity.
Speaker 2 (18:03):
Yeah. I think it's the Godfather saga, tracing a family's
journey their corruption, maybe across huge societal shifts.
Speaker 1 (18:12):
And the nineteen fifty three setting gives them so much
new stuff to dig into thematically, stuff that really resonates now.
Speaker 2 (18:20):
Definitely, it's a moment of huge change in Britain. You've
got the very beginnings of decolonization happening.
Speaker 1 (18:25):
Right. Could the Shelbys have ties business or criminal to
the end of the Empire, India, the Caribbean.
Speaker 2 (18:32):
It's plausible. Adds a global dimension, and then there's immigration, huge.
Speaker 1 (18:36):
Waves starting in the fifties, right, people coming to cities
like Birmingham to.
Speaker 2 (18:39):
Help rebuild exactly. So if the Shelbies are controlling construction,
controlling labor, they're inevitably going to clash with these new communities.
Speaker 1 (18:46):
Which opens up complex new storylines about race, power, exploitation. Yeah,
way beyond the nineteen nineteen riots.
Speaker 2 (18:52):
It makes the setting feel incredibly relevant, not just historical,
and with Netflix involved, the show moves beyond being just
a UK hit.
Speaker 1 (18:59):
Towards that mythic status like Game of Thrones.
Speaker 2 (19:02):
Potentially you could see conventions merchandise, maybe even those ar apps.
Letting you explore Shelby's Birmingham, the cultural footprint could get
even bigger.
Speaker 1 (19:11):
Okay, but let's be realistic. The risks are massive too.
Bringing back a show after six years, new cast, new era, that's.
Speaker 2 (19:20):
Tricky, very tricky, we keep saying it. But the Immortal
Man has to land perfectly. If that film doesn't bridge
the gap convincingly, the series starts on shaky ground with
the fans and the.
Speaker 1 (19:31):
Core created challenge remains. The shifting to nineteen fifty three,
to concrete and bureaucracy dilute what made Peaky special, That
raw anarchic energy.
Speaker 2 (19:41):
Yeah, the brutalist towers they'll be building, they symbolize a
different kind of power, more corporate, maybe more soulless.
Speaker 1 (19:48):
The Shelbys were compelling because they were rebels fighting the establishment.
What happens when they are the establishment or trying to
be Yeah, rigging concrete contracts.
Speaker 2 (19:56):
It's the central question. Can Night make that compelling? The
sources suggests they I know this risk that the tension
between the old ways and the new corporate world will
be key.
Speaker 1 (20:04):
So if Night finds that magic formula again, that mix
of history, violence, style, and heartbreak.
Speaker 2 (20:10):
Then Peaky Blinders cements itself not just as a great show,
but as a landmark, multi generational saga, redefining what period
TV can do.
Speaker 1 (20:19):
They promised a brutal contest of mythical dimensions. If the
Shelbys are involved, you know it won't be clean.
Speaker 2 (20:25):
So wrapping up this deep dive, the takeaway is clear.
The Shelby story is an over far from it. It's expanding, evolving.
Speaker 1 (20:34):
From those smoky nineteen nineteen canals, that the concrete jungle
of nineteen fifty three. The dynasty finds a way to endure, and.
Speaker 2 (20:42):
That big commitment from Netflix and the BBC, with night
writing and Murphy overseeing it, guarantees a serious continuation of
the legacy.
Speaker 1 (20:50):
The family's changing though, creating the back rooms for boardrooms.
Maybe small crime for big corruption.
Speaker 2 (20:55):
It's a hell of a trajectory. Remember what Tommy Shelby said,
All religion is a foolish answer to a foolish question.
Speaker 1 (21:00):
Yeah, his whole life was a search for an answer
to what power meaning like.
Speaker 2 (21:05):
Which brings us to that final thought for you to
chew on. Tommy wrote off in the finale, seemingly leaving
it all behind existential uncertainty.
Speaker 1 (21:12):
Right right, claiming he was done.
Speaker 2 (21:14):
But if this new generation is fighting tooth and nail
to control the legitimate rebuilding of Birmingham, doesn't that just
prove his point That ambition, whether it's fixing races in
nineteen nineteen or rigging concrete deals in nineteen fifty three,
is maybe just the shell Bey Way their own foolish
answer to that same old question of power.
Speaker 1 (21:33):
So you have to ask yourself, Yeah, when the prize
is that big rebuilding their city, how far will this
new generation really get from the razor's edge? The times change,
the tools change, but does the essential Shelby nature ever
really change?
Speaker 2 (21:45):
We'll have to wait and see by order of the
peaky blinders
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