BBC’s blind faith in Knight
The BBC has ordered two more series of Steven Knight’s gangster series Peaky Blinders, which is set in 1920s Birmingham in the UK. The show is currently four episodes into season three, which means it will now run for at least five seasons – though Knight has expressed a desire to keep going long after that.
Like the first three seasons, the new commissions will both consist of six hour-long episodes, which means a total of 30 hours of TV.
Caryn Mandabach, executive producer of the show for Caryn Mandabach Productions, said: “It’s a fantastic vote of confidence in the show and Steven Knight’s writing that the BBC has ordered two more series following the first episode’s overnight figures. We’re proud of, and grateful for, the BBC’s support of the show.”
Will Gould, who also works on the show as an exec producer for Tiger Aspect, added: “Peaky has become a global hit. Steve’s vision resonates with audiences the world over, and what a privilege it is that we get to make more.”
Knight, who will continue to write all episodes, said: “I am thrilled at the response to the third season. The prospect of writing season four and five is truly exciting. This is a real passion project for me, and I look forward to telling more stories of the Shelby family.”
To be completely frank, the audience for season three of Peaky Blinders hasn’t been massive. It opened with 2.95 million (BARB) for episode one and then dropped to 2.43 million for episode two. So it’s not in the same league as BBC2’s Line of Duty (circa five million) or Channel 4’s Humans, which hit six million last June.
A possible reason for the modest audience is the show’s graphic violence, which won’t be to everyone’s taste. Another is the esoteric nature of the season three plot, which revolves around the fallout from the Russian Revolution (angry White Russian exiles and so on).
But judging Peaky Blinders solely on the basis of its ratings would be a bit like castigating a Man Booker Prize winner for not muscling JK Rowling off the fiction best-seller list. The fact is that Peaky Blinders is superb – comparable to the best scripted series coming out of the UK, US, Nordics, Spain, Israel and elsewhere.
IMDb ratings back this up. The first episode of season three, which was slightly meandering, only managed 8.8. But the show really kicked into gear after that, with its IMDb rating jumping to a very impressive 9.5 by episode four. Critics are also pretty unanimous in their approval, with the Daily Express going so far as to call Knight’s show “this generation’s Godfather.”
The beauty of Knight’s formula is the way he plays different interest groups off against each other, blurring the line between criminality and legality, gangsters and establishment. The result of his complex plotting is that central character Tom Shelby is constantly saved from what looks like certain death by individuals or organisations that suddenly find they have a use for him.
Alongside the sophistication of Knight’s writing, the show is beautifully directed (by Tim Mielants in season three) and, of course, superbly acted. Cillian Murphy, as Tommy Shelby, is delivering a performance that, by this week’s episode four, is similar to the standards set by Bryan Cranston as Walter White in Breaking Bad. And Paul Anderson, as his brother Arthur, grows in stature with every season.
Murphy’s comment on the new commission is that: “Tommy Shelby is one of the most intense, challenging characters I’ve had the opportunity to play. I’m particularly grateful that Steven’s original, dynamic writing and the longform series allow me to explore Tommy in depth. I look forward to Tommy’s evolution over the next two chapters.”
Peaky Blinders’ graphic violence (Tarantino-like in its intensity at times) inevitably limits the kind of channels/slots where it can air. But as Gould says, the show has established a solid fanbase around the world. Netflix in the US, for example, will offer season three from May 31. And Arte in France has also aired the show. Peaky is distributed by Endemol Shine International, which will be pleased that it can now go to the global market with 30 episodes.
Another quality show in the news this week is FX’s Cold War spy drama The Americans, which has also been given a new two-season order. The difference with this one, however, is that these two seasons will be the last, with The Americans ending in 2018 after six seasons. Season five will have 13 episodes and season six will have 10, bringing the total volume to a very respectable 75.
“Through its first four seasons, critics have lauded The Americans as one of the best shows on television and, remarkably, a series that keeps getting better every year,” said FX original programming president Eric Schrier.
“All credit for that achievement goes to everyone who has worked on the show, and especially co-showrunners Joe Weisberg and Joel Fields, (executive producer) Graham Yost, our brilliant stars Keri Russell, Matthew Rhys, Noah Emmerich, Allison Wright, Holly Taylor and Annet Mahendru, and the ensemble cast for their incomparable performances. We have no doubt that this two-season order will allow Joe and Joel to tell this story to its perfect conclusion.”
Again, the show isn’t what you’d call a ratings hit. Season four is currently averaging around 930,000, which is down a little on season three. And it rates lower than a number of other FX shows, including The Bastard Executioner, which was cancelled after one season despite having a higher audience and better 18-49 demo.
Nevertheless, The Americans is a good show for FX because it attracts critical acclaim and gets a fair share of award wins and nominations – all useful for a cable subscription service. It has also had a decent life internationally, airing on Network Ten Australia, FX Canada, RTE Ireland and ITV/ITV Encore in the UK.
For Weisberg and Fields, there is no particular downside to the show ending, because they have also signed a new overall deal with FX Productions to develop their next scripted series.
Meanwhile, AMC’s latest new show, Preacher, has got off to a good start, with episode one securing an audience of 2.38 million. This puts it at number four on the channel behind The Walking Dead, Fear The Walking Dead and Into the Badlands.
Preacher was helped by being scheduled after FTWD – so episode two will be an important benchmark for the show. But it could shed a significant amount of viewers and still be regarded as a hit by AMC.
By contrast, six-part espionage drama The Night Manager has just ended its run on AMC with a modest 790,000 average audience. It picked up slightly for the last episode but made nowhere near the impact it had on British television. This is a bit of a surprise considering that lead actor Hugh Laurie has a good profile in the US with his long-running lead role in House. However, it may indicate that the show wasn’t right for AMC.
One programme that has had an abject first season is CBS’s movie adaptation Rush Hour. Just eight episodes in, the show is delivering around four million viewers and has already been cancelled.