Zanny Evelegh

This excerpt is taken from the second section of the final chapter of the thesis, it draws parallels between the content of Peaky Blinders’ (2013) interpretation of the gangster myth and contemporary regressive masculine sentiments.

Nostalgic Masculinities:

The ‘Peaky’ interpretation of the gangster myth is relevant to deeper issues of shifting gender structures and beliefs, and a growing feeling of the loss of traditional masculine dominance. This has occurred as a result of mainstream feminist discussions, dismantling of destructive gender norms, and LGBTQ+ support and celebration. The series and its hyper-accessible dress can act as a powerful tool for certain mythic consumers who want comfort and stability in terms of their masculine identity, or who want a more active reinforcement of their traditionally defined masculinity.

During a love scene in Season Five, ‘Tommy’ (Cillian Murphy) says to his wife ‘Lizzy’ (Natasha O’Keefe); ‘You belong to me, my property. No one touches my property’ [1]. The notion of a wife as property relates to a historic feature in women’s inequality; coverture (legislation that resulted in a woman’s legal existence evaporating when she became married). This law was being broken down from 1870 in Britain, almost 60 years prior to the 1929 setting of this season, leading one to wonder why this strange fantasy was included in the dialogue. Larke-Walsh argues that the constant reminders of their valiant military service and its damaging mental health effects are used to explain and excuse the sexist behaviour of the ‘Peaky’ gang [2]. Discussions have been held regarding nostalgic portrayals of the pre-second wave feminist epoch through the series Mad Men (2007-2015) [3]. However, it is Peaky Blinders’ excused sexism that reflects an outcry of men who feel under attack by recent global feminist discussions concerning the unequal and abusive treatment of women by men [4]. This has been sparked by movements like Me Too (2016) and Time’s Up (2018). Certain male celebrities such as William H. Macy even stated ‘It’s hard to be a man these days’ [5]. The masculinity that the show depicts, and the constant demolition of female strength alongside the advancement of men, act as an idealised world for certain mythic consumers, where accusations and punishments of sexual misconduct and regressive behaviour are scarce.

The series also includes more blatant affronts to feminism, in the portrayal of Jessie Eden. An iconic proto-feminist and socialist activist, Eden fought for ‘women and social justice her whole life,’ [6]. The series skims over her numerous achievements and more insultingly, portrays her as Tommy’s’ (Cillian Murphy) love interest. This not only slights her socialist politics (as she is seduced by a wealth-driven gangster) but also her feminist history. Additionally, her portrayal continues the idea that the gangster is irresistible to women, amplified here with a woman who even actively rejects their ethos and politics. Like the interwar period, popularity of mythic engagement can be attributed to current threats to traditionally defined masculine identities. However, today’s threats, particularly in terms of feminism, are clear and direct attacks on harmful notions of manhood and gender hierarchies, unlike the mostly indirect interwar threats. Kimmel discusses the prevalence of ‘men’s rights’ groups today, and their fear of a future where ‘a male-hating feminist establishment,’ will be in control [7]. However, this hatred and fear exist in the mainstream too. Music and culture platform, GRMDAILY, with over 2 million Instagram followers, promoted an article from their site titled ‘Survey finds 97% of young women in the UK have been sexually harassed’ [8]. The comment section, before being deactivated, saw statements from men like: ‘55% of them was probably lying’, ‘But when is it just being too sensitive?’, ‘C’mon lads, we can do better and raise it to 100%!’, and ‘All about women these days innit’' [9]. One could link this mainstream traditional masculine hatred of feminism to mythic engagement and usage of the gangster myth through dress today, arguing that it is more potently charged and active. The Peakys' continuation of the myth, definitive anti-feminist content, and accessibility of the 'look', present the perfect opportunity for certain mythic consumers, enabling them to vigorously promote this feeling of traditional masculine resistance towards feminism.

The ‘Peaky’ look, in its entirety, eliminates some of the more feminine aspects of the established gangster look. As mentioned previously, the look strays away from the fluid elegance of the Neapolitan cut suits of the established gangster myth style, and there is a lack of more sensuous aspects like silk pyjamas (the ‘Peakys’, in a state of undress, are only seen wearing white boxer shorts). Also, accessories like boutonnieres, used in abundance in previous filmic portrayals to promote the gangster’s sense of exuberant stylish flair, are only seen worn at weddings. Intensifying the more masculine aspects of the look, combined with elements like the haircut and weaponised hat, contrasts much of the present day breaking down of restrictive sartorial masculine gender norms in popular culture. This is being championed by celebrities like Billy Porter and Lil Nas X, or non-binary activists like Ezra Miller. Thus the ‘Peaky’ look not only reflects a time when gender boundaries were distinct and enforced, it also shows an amplified version of this gendered dress. Mythic consumers, who reject or feel threatened by genderfluidity, and shifting gender norms, can therefore use the ‘Peaky’ look as a clear signifier that they are definitively masculine, and belong to a very specific type of masculinity.

    Across the five seasons aired, there is one openly gay character, ‘James’ (Josh O’Conner), whose involvement in the show lasts for a grand total of 2 minutes and 31 seconds. ‘Tommy’ (Cillian Murphy) is shown to be accepting of his homosexuality. However, this comes off more as a positive characteristic of ‘Tommy’s’ rather than actual support of ‘James’. This performative support is made more obvious later, when ‘Tommy’ uses him as a decoy to trick ‘Alfie Solomons’ (Tom Hardy) into a beneficial business deal. Additionally, the muted, and hyper-masculinised nature of the ‘Peakys’’ version of the gangster look, as mentioned earlier, and the sombre colouration of the cinematographic features are the antithesis of the often exuberant and polychromatic imagery that proudly symbolises the LGBTQ+ community, such as the iconic ‘Pride’ flag (Fig.3.11). Feminist discussions concerning masculinities have noted that the fear of homosexuality amongst homosocial relationships is a ‘central organizing principle,’ of archaic notions of manhood [10]. Thus, as sections of culture, like television, begin to produce narratives that focus on support and celebration of Queer communities, such as Pose (2018-2021), or It’s a Sin (2021), it could be perceived as an attack on the very defining features of traditional masculinity. Peaky Blinders (2013-) may not project clear homophobic sentiments, and some mythic consumers may not actively perpetuate hate of Queer communities, as Kimmel mentions, fear of homosexuality can exist unintentionally in heterosexual men [11]. However, the series, combined with the established gangster myth, reinforce, and provide a nostalgic, safely heteronormative masculine environment. Some mythic consumers can either feel a sense of reassurance of their traditional masculinity, subconsciously through the ‘Peaky’ look, or they can use it to actively promote their possession of this regressive masculine identity.

    Peaky Blinders (2013-) has gained mainstream popularity; with 6.2 million viewers watching the first episode of Season Five [12], and 78% of the respondents in the thesis questionnaire, who had watched the series, confirming that they were fans (see Appendix One). One could argue that because of this mainstream popularity, the original message of the gangster myth has been lost in this portrayal, particularly considering the ‘Peakys’’ British setting, as its origins were so pertinent to the North American, interwar context [13], it transcends time and place because it naturalises history [14]. Moreover, the myth’s message is supported by traditional and established modes of masculinity (success, violence, dominance) that remain relevant in today’s patriarchal society. As well as this the myth reflects the system of hegemonic masculinity that continues to maintain power [15]. However, the danger of Peaky Blinders (2013-) in particular, is not only its encapsulation of the factors mentioned above, but also its reinforcement and idealisation of such regressive gender sentiments. As well as the capacity for this masculinity to be accessed and then used so easily through its masterful interpretation of the established gangster look. One could even argue that because myth relies on a ‘semiological chain which existed before it,’ [16], the gangster today is a rich, rounded, and well-known idea. Filled with material, it is reinforced by its past rather than hindered by it.

     The Legitimate Peaky Blinders Festival in Birmingham, 2019, drew approximately 20,000 visitors, comprised mainly of British, cishet men. Punters came in ‘Peaky’ dress, and revelled in the staged brawls, and immersive re-enactment experiences (Fig.3.12). This unique event shows how the gangster myth, and its harmful masculinity, are alive and well today, and how they have been so perfectly sustained through Peaky Blinders’ (2013-) portrayal. 

[1]. ‘Strategy’ (2019) Peaky Blinders (2013-), Season Five, Episode Three. BBC One, 1 September 2019, 21:00.

[2]. Larke-Walsh, G. S. (2019) ‘’The King’s Shilling’: How Peaky Blinders uses the experience of war to justify and celebrate toxic masculinity’, Journal of Popular Television, Vol.7, NO.1, pp.39-56, 1 March 2019.

[3]. Willson Hollday, H. (2016) ‘How far we’ve come? Nostalgia and post-feminism in Mad Men’, Participations: Journal of Audience & Reception Studies, Vol.13, Iss.2, November 2016.

[4]. Bola, J.J. (2019) Mask Off: Masculinity Redefined. London: Pluto Press.

[5]. Krattenmaker, T. (2018) ‘Yes, it's hard to be a man in the #MeToo #TimesUp era. And it should be.’, USA Today Opinion, 29 January 2018.

[6]. Hokin, C. (2018) ‘Jessie Eden: Working Class Hero’, Historia, 7 February 2018.

[7]. Kimmel, M. (2019) Angry White Men: American Masculinity and the End of an Era. New York: Bold Type Books.

[8]. GRMDAILY (2021) ‘In a YouGov questionnaire, which was carried out by UN Women UK, 97% of women aged 18-24 said they had been subjected to sexual harassment’, [Instagram], 10 March 2021.

[9]. GRMDAILY (2021) ‘In a YouGov questionnaire, which was carried out by UN Women UK, 97% of women aged 18-24 said they had been subjected to sexual harassment’, [Instagram], 10 March 2021.

[10] Kimmel, M., Sawyer, J., Stoltenberg, J. (2004) Feminism & Masculinities. Edited by Murphy, P.F. Oxford: Oxford University Press.

[11] Kimmel, M., Sawyer, J., Stoltenberg, J. (2004) Feminism & Masculinities. Edited by Murphy, P.F. Oxford: Oxford University Press.

[12] Bond, K. (2019) ‘Peaky Blinders gets its highest audience figures ever’, Radio Times, 3 September 2019. Available at: https://www.radiotimes.com/tv/drama/peaky-blinders-gets-its-highest-audience-figures-ever/.

[13] Lévi-Strauss, C. (1978) Myth and Meaning. London: Kegan Paul and Routledge. 

[14] Barthes, R. (1957) Mythologies. London: Vintage Classics.

[15] Bola, J.J. (2019) Mask Off: Masculinity Redefined. London: Pluto Press.

[16] Barthes, R. (1957) Mythologies. London: Vintage Classics.