I have recently completed several seasons of Peaky Blinders, a gangster series set in 1920s Birmingham, based on the real life family The Shelby’s and their illegal betting and black-market trading businesses.
The story is clearly a boys fantasy, while couched in history, the heroes and villains become caricatured and superheroesque and women fall into two broad categories, wives and lovers.
Initially, leading female characters seemed plucky, tough. However they soon devolve into wives with children who hover in the wings, or mothers vigilantly attending their sons. They’re sassy and have their own minor narrative arcs, trysts and adventures however they largely fall into two dimensional supports for the boys.
To be faithful to bygone days, women did not have the rights and agency of men to run businesses, bear weapons, own property or take a professional career, nor do they have the physical strength to engage in fisty-cuffs as typified in gangster sagas. What is sorely missing is not girl-versions of boy gangsters, but females with rich, varied and nuanced existences, intellect, entrepreneurship, humour, allure, mendacity and creativity of their own.
Thomas Shelby, the gang leader, is a male fantasy. Women throw themselves at him one after the other, while men either love him or want to kill him [and even the ones who want him dead will happily collaborate with such a decent foe].
What presents as a nuanced period piece, the 1920’s world brought to life amidst IRA tensions, a young Winston Churchill in office, ethnic gang wars between gypsy travelers, Italian mafia and Jewish business empires, an wider back drop of the dying and corrupt Russian Empire, the early stirrings of communism and of a second World War, becomes a disappointing two dimensional fantasy of bad boys gone badder, rolling in money, cocaine and power, breaking all the rules except the code of brotherhood and seeing foes and beautiful women falling in front of them with ease.
There is not one woman in the series who is not oriented to the men as lover, mother, wife or more crudely, an object of desire. No strong character, weak character, evil character or good redeeming character has any other place in the narrative except as part of the family or as a side interest. And this where good writing falls down.