On the floor of Alfie Solomon’s Margate apartment is a tiled mosaic of the word “Lethe”, the river of oblivion in Hades, the underworld in Greek mythology. It was requested by director Anthony Byrne to symbolise Alfie’s otherworldly status as a character who sort of returned from the dead (after being shot by Tommy at the end of series four). Looking for a way to bring a little bit of the Peaky Blinders into your everyday life? Look no further than this hip flask and shooters set by GB Eye! With a sleek metal flask and two stainless steel glasses, it's the perfect way to feel like you're a part of the Shelby family, even if you're not running a criminal empire.

Cillian [Murphy] likes a busy desk because he likes to work with props and he always likes to be doing something,” says Mead. “He’ll always be smoking, obviously, but he’ll also always be reading something or touching something or putting something away and under all of it you will find books.” ‘Nowhere to escape from his own mind’

The sign for W. Northridge and Son Builders seen in the exterior of the Shelby Co. office is a tribute to the production designer’s father, a builder by trade. Image credit: Nicole Northridge In addition, most advertising networks offer you a way to opt out of targeted advertising. If you would like to find out more information, please visit http://www.aboutads.info/choices/or http://www.youronlinechoices.com.

In the script, Aberama Gold was supposed to crash through the roof of the Chinatown house in the series opener, but the location was a National Heritage property and they couldn’t make serious alterations. Instead, a lathe and plaster wall was built for Aberama to burst through – actor Aiden Gillen nailed it on the first take. Also incorporated into the stained glass design on the Tavern windows is a rising sun bursting with rays. “One, it’s the 1920s, we’re into the deco period,” says Northridge, “but it’s also the rising sun and rays of hope.” The ‘A. Byrne Grocer’ shop sign glimpsed outside Bingley Hall in the finale is a nod to director Anthony Byrne. On Tommy’s desk at his stately home is a golden eagle inkstand flanked by two golden lions, each selected, explains set decorator Jonnie Mead, to represent Tommy’s leadership and power. “He’s being challenged by everyone, by the family and those outside of the family who he fears want to take his crown, so consequently he wants these markers that say ‘I am in charge, I’m the boss. While these things stay on his desk, he is the guy you do not challenge.’ ‘…an act of love’

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Sometimes, Glazebrook continues, necessity was the mother of invention. At the climax of series one, Knight had written a big action set-piece between the Peaky Blinders and racecourse king Billy Kimber’s gang. “There was going to be a huge gun fight and we just didn’t think we were going to be able to achieve it. Rather than do things in a half-arsed way, it’s better to do fewer things really well than to do lots of stuff badly, so we said to Steve we don’t think was can have a huge gun fight.” The swan was the motif for Grace this year,” she explains. It represents Grace’s purity and elegance, and its repeated appearances across the series reflect the way the Grace is continually playing on Tommy’s mind. “Grace is calling him home, saying. ‘Come and be with me’. It’s pretty chilling with the swan being such a beautiful, iconic animal, that it’s a metaphor for Grace and Tommy’s suicidal thoughts.” ‘The stained glass is a connection to Tommy’s regiment’ On the chalkboard behind Finn in his Small Heath office are written the names of race horses, many of which have narrative significance. One is ‘Golden Brown’, a reference to the family’s opium deal this series.

Arthur’s reluctance to embrace change and modernity is reflected in his home. Despite having a new house for series five, fans will spot the same crucifixes, photos and pictures that he’s had on show for years. “He’s not about moving forward,” says Mead. “He still wants to hold onto the Shelbys as they were.” A real swan was also filmed but later cut from the episode four scene in which Tommy stands on the bridge over the canal contemplating suicide, and has a vision of The January coal barge bearing the half-buried corpse of his dead wife Grace. “We had a swan who swam under the bridge for real with an animal wrangler and then the barge came under with Grace in it. There’s a little clip that’s missing,” says production designer Nicole Northridge. Within the UK and USA the price you see is the price you pay - you won't be charged any extra fees. The dramatic, abstract lighting in the Commons Chamber set at the Houses of Parliament was in part a nod to Joe Wright’s Darkest Hour film about Churchill in WWII, and partly a canny budget save to avoid building more of the set than would be seen. The positioning of the Shelby men’s portraits in the company boardroom is significant as a visual demonstration of Tommy’s power over, and in series five, distance from, Arthur and Michael.You only have to look at the skyline to see that. Instead of the CGI set extension faithfully recreating what real canal-side inner city Birmingham would have looked like with an historian’s accuracy, director Bathurst chose impact. Bigger. Higher. More impressive. His reference points weren’t archive maps, but Blade Runner and Judge Dredd’s Mega-City One. While mirrors were used in connection with Oswald Mosley’s character to reflect his extreme narcissism, for Tommy Shelby they meant something else. In the Bingley Hall dressing room, Tommy was reflected on both sides, creating a hall of mirrors effect says Northridge. “It’s so he can’t escape his own mind,” explains Northridge. “It’s just confusion and chaos, which is why we wanted that layering of reflections going on for infinity. He’s finally met the man he can’t defeat – or understand – and it’s himself.” Peaky series five Easter Eggs and Trivia