These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
YMMV: Peaky Blinders
Awesome Music: Every single episode has some of the best music ever used on television.
Starting, of course, with the title track, Nick Cave's "Red Right Hand".
The Shelbys' beatdown of the Lees, set to the Raconteurs' "Blue Veins".
Arthur and John leading the Peaky Blinders' raid on Cheltenham to the White Stripes cover of "St. James Infirmary".
Campbell raiding the Shelbys' cache of illegal booze to the Raconteurs' "Broken Boy Soldier".
The use of Tom Waits' "Time" over a heartwrenching montage of Arthur attempting to hang himself.
The montage of a happy, prosperous Shelby family in 1.05, set to Nick Cave's "Bring It On".
The Peaky Blinders' badass Power Walk down the streets of Birmingham to Dan Auerbach's "The Prowl".
The final montage of the season, showing the Shelbys celebrating their hard-fought victory and Tommy deliberating over the choice Grace has extended to him, set to Jack White's cover of "Love is Blindness".
Jerkass Woobie: Arthur, who starts off as more Jerkass and ends up more Woobie.
Moral Event Horizon: Campbell's Jack Bauer Interrogation Technique and frequent raids on the Bolsheviks should have been our clue that however upstanding he may act, he's actually a despicable person. He really outdoes himself in episode four, threatening Tommy that he'll bash him and his brothers' heads in, kill Ada and her unborn baby, and throw Finn into prison with child molesters, all in the most affable voice imaginable. And tops that by allowing Chapman, Freddie's Bolshevik superior, to be severely tortured and die in police custody.
The slo-mo scene where the Shelby boys curb-stomp the Lees is unnerving, with the silent screams and shouts of the men and only the soundtrack playing.
Something is really not quite right with the one IRA sympathizer Tommy meets with, screaming an IRA song in the Garrison and looking as if he might break the whisky bottle over Tommy's head. Not to mention being suicidal enough to threaten a notorious gang leader in his own pub.
Polly's speech to Ada in 1.02, is just heartbreaking:
The longer you leave it, the worse it gets. Believe me, I know. I was sixteen, and I didn't dare tell anyone. In the end, I did it myself . . . I did it to myself, and I almost died. He didn't come back. They don't, why should they? You know the words. You're a 'whore', your baby's a 'bastard'. But there's no word for the man who doesn't come back. One day, on your wedding day, you'll have a good man on your arm and you'll say 'Polly, thank you. For common sense'. The woman's in Cardiff. We'll take the train tomorrow. Go to the castle afterwards for a treat.
Arthur breaking down in the church, angry and depressed and frustrated that he's being frozen out from the family. He doesn't know about Ada marrying Freddie or the stolen guns from the BSA.
The scene where Danny reports in to Tommy as if Tommy's still his commanding officer, calling himself "Private Whiz-Bang" and Tommy "Sargeant Major". Danny is already tragic enough, with his PTSD attacks, but even he notices the way Tommy's growing detatched from everything but business, and how he's become an opium addict. When confronted with this, Tommy reveals the real reason he's been using opium - to drown out the war flashbacks of the time they tunneled into a German safehouse, and how if he doesn't, he starts hearing tunneling in his bedroom wall.
Freddie being arrested just as he's held his son for the first time, and Polly attacking Tommy, believing he's broken his word to the family.
Arthur losing all faith in his father, seeing him for the two-bit con artist he is, and being humiliated by Senior, beaten down and conned out of 500 pounds. He goes to the boxing gym he and his father had previously bonded in, drunk and screaming for someone to fight him, and when he's left alone by the disgusted patrons, attempts to hang himself. Set to Tom Waits' "Time", which is heartbreaking all on its own.
Polly does it again in the finale, telling Ada about the children that were taken from her twenty years ago.
They took my children from me. They never told me where they took them. They did it because they could, and because I was weak. They will *never* take your baby from you, and do you want to know why? Because Tommy won't let them. Tommy won't let them walk all over us.
Tommy believing Grace is upset and talking about leaving him because she thinks he's not respectable enough and won't have a good life with him. She's heartbroken because she's fallen in love with him and knows her betrayal is likely to result in his death.
"To Danny Whizzbang. May we all live long enough to die twice."
Campbell's entrance into Birmingham - between the overwrought screaming and assorted vice going on out in the open, you almost expect to hear the cab driver tell Campbell he'll never find "a more wretched hive of scum and villainy".
Danny being taken down a long, subterranean tunnel after Tommy fakes his death by a mysterious boatman.
The opera that Grace meets Campbell at is Tosca, whose plot parallels several elements of the real story. The scene that specifically plays as Grace agrees to be a honey trap for Tommy is Scarpia (the corrupt policeman) seducing Tosca (the innocent singer), as well as the scene where Tosca turns on Scarpia, stabbing him to death for his crimes against her lover.