Ivan Radford | On 23, Feb 2025

“This may be the bottom of the barrel. But we are going to float elegantly all the way to the top.” Those are words of Mary Carr (Erin Doherty) in A Thousand Blows, a period boxing drama that makes the words “period boxing drama” far more thrilling than you might expect.

From Peaky Blinders creator Steven Knight, it’s a late-Victorian romp through the gruff streets of London, where power and respect are won in the ring – boxing gloves or no. King of the ring so far is Sugar Goodson (Stephen Graham), who takes on newcomers for cash with the help of a complicit referee, played with lively oomph by Daniel Mays. But into this world swaggers Hezekiah Moscow (Malachi Kirby), who has just moved to London from Jamaica with his friend, Alec. Neither has a penny to his name, but each is willing to step up to make a living and a future for themselves – and Hezekiah swiftly learns that it’s a fight in more ways than one.

So far, so richly conceived: Knight plonks us in London at a time when it really is survival of the fittest, as the industrialisation of the city means that society is far from equal, and the only way to carve out a piece of it is to make sure someone else doesn’t get theirs. It’s a battle to knock out your opponents in every arena, and A Thousand Blows finds its impact in the myriad brutal punches thrown by bullies, aggressors and abusers – prejudices and exploiters are rife, making for a melting pot of cruelty.

Stephen Graham is brilliant as the bloodied brawler Sugar, not just because he’s intimidating, but because he lets us see the fear under the fierce surface – Graham’s growling hatred is fuelled by a worry that he’s about to lose his place and purpose, a human truth that resonates today a thousand times over. Malachi Kirby, who shone recently in Small Axe: Mangrove – but has impressed in everything from Curfew and Roots to Black Mirror – is a joy to see in such a prominent star role. He oozes confidence as the up-and-comer with smarts and strength, who more than anything knows his own worth. With that certainty about his identity, he is able to be compassionate as well as physically strong – you immediately want to root for him.

But this is only half of A Thousand Blows’ story: the other comes roaring to life in the hands of Erin Doherty. She’s magnetic as Mary Carr, the leader of the Forty Elephants – a real-life all-female gang who tore through London with all the wits and wiles of a Dickensian villain. Doherty’s Mary is cautious and bold at the same time, capable of smash-and-grab robbery and plots much more ambitious, while also moving every man in the East End like pawns in a game of promises, payments and blackmail.

She spies in Hezekiah both a fellow grifter and an opportunity to take advantage of, and part of the fun lies in trying to find the line between her sincere affection and pretend attraction – although really, you suspect they blur together as much for her as for us. Tough but tender in ways that can still be harsh, she elevates a story about violent men into a political and social web of playing field levellers.

Tinge Krishnan and Nick Murphy direct the opening episodes with verve and a visceral taste of fist hitting face. Together with the cracking cast and delicious dialogue, the result is a romp packed with the drive of underdogs desperate and determined to even the odds against them. Will it be elegant? No. Will they float to the top? You wouldn’t bet against it. Say hello to your new favourite British costume drama.

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