The Peaky Blinders creator may still be best known for that global mega-hit of a series, which also has a sequel film on the way, but he has in no way been idle since it came to an end.
However, no matter how good some of those shows have been, and how close they have come to glory, few would argue that he has ever quite reached the peak of Peaky - but with his new venture, House of Guinness, he gets as close as may be possible.
Based on an original concept by real-life heiress Ivana Lowell, it picks up with four siblings and members of the Guinness family after their father, patriarch and in many ways icon, Sir Benjamin Guinness, dies.
Meanwhile, his daughter Anne is left only a nominal sum, as she is expected to live off her husband's wealth, and his son Benjamin, who has had troubles with alcoholism, is also left out in the cold.
The series goes on to chart their lives following this point - their business endeavours, their romantic pursuits, their ventures into politics and their own familial bonds.
Rafferty, the best character of the lot, is perhaps the biggest example of why this show works - because it isn't afraid to get a bit silly.
Within that though is the ability for the show to have a twinkle in its eye, a cheekiness and a sense of play that Rafferty personifies.
Knight loves to mythologise characters. We saw it with Tommy Shelby in Peaky and with Paddy Mayne in SAS Rogue Heroes. Here it's front and centre. As seen in the trailer, in the first few minutes we have Rafferty being asked whether there will be trouble at Sir Benjamin's funeral, to which he exclaims: "The man's name is Guinness - of course there'll be f**king trouble!"
He treads the line perfectly between being too serious and a little dour, and being so flippant as to ruin any buy-in the viewers have for the characters and their struggles. It makes the show utterly engrossing and, above all, really good fun.
There are time-jumps peppered throughout the run, and occasionally a big event will come along that in one way moves things forward, but in other ways halts progress or throws a curveball. This makes the actual narrative, the forward momentum of the plot, the weakest aspect of the series, and at times frustrating.
Thankfully, it really is little matter in the grand scheme of things, because the show is so heavily bolstered by some exquisite character work and phenomenal performances.
However, that's not to sell any of the others short. Anthony Boyle continues his hugely impressive run of turning in winning performances, bringing us a character who is in many ways utterly frustrating, yet who still wins our affections.
From Emily Fairn to Fionn O'Shea, Danielle Galligan to Jack Gleeson, everyone is really inhabiting their characters and all of them are given their time to shine, even if Arthur and Edward do account for the bulk of the prominent story beats.
Beyond the specific details of the Guinness family's past, which may not be the biggest draw for even some of the more insatiable history buffs, the show's exploration of wider Irish politics and society at the time is worth watching for alone.
Not only does it provide more context for the lives of our central characters, but vice versa - we understand the implications of the family's actions far more because their effects are being felt by others that we care about.
All of this serves to make the world feel lived in and expansive, which helps to validate its potential future. Even if the well runs dry about specific stories from the Guinness archives, just revisiting this tale of Irish history and these versions of the characters will feel enticing enough for most viewers.
Unfortunately for the latter group, that's not what they're going to get here. This isn't a show for those looking for a classic period drama - instead, it's a jolt to the system, a stylistic rush of colour, excitement and, yes, plenty of modern Irish rap.
In many ways, the writer is playing the hits, doing everything he does best and simply slapping a Guinness label on it. It turns out, though, that's really not such a bad thing.
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