Lisa McGee, the brilliant mind behind ‘Derry Girls,’ often describes her inspiration with the intrigue of a ghost story. Returning to her roots in Derry, Northern Ireland, during her previous show’s international success, she found herself exploring her old, abandoned primary school convent. The experience was surreal – stepping into halls frozen in time, discovering forgotten scarves, and seeing blackboards still etched with chalk, all draped in creeping vines. It felt as though the students had simply vanished one day.
She vividly recalled a powerful sensation: ‘I just had this feeling, ‘I’m going to bump into schoolgirl me.’’ In a moment perfectly suited for a ‘Derry Girls’ script, this poignant reflection was hilariously cut short by a nun, who promptly chided her for trespassing.
These very convent ruins, years later, serve as a pivotal setting for McGee’s new venture, ‘How to Get to Heaven From Belfast.’ This eccentric murder mystery is set to premiere on Netflix this Thursday. The series introduces us to three millennial women – Robyn, Saoirse, and Dara – who were inseparable childhood friends. Their bond is rekindled as they embark on an investigation into the mysterious, premature death of their estranged fourth companion, Greta. Over eight dynamic episodes, this quirky trio navigates a myriad of bizarre challenges and encounters colorful characters, all while confronting a profound, universal question: what obligations do we carry towards our past selves?
An image shows Caoilfhionn Dunne, Roisin Gallagher, and Sinead Keenan, who portray the three central protagonists in ‘How to Get to Heaven From Belfast.’ (Credit: Christopher Barr/Netflix)
McGee, 45, who grew up captivated by American sitcoms and classic murder mysteries, shared her vision: ‘I really wanted to do our ‘Murder, She Wrote’ kind of thing.’ She added, ‘I’ve always wanted to do that and do it kind of our way, here — and with three women who aren’t good at it.’” This line immediately highlights the show’s comedic angle.
An image shows Lisa McGee during a preview event for ‘How to Get to Heaven from Belfast.’ (Credit: Hoda Davaine/Getty Images for BAFTA)
Many outside observers often associate Belfast with a somber history of car bombs, sectarian unrest, and ‘the Troubles’—the decades-long conflict that has largely shaped the international perception of Northern Ireland. However, McGee deliberately avoids simply replicating her successful, Troubles-centric ‘Derry Girls’ formula with this new series.
Instead, ‘How to Get to Heaven From Belfast’ presents a defiantly contemporary vision. It’s a clear statement from McGee and her team, urging audiences to see Ireland not as a romanticized relic or a faraway ancestral land, but as a vibrant, complex, and still-evolving place, much like any other.
While acknowledging that ‘there can’t be any really complete separation’ from the enduring legacy of the conflict, McGee emphasized, ‘There’s other stories to tell here as well, particularly with female characters.’ This highlights her commitment to broader narratives.
An image shows the three millennial women – Robyn, Saoirse, and Dara – who reunite to investigate the unexpected death of their estranged fourth friend, Greta. (Credit: Netflix)
Furthermore, ‘How to Get to Heaven From Belfast’ actively dismantles tired Irish stereotypes. The characters are refreshingly diverse in terms of race and sexual orientation, and viewers will find a notable absence of flat caps, tweed, or excessive Guinness. Even a solitary St. Patrick’s Day celebration is portrayed as more of an inconvenience than a joyous event. References to the Irish Republican Army, or ‘the ’Ra,’ are few and far between, but when they do appear, they land with brilliant comedic timing.
The lingering shadow of the conflict is cleverly woven into the show through contemporary absurdities, a hallmark of McGee’s masterful storytelling. Some of her sharpest comedic moments highlight the utterly mundane, yet maddening, irritations faced by residents of a region that is simultaneously two countries and one divided, depending on perspective. A perfect example is Sinéad Keenan’s character, Robyn, lamenting after inadvertently crossing the border into the Republic of Ireland, ‘Damn it, I forgot my euro purse.’”
A particularly poignant scene showcases the Irish language, historically suppressed by British colonial rule and now experiencing a powerful resurgence among young speakers. Two characters skillfully use it to communicate discreetly, ensuring their conversation remains unintelligible to a nearby Englishman.
An image shows the show is a zany murder mystery that raises the universal, painful question of what we owe our younger selves. (Credit: Christopher Barr/Netflix)
While a basic understanding of regional geography – differentiating between Belfast, Northern Ireland’s bustling capital; Derry, its spirited western counterpart (also known as Londonderry); and the secluded County Donegal in the Republic – might enhance the viewing experience, it’s not strictly necessary. Much like the rich tapestry of inside jokes that made “Derry Girls” so deeply rewarding and hilarious, this new series offers universal themes alongside its specific cultural references.
Once more, audiences will delight in a vibrant array of Irish pop culture references. The cast features notable figures like Deirdre O’Kane, a highly celebrated comedian from the island, and Patrick Kielty, the esteemed host of ‘The Late Late Show.’ This broadcast institution holds a special place in Irish culture, with many tuning in faithfully every Friday night.
McGee expressed her confidence that international audiences for ‘How to Get to Heaven From Belfast’ will connect with its universal narrative, even if they don’t catch every single cultural Easter egg in the background.
An image shows ‘How to Get to Heaven From Belfast’ firmly insists that viewers see the island of Ireland as a complex, diverse, and still-reconciling place, challenging simplified perceptions. (Credit: Christopher Barr/Netflix)
Recalling her previous success, McGee noted, ‘In ‘Derry Girls,’ everyone kept saying, ‘Oh, people won’t get this.’ They might not understand what the characters are talking about, but they get a feeling of it.”
She summarized her approach with a playful adage: ‘There’s a way to sort of have your cake, and eat it.’”
This sentiment is perfectly echoed by a character in ‘How to Get to Heaven From Belfast’ who quips: ‘You can be in bits and have your highlights done. The two things aren’t mutually exclusive.’”
This article was reported by Ali Watkins, an international news correspondent for The Times based in Belfast.