how to get to heaven from belfast review: a frenetic, female-led mystery that demands attention
Lisa McGee returns with a high-energy, darkly comic murder caper that stitches Derry Girls’ cheek and warmth into a very different register. The eight-part series reunites three former schoolfriends who confront a decades-old secret after the funeral of their missing fourth — and what starts as a wake-driven suspicion rapidly becomes a road-trip investigation full of menace, wit and pointed social observation.
Plot, tone and standout performances
The story follows Saoirse, Robyn and Dara: a TV crime writer, a stretched mother, and a devoted carer, respectively. They reconvene for the funeral of Greta, the fourth member of their teenage gang. Old trauma — hinted at in flashbacks to a burning shack and occult symbols — lingers beneath the surface. When the friends spot a discrepancy in the coffin, suspicion ignites: is the death a tragic accident, or something far darker?
McGee’s script balances relentless forward momentum with moments of genuine emotional grounding. The series channels the creator’s trademark knack for character-driven comedy while leaning harder into suspense and oddball darkness. Rapid-fire banter and caustic one-liners sit alongside tension-filled set pieces that threaten to upend the show’s comic centre of gravity, but the tone rarely feels unsteady. Instead, the mixture delivers a fresh hybrid — part road-trip caper, part small-town thriller, part friendship drama.
Performance-wise, the ensemble is a major asset. A stand-out turn elevates the material with fearless comic timing and surprising range, while the three leads carry the narrative’s emotional weight, portraying decades-long bonds frayed by secrets and time. The supporting cast supplies local colour and menace: a quietly unsettling police chief, a forceful matriarch, and a string of mysterious figures who complicate the trio’s detective work.
Production, locations and creative choices
Visually, the series covers a wide Irish sweep and slips across borders with purposeful texture — from rural ruins and windswept roads to cramped wake rooms and suburban homes. The use of an abandoned convent as a backdrop for certain flashbacks gives the show a haunted, liminal feel that complements the narrative’s mix of nostalgia and unease.
McGee’s decision to stage much of the action as a frenetic, often noisy investigation keeps momentum high. That pace is the show’s strength and, at times, its only frustration: viewers may wish for the odd pause to linger on quieter revelations. But the brisk rhythm is also what makes the series addictive, propelling episodes with the force of its characters’ urgency and the unpredictability of the plot.
Another notable creative choice is how the series treats the island’s history. Rather than leaning on familiar shorthand, it embeds legacy and regional oddities into everyday life — a reminder that past conflicts shape present interactions without defining every story. The cast’s diversity and contemporary concerns further push the narrative past stale stereotypes, giving the mystery a contemporary, lived-in texture.
Why this matters — and what to expect
The show matters because it reframes a familiar formula through three fifty-something female leads who are messy, resilient and deeply loyal. It’s a rare example of mainstream genre television centring mature women as the engines of both comedy and suspense. Expect sharp dialogue, sudden tonal shifts, and moments that land as either uproariously funny or quietly heartbreaking.
For viewers seeking something that feels both familiar and audacious, this series delivers. It borrows the communal warmth and quicksilver jokes of the creator’s earlier work but pairs them with a darker, more intricate mystery. The result is an entertaining, often surprising ride — one that rewards attention and promises to linger after the credits roll.
Premiere timing and availability vary by region; the series rolls out as an eight-episode season and is already prompting conversation for its energy, performances and willingness to blend genres.
