By Daisy Forbes, First Year, Film and Television
How to Get to Heaven From Belfast (2026) follows three close friends as they try and track down their dead, or perhaps not dead, old childhood friend whom they’ve lost contact with. The story is explored in a somewhat abstract way as the more thrilling aspect of the crime drama is sidelined to make space for comedy. But to me, this only strengthens the show and its culminative effect is that a really different and enjoyable story is told wherein true and light escapism can be achieved.
The main strength of this show, that really separates it from many things that are out at the moment, is its ability to simultaneously handle comedy and crime. The show is categorised as both a comedy and crime mystery and it very much matches this description. Everything from the camera angles to the exposition of the plot itself all embody this comedy/crime cross that ultimately serves to offer an excellent level of escapism. When holistically looking at the show, it's clear the plot needs to not be taken too seriously as, though the protagonists are looking for their potentially murdered friend, this show still shines as a comedic piece. Whilst they may be facing severe threats; take being blown up on a boat, they still survive situations like these in a witty, unfathomable way, seen in the inflatable banana they escaped on. In this sense, this show is very much more like Spy and less James Bond.
This comedy/crime hybrid is also highly complimented by a simultaneous use of experimental filming techniques, and this could also be argued to add to the more high-end TV, arty nature many Gen Z’s are drawn to these days. This spans from angles to music and everything in between. If there is something this show lacks, it is consistency, as variation is instead spotlighted. Audiences get narrative whiplash jumping between the present moment, flashbacks to the girls’ Catholic school days and present-day hallucinations of the past. And it's all the more intensified by the vast range of cinematographic techniques like that of dolly zooms, canted shots and fisheye lenses to list a few. This all combined with an array of upbeat, punchy music like 'Move your feet' offers a harsh and fun contrast to the true gravity of the situation, come to illustrate the mess that is the series.
But this mess does something special which becomes the heartbeat of the show. It offers a level of escapism many crave but in such a way something different yet purely enjoyable can be indulged in. The absurd plot lines, ranging from Portugal trips to a live taping of the Late Late show, not to mention the main narrative of solving a murder, offer tales of a life most viewers are far removed from, and this alone is nothing new in TV. But with the chaotic assembly of film form and genius comedy, a comforting blanket is wrapped around the unworldliness of the show’s contents. Therefore, it becomes something unlike true crime or thrillers where joy is grasped purely from exploring the unknown, but something superior where comedy backtracks all heavy topics in a way true light-hearted escapism bliss is achieved.
Now you can’t talk about a Lisa McGee show without mentioning Derry Girls. And here it’s less a point of comparison, as the show is a standalone piece, but it's helpful to see how the blood that went into Derry Girls is very much the same as HTGTHFB, as many of its successes can be understood as continuations of skills McGee has long had. And the Derry Girls echoes have only positive impacts on the writer’s new work. One thing to note here is the pure personality of it all, both Derry Girls and HTGTHFB tell stories of lives audiences are unlikely to be able to relate to, but McGee tells them in such a way that her characters become relatable and personable to the point where the narratives feel close and fully understandable.
Even in the trio set up, archetypes of characters are laid out so most can find their on-screen match in some sense, really bringing themselves into the narrative. Or even the Irish-ness of it all is a good point to make when talking about how the show feels so personal and warm, despite it being a crime show. As one of the characters say “Derry people are always such weirdos” when in fact the creator herself is from there; it's all making a joke about itself, nothing is being taken seriously, just as the Irish Troubles were simply an ‘inconvenience’ for the Derry girls, because this is a story that McGee finds herself comfortable telling, as it's a part of her, the shows’ veins are coursing with authenticity and originality.
Crystal Calo
So overall this show is a thoroughly enjoyable watch. The only reason for my lack of a fifth star is that, due to the chaotic nature of both narrative and filming techniques, emotive depth isn’t fully achieved throughout the programme. Though comedy does a lot to entertain, it's hard to bring the all-encompassing experience of truly connecting with the plot and the characters when so much jumping around both emotionally and physically is happening.
Featured Image: IMDb / How to Get to Heaven From Belfast | Illustration by Epigram / Sophia Izwan
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