Published: 23 September 2025
Two years into their jobs as response officers Grace, Annie and Tommy are accustomed to life under the blue lights. But their work will take them into a sinister world hidden behind the veneer of middle-class life, the world of the accountants and lawyers who facilitate organised crime. The old political and criminal order has gone and a new global gang rule Belfast, bringing danger closer to home for our officers than ever before.
Declan Lawn and Adam Patterson
Co-Creators, Co-writers and Executive producers
Blue Lights has been a massive hit. How has the reaction to the series so far affected you?
Declan: It has been both gratifying and a relief. Making a contemporary TV show set in your own backyard carries with it certain risks and responsibilities, but so far, the response in Northern Ireland has been very positive. Hopefully that’s because our love for Belfast comes across in Blue Lights, even though we all know that as a city it is a flawed diamond that is still in many ways coming to terms with its own history.
What’s been the overall response in Belfast to the series being set and filmed here? By residents, by police?
Adam: We generally get a very warm welcome whenever we are on location in Belfast. When we have the lead actors filming, there are a lot of requests for selfies. None of us mind that in the least; it’s a privilege to have these actors and characters that people seem to connect to. Similarly, the response from the police has been very positive. The thing they say most often is that they feel the series humanises them, even though as writers we do our best to show the problematic sides of the organisation alongside the positives.
Who and what is new for series three?
Declan: Series three looks at the professional apparatus alongside organised crime, and how paramilitaries in Belfast are often in thrall to international organised crime gangs using the territory as a stopping off point for large scale drug smuggling. It also looks at sexual exploitation of kids in care. These storylines are entirely fictional but informed by careful research so have a real authenticity.
Cathy Tyson plays Dana Morgan, a new powerful figure on the criminal side, and her nemesis within the police is Intelligence Department cop Paul Collins (Colly) who is played by Michael Smiley. In saying that, many of the regular characters are back and ready for action. We hope there are quite a few gripping moments, and a few emotional ones too. In this season our main characters go through some very difficult things.
What do you bring over into series three from the previous series?
Adam: We continue to look at the vast personal pressures on police officers, which come from various places, and which only intensify as their careers go on. And of course, we’re still in Belfast, a divided city that is haunted by the past, finely balanced between progress and atavism.
What are the themes tying the third series together?
Adam: The fundamental theme of the show is the same, which is the question of how we as individuals can carve out a semblance of personal agency in a world where meaningful change seems implausible if not impossible.
What new places do we visit in series 3 (e.g. private members club)? What do these add to the world of the show?
Declan: Series three looks at a different side of Belfast. Private members’ clubs where people do what they want. Big houses with high security gates in which residents feel above the law. In many ways it’s about white-collar criminals who consider themselves to be beyond the reach of our response officers.
The characters in Blue Lights are complex, sometimes messy, especially with their relationships. What’s important to you when writing characters and their relationship dynamics?
Declan: Drama might have acts and story arc structures, but human relationships rarely do. They take one step forward, two steps back, and then half a step forward again. People are scared of commitment and of having their hearts broken, particularly as they get older. Even when we have good intentions, we make mistakes. Sometimes two people who seem destined to be together have a near miss, and sometimes people commit when they shouldn’t. There’s a lot of real human drama in all of that, and we like to delve into it.
Why do you think these characters have connected with audiences so much?
Adam: It’s difficult for us to say, other than we love them (even the baddies – especially the baddies) and we spend a lot of time with them in our heads and our hearts. One possible answer is that their predicament in policing Belfast during a time of massive resource cutbacks reflects a wider feeling that we all share these days.
Many of us feel despondent right now about whether we can really do anything to change the world, or even a little bit of it. We are assailed on all sides by terrible news that we struggle to have any effect on. In our show we examine that malaise in terms of response policing and maybe draw a few conclusions along the way.
Why do you think Blue Lights is different to other police dramas?
Declan: We’re not really setting out to be different or to distinguish ourselves from any other dramas. We’re just trying to faithfully get across how people in this city think, act and speak. So, if it feels different, it’s perhaps because we’re a couple of Belfast writers telling a story that’s right in front of them.
How did you feel when you saw the show’s poster in Times Square?
Adam: It felt like a moment we’ll remember all of our lives. We just stood and looked at the huge billboard in silence for a bit, and then we got giddy. Immediately afterwards, we may have gone off for a strong cocktail or two, but we can neither confirm nor deny that.
What did it feel like to bring a Bafta back to Belfast? What was the reaction at home?
Declan: We flew home with the BAFTA the next day, and we knew things were going to be pretty crazy when the cabin crew brought us down some champagne. Then at the airport there was a news crew, and after that several days of celebrating, both on the set of Blue Lights series three and elsewhere.
We both brought the BAFTA into the classrooms of our respective kids, which was probably the most fun of all. One child put her hand up and asked us if we ever write anything and think afterwards that it’s actually no good, which skilfully brought us back down to earth with a bump.
Adam: Our hope is that the BAFTA award can help draw attention to the growing TV and film industry in Belfast, which is incredibly exciting at the moment, with so many talented filmmakers making great work.
Siân Brooke (Grace Ellis)
Annie, Grace, and Tommy are no longer new recruits. Where do we pick up at the start of S3?
Grace, Tommy and Annie are now quite seasoned, and they jump straight back into the job. They are experiencing some frustration because they don’t seem to be able to gain ground in the job as much as they had hoped they would two years in. When Declan (Lawn) was researching this series he said the police referenced the ‘two-year fade’ where the officers are hit by the reality of the job in terms of their hopes, dreams and the practical side of what they do. This is especially pertinent for Grace who wants to bring about change and is frustrated by the machinations of the organisation.
How has Grace developed in her professional life?
Something I really love about Grace is if the door is closed, she will try to push it open but at the beginning of this series, she seems to have lost a little bit of that drive. Previously Grace wouldn’t doubt that she could find a way through something but this time we see her wondering if she can make a difference.
What’s happening in Grace’s personal life – has she found happiness with Stevie?
Grace and Stevie are trying to make their relationship work so it’s more serious than it has been. She is keen to put down roots and they’re trying to buy a house together. However, they might be in different places and something isn’t clicking at the moment.
Stevie’s been promoted to Sergeant. Does this affect their relationship?
They’re not spending as much time together at work, but that’s a good thing because they live together. He isn’t keen to accept the job, but Grace thinks it’s a great idea and is always trying to move forward. Stevie is quite content where he is and doesn’t seem ambitious to move on so his job offer makes her question their compatibility.
A young woman from Grace’s former career turns up in series 3 – how does this impact Grace’s storyline?
This young person, Lindsay – a client of Grace’s, when she was a social worker – comes back into her life quite abruptly. Grace took her under her wing at that time and when she left to join the police, she thought she’d set Lindsay on the right path. When we meet her in the series she’s definitely not on the right path and Grace being Grace, can’t leave it alone. It really tests her strength in terms of how far she will go for the greater good to help this kid.
How does it feel to work on a show that addresses real societal issues?
The way that Declan and Adam approach their writing is to absorb, observe and dissect society. They’re open to what is going on around them and feed that into the scripts in a clever way. The most wonderful reward is having that acceptance and appreciation of the show in Northern Ireland as well as worldwide. For a show that is so specific to its location to resonate as far as Australia and the US is a real testament to the human story. If you get that right, then it relates everywhere.
What are your personal highlights of this job?
This job is the most unexpected delight and we’ve had these epic moments happen. When we went to New York, it was incredible seeing our faces on top of a giant billboard in Times Square. We were all like children, totally wide-eyed but also not really knowing what to do with that moment. We were having a photo taken underneath the billboard and there were New Yorkers pushing us out the way who had to get to work. They were like, this happens every day. So that brought us back down to reality. Winning the BAFTA was another pinch-me moment. To share it with people that I really respect and love and care about and see their faces was a joy.
Martin McCann (Stevie Neil)
Where do we pick up at the start of series 3?
As far as Stevie is concerned, he and Grace are living together in a proper relationship and that’s exciting. Stevie is contemplating promotion within the police force, which brings a bit of added anxiety because he’s never really seen himself there. In terms of the other officers, they all know each other a little bit better and are emotionally invested in each other. The new recruits aren’t new anymore and they’re treated as such. They have a lot more responsibility and that includes Grace.
What do we bring into series 3 from the previous series?
We quickly realise that the issues and problems facing the police are not localised to one area, be that East, West, North, or South Belfast. We quickly realise that there are issues that are systemic within all corners of the city. There’s a system out there that is supposed to help, foster, develop and protect young people, but it would appear that system isn’t perfect.
What’s new in series 3?
What becomes clear in this series is that it takes all levels within society to make organised crime work. What we do is open the bonnet a little bit and have a little look at who really makes the decisions, what position they’re in and what echelon in society they come from. Are they usually of a working-class background with lower incomes? They might be. Could they be from a middle-class or upper-class background with lots of money to invest in such a large enterprise? They might be. It will be an interesting and refreshing look at who really pulls the strings.
Where do we pick up with Grace and Stevie? What can we expect from this series?
On the surface they seem to be in a good place, but they discover things about each other’s past that they need to come to terms with so that they grow as a couple. And, as with all things Stevie and Grace, it never comes pain free.
Stevie has been promoted to Sergeant. How does this impact his relationship/work partnership with Grace?
Stevie’s promotion puts him in a precarious position because he is now Grace’s senior work colleague and that comes with its challenges. Also, because Stevie is no longer partnered with Grace in the workplace, he deals with the possibility that Grace might be faced with some dangerous situation, and he can’t protect her in the way he used to.
What challenges does Stevie face as a result of becoming a Sergeant?
Stevie has imposter syndrome and worries he doesn’t deserve the job. Stevie’s challenge is to work on himself. He needs a bit of self-development and acceptance that while this new role is going to be tough, he can do it. He quickly learns that his peers, Sandra and Helen, have really difficult jobs which are much more complex than everyone appreciates.
How does it feel to work on a show that addresses real societal issues? Where do you draw your inspiration from?
This show is very close to my heart and close to every person in this city’s heart, in this wee country’s heart. I’m very lucky and blessed to be a part of it and everyone who works on it is incredibly special. I think it gave the city of Belfast a wee injection of ‘that’s us!’ I’m sure we will all look back in 10 years’ time with huge pride that we made it.
Can you share your experience working with the cast and crew? Are there any memorable moments on set?
For the show to win the BAFTA for Best Drama Series was a real joy. It’s very special to be recognised by our peers, and it’s amazing that the audience loves the show for what it is, a good drama. The show is loved because it’s an honest, well-crafted portrayal of a city that is still trying to heal and grow.
Katherine Devlin (Annie Conlon)
Annie, Grace, and Tommy are no longer rookies. Where do we pick up at the start of series three?
We pick up with the rookies having crossed that crucial threshold – they’re no longer green but they’re far from untouched. There’s a shift in tone this season. They’re hardened in some ways and a lot sharper but also more emotionally taxed. Annie especially is carrying a weight that’s more personal than ever. She’s been through a lot of trauma – and she’s in this space now where she’s doing the job with less wide-eyed naivety and more of a quiet, internal grit.
What do we bring into series three from the previous series?
The tension and complexity of the communities remains absolutely central. Northern Ireland’s history isn’t just a backdrop – it seeps into every encounter. The fragility of trust between the police and the people they serve continues to be tested. Annie, and all the characters, are navigating moral greys constantly.
What’s new for series three?
There are new characters who shake up the rhythm and dynamics of the station. Without giving too much away, some of them bring new energy, others bring danger. And there are definitely high-stakes, gripping moments this season – more than ever but for Annie there’s real internal stakes at play. Her grief starts to quietly shape every decision she makes whether she realises this or not.
Annie has faced difficult situations in the past as part of the job, e.g. death threats – how does that affect her day-to-day living in this series?
It takes a toll. You can’t just leave those things behind. Annie is living with a sort of quiet hypervigilance – she’s more careful, more closed off and is at a crossroads of questioning the impact of this career. It’s a sacrifice that leaves her raw, but yet she keeps showing up. There’s a real resilience and defiance.
How do you think the show balances action, crime and the characters’ stories well?
The writers never treat action or crime as a spectacle. It’s always rooted in character. We don’t just see the crime we see the impact and the toll it takes on the people involved. We can go from a car chase to a quiet space in the locker room with a lot of introspection. That’s where the human story lives, and the show never lets us forget that.
What has been the most challenging scene or scenes for you in this series and why?
Annie receives a really difficult phone call. That was rough. Because it’s not just about portraying sadness, it’s about showing grief that’s been sitting in the body for months. She’s exhausted and heartbroken and still going to work so that complexity of that slow, silent, all-consuming grief was emotionally demanding to play.
How does it feel to work on a show that addresses real societal issues?
It feels like a responsibility. Not in a heavy, self-important way, but in a way that makes you want to honour the truth of it. I’ve done a lot of research, but I mainly draw from imaginary circumstances and empathy. What it means to feel powerless, or to choose a path that costs you your relationships and your peace of mind. Annie’s grief feels very real to me. She’s lost not just people, but parts of herself too.
Why do you think these characters have connected with audiences so much?
I believe they resonate because they’re not action heroes; they’re people. They don’t always get it right and the show is not afraid to show flaws both within people and within the institution and system. They’re all trying to make sense of a world that doesn’t play fair and I think audiences recognise and connect with that.
Nathan Braniff (Tommy Foster)
Two years into Tommy’s recruitment: where does the job take him this time round?
This time the script really goes under the microscope of his relationships with Annie and Aisling who is now his girlfriend. It also focuses on the job and the pressure it can put on your relationships.
What’s happening in Tommy’s personal life – Is he happy in his relationship with Aisling?
Tommy and Aisling are living together and sharing a flat with Annie. I don’t know if it’s the living together which puts the strain on their relationship but it’s hard for them not to bring it home. Plus, when you’ve got three people working and living together, then it’s like everybody’s problems are combined.
What do we bring into series three from the previous series?
Between the first and second series, we talked a lot about how Gerry’s legacy lived on and it’s still very much there. A lot of the characters, especially Tommy, carry a lot of Gerry in them and the policing Tommy does and the decisions he makes are very influenced by what he was taught by Gerry. It’s a good thing because it keeps Tommy right, it keeps him making the right decisions and staying on the straight and narrow.
What’s new for series three?
We get to see a side of Belfast that hasn’t been explored yet. The people who you might not think, upon first meeting them, would be responsible for crimes, which makes it a little bit more interesting. It’s a more affluent class of people in Belfast who are just as responsible, if not more responsible, for some of the crimes that go on in the city. It’s good to see a different side of organised crime.
Where do we pick up with Tommy and Shane’s partnership? What can we expect
Shane is a very different person to Tommy and they’re still butting heads but sometimes it works really well as they balance each other out. We get a sense that they will have each other’s backs in the job but they have to work hard for their partnership to keep it professional. Sometimes if you bend the rules, you get more done and faster, but Tommy tries to play it by the book as much as he can. We see him toying with that a little bit, what can he get away with without overstepping the mark?
How is Tommy balancing success at work with his relationships as they become more challenging?
In this series, you see how much of an effect the professional life has on Aisling and Tommy’s personal life. Aisling goes through a terribly traumatic event which affects her in her personal life. She starts doing things that she might not normally do. She’s super emotionally invested and can’t quite leave the work problems in work. There comes a point where Tommy has to make a huge decision that will affect them both.
How does it feel to work on a show that addresses real societal issues, and how do you approach these themes in your performance?
You’re dealing with very sensitive content, because it is based around a true world. It’s not something that you want to get wrong. I think the most important thing is research and being on the ground, speaking to as many real police officers as you can and speaking to anybody who’s been in those positions in real life. Finding the truth in it. If it’s not, it wouldn’t be very aligned with the first two series of Blue Lights and for the sake of paying respects to the real police officers that do this job. It has to be authentic. You can’t just pluck stuff out of thin air and roll with it. It’s not that kind of show.
Can you share your experience working with the cast and crew? Are there any memorable moments on set?
New York certainly was a highlight from going to Times Square and seeing our faces on the billboard. Plus, a moment that I’ll never forget for the rest of my life was sitting in the auditorium at the BAFTAs, thinking we’re probably the underdog here. We’ve only had two series and there’s no big, household names in Blue Lights. Then when it finally came to our category, I was sat with my eyes closed thinking, please say Blue Lights and then you hear them say Blue Lights was just the craziest thing. The best feeling ever and quite possibly one of the best days of my life.
Joanne Crawford (Inspector Helen McNally)
Where does the story pick up at the start of series three?
At the start of series three we’re pretty much straight into a view of Belfast with a different drug clientele and it hits the response team quite hard. There’s an increase in drug use among the middle-class areas of the town and we see it from the point of view of those being abused and manipulated to facilitate this drug use and also those who are pulling the strings.
Where do we find Helen in her professional life?
Helen, has a bird’s eye view of what response are up against. She’s seeing the increase in particular types of crime, domestic violence and driving offences and cocaine use. There seems to be this upward increase in crime that is related to the taking of class A drugs in middle class areas of the city.
An old face from Helen’s past arrives at Blackthorn Station. How does this impact Helen’s work?
Helen’s old acquaintance and former mentor Paul Collins (Colly) from the world of intelligence, turns up at Blackthorn asking for Helen’s help gathering information for an investigation. Not only that, but he’s offering Helen an opportunity to step back into intelligence. Not a world Helen wants to be embroiled in but with the well-being of her officers always at the forefront of her mind, she has some difficult decisions to make.
In series three, we find various things out about Helen’s past. How does she deal with that?
Helen has never been somebody who’s looked to jump into the higher ranks of the job. She doesn’t care so much about her career. She’s more interested in the job that’s put in front of her. It is slightly exposing, even in a professional sense, because she’s being pulled into decision-making that she’s not familiar with. We also see Helen exposed and vulnerable which is not a place she is comfortable being. And later in the series we see her closest friendships tested to a point that she’s not experienced before.
How does Gerry’s spirit resonate through this series?
I can’t see that not ever being the case because Gerry was such a huge energy in the section. Everybody had a relationship with him. Gerry was one of those characters that warmed your heart which I think is the beauty of Richard’s (Dormer) performance, and Richard as a human being, to be able to connect to so many people so quickly in just one series. Losing the character of Gerry shone a very real light on the risks endured by the police service every single day for the rest of us.
How does it feel to work on a show that addresses real societal issues, and how do you approach these themes in your performance?
The writing is so intelligent, heartfelt and truthful of the place and the people that they’re writing about. Then, as an actor, we get to play these wonderful, beautifully drawn characters which is the best thing. What’s also wonderful is meeting people who feel the show is a really true reflection of their lives here. If it wasn’t for that extra beauty in the writing of it all being about people and people’s lives, you mightn’t get that connection to such a degree.
What do we bring into series three from the previous series?
We see a continuation of the crime elements in Belfast, but the lens is pulled further out so we see a slightly bigger picture of how this relates to the vulnerable people who are connected and affected by it. You’ve got people who are doing their best to serve their community and we’ve got the criminal element, finding more sophisticated ways to outwit them, whilst the response cops still have to deal with the detritus that is left in the way. The ability for the criminal element to exhaust the police service is very much played out this series.
Michael Smiley (Paul ‘Colly’ Collins)
What’s it like joining the cast and filming in Belfast?
I’ve lived in London for over 40 years, so filming the third series of Blue Lights was the longest I’ve been in Belfast since I was 19 and it was a joy. It’s a very successful, award-winning series, so it can fill you with trepidation stepping into a series where everybody’s already close with each other, but everybody was so beautiful and welcoming. It was just a really good Irish love in, everybody couldn’t do enough for you, which also really helps with the performances. When you feel welcomed, you can trust your choices.
Why do you think these characters have connected with audiences so much?
Number one, the stories are fantastic. They’re beautifully written and they’re well researched. When I talked to some of the ex-police advisors that were on set, they explained that everything that’s on the page is what they do. It hasn’t been made up by anybody. You can just tell it’s authentic.
Why do you think Blue Lights is different to other police dramas?
It’s different because it concentrates on the lives of the characters. Northern Ireland, Belfast especially, is a very unique place. It’s got a unique and dark history, which is very different from Glasgow, Liverpool or Manchester. The police are armed so it’s a bit more of a hybrid between American and British policing which makes it unique.
How does it feel to work on a show that addresses real societal issues and how do you approach these themes in your performance?
Ultimately, because it’s such an authentic piece of drama, with the finest details and incredibly well researched storylines, there’s a real sense of humanity running through it. As a performer, that can really anchor you. I come from there, but I haven’t lived there for a long time, I tend to have a bit of an overview, you can see the wood for the trees because you’re not in the woods a lot. I’ve been around the block a few times, it gives you the opportunity just to fold in that authenticity.
Can you share your experience working with the cast and crew?
My favourite thing in the world is to go back to Ireland and film. I get to go back home and be amongst my people. There’s a shorthand if you’re from that part of the world, we get each other straight away and we celebrate that. Belfast especially has a very industrial sense of humour and sensibilities.
Because I live in London, you spend your life explaining yourself to people, explaining your shorthand and your vernacular and your catchphrases. I’ve just got a little sack full of sayings and I collect them, and that keeps me warm when I go back to London again. I get to work with people from all over the 32 counties, the craic’s good and there’s a real sense of professionalism – it’s a professionalism mixed with humanity.
Why do you think Blue Lights was so successful and resonates with audiences so much?
Some people may say it’s another cop drama, but it’s a cop drama that is really specific to that part of the world. There are little details that serve as an education for people. For Northern Ireland, there’s been so many important programmes that have come through that have explained so much, like Derry Girls, Say Nothing and Once Upon a Time in Northern Ireland. All of those dramas, documentaries and comedies give people from outside of that environment an education and insight to the place.
It really makes my heart sing when people ask if I’ve seen these dramas about my home, because one of the things that is heartbreaking about that part of the world is being misunderstood or being portrayed as religious zealots or psychopaths or alcoholics or whatever. The writers know for a fact that they’ve got to represent Belfast and they do it so magnificently. It’s written so beautifully that it chimed with everybody – I don’t think there are many dramas that can say that.
Dana Morgan (Cathy Tyson)
Who is Dana Morgan and how does she fit into series three?
Dana Morgan runs a private members club in Belfast but as we discover she’s so much more than that. My original question to our directors, Jack Casey and Angela Griffin, was how do I personify that? They both helped me to shape this character. We discussed the sociopathic aspect of her personality and the difference between immoral and amoral. One of the hardest, most chilling things is that Dana Morgan is like everybody else and there is a vulnerability to her. Tough characters can seem invulnerable but she’s not complacent. She can’t take her foot off the pedal and that’s exhausting to live like that. It’s fun to play, and it’s challenging.
Which characters does Dana interact with most in the show?
I don’t interact much with the police, apart from when they come in to investigate my club. I speak a little with Tommy Foster, a really bright young officer who is quite quiet. He’s not a big personality but he’s a thinker. I talk about the other officers. Most of my character’s interaction is with Fogarty and Tina McIntyre. Morgan doesn’t lose her cool a lot, she’s very controlled and she’s educated but when we see her angry, it’s chilling.
What do we learn about Dana’s background and how she came to be operating in Belfast?
Everybody has a past, whether they’re criminal or honourable and as the audience, we are filling in all the detail. What is amazing about Declan and Adam’s writing is what they leave out. There’s a moment near the end of the second season, where Murray Canning is just putting his box away. He has to leave, but nobody speaks about it. You know he’s being moved on and that’s what I like about the series. It’s not underlined.
What was it like to join the cast and film in Belfast?
When I’d go out in Belfast during filming people would ask what I was doing and when I’d tell them they would quote me lines from the show. I met a woman in a supermarket and asked her what she likes about it. She said it’s so authentic and had direct experience of certain plotlines which was really moving. I feel very respectful towards the city and its people because of what’s happened there historically.
What has been the most challenging part of filming for you in this series and why?
My mother was a social worker, so I was aware of reform growing up. I understood that if people fell on the difficult side of life, that there were others there to help them. I grew up around that, and I think that just interests me. I’m an ultra-liberal and I’ve worked in prisons doing restorative justice work.
Playing Dana Morgan, there was a time when I thought, I hope she comes to a terrible end and I’ve never said that about a character I play, but I don’t want to see her live like this. I felt as though there had to be a consequence for her. But I like her more now and understand why she’s motivated like this. I watched a documentary about the women, the wives, of Irish Cartel. The reality is that they can’t get out and I began to see how limited Dana Morgan’s life is. She’s very rich, but she can’t show who she really is. She’s trapped.
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