Blue Lights has always been a very modern cop drama. Its tales of everyday callouts, fractious office relationships and complex long-term efforts to smash organised crime have all played out against the backdrop of post-Troubles Belfast, where lingering sectarian resentments make enforcing the law even harder than it is in the rest of austerity-era UK. But it’s never been explicitly topical: it’s never felt as if it is reading today’s national news headlines with the same appalled gaze as the rest of us. Until now.
Our fourth visit to Blackthorn station pitches us and the police into a race riot. A centre offering support and resources to refugees is hosting a fete, which is a positive contribution to the area for those open to it: station sergeant and amateur baker Stevie (Martin McCann) marvels at the texture of Syrian pastry at an event that has been allocated minimal police presence. Minutes later, the whole squad has rushed to the scene to hold a line against an angry mob who want immigrants out of Northern Ireland. Bricks fly. Lives are in danger.
