Northern Ireland has had more than its fair share of being depicted on film and television through the decades.

Troubles drama has earned itself a place as a whole sub-genre of its own,

and the latest offering on our screens, BBC One's Prime Time series Bloodlands,

has kick-started a whole new conversation about what makes a good Troubles drama and why.

Tim, what works for you and what

doesn't? The best way I think to the best dramas that I think have been created that deal with

the troubles are the ones that focus in very, very closely on individuals, on probably smaller

characters in the greater scheme of things, and we get to

know individuals really intimately rather than, I think, sometimes Troubles Drama fails if it has

too big an agenda and it's trying to depict an entire situation or an entire place.

That's very interesting. Ian, what's the secret recipe for what works in your opinion?

Well, the closer it is to the truth, I think, the better it works.

One of the debates recently about Bloodlands is

when is it being truthful and when is it being fictionalized, if you like.

And that's something we can discuss at further length.

But I think staying as close to the reality of the situation as we know it works best.

So on this episode of Red Lines, we're delving into the drama of the troubles.

We've had half a century of material on the big and small screens at this stage,

and my guests have themselves contributed to that body of work.

Tim Lone is a writer and actor whose credits range from out of the deep pan way back in 1996

to ITV's Marcella this very week via teachers the fall, Versailles and Das Boot.

Ian McElhany is Northern Ireland film and television for a lot of people.

...