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Trigger Point is back this Sunday for a highly anticipated season 3, with Vicky McClure once again leading the charge as bomb disposal expert Lana Washington. After a gripping second season that drew in 8.1 million viewers and dominated streaming platforms, the stakes are rising. This time, Lana faces not just explosive devices but the specter of her own trauma.
A high-pressure return for Lana Washington
In season 3, Trigger Point tightens the screws even further. The new series begins with a chilling premise: a coordinated bombing campaign that seems intensely personal. The enemy this time isn’t just unknown, but deeply driven by revenge. As the official synopsis hints, “Someone is targeting individuals and demanding revenue.” And for Lana, this isn’t just another high-risk job. This vendetta feels closer, darker, and more unpredictable than ever.
The six-episode season airs weekly on ITV1 and STV, with simultaneous streaming available on ITVX and STV Player. For those late to the party or wanting a refresher, seasons 1 and 2 are already online.
I’ve always appreciated how Trigger Point mixes the tension of a classic thriller with a kind of quiet, human intensity. It’s not just about which wire to cut — it’s about what each blast leaves behind, emotionally and physically. To read Pluribus finale shocks fans as season 2 faces long wait
Familiar faces, new threats
Season 3 brings back several key actors: Eric Shango returns as Danny, Nabil Elouahabi as Hass, Natalie Simpson as DS Helen Morgan, and Maanuv Thiara as DI Amar Batra. Each of them helps ground the explosive premise in real, relatable dynamics — especially Hass, whose dry humor has often provided the show with some much-needed levity.
New to the cast is Jason Flemyng, a familiar face from Lock, Stock and Two Smoking Barrels. He steps into the role of antagonist Steven Wyles, a villain not backed by a shadowy organization but driven entirely by personal motives. That intimacy makes him even more disturbing.
McClure herself has said, “There is not a big organization behind him,” adding a raw, unpredictable layer to the season. And honestly, that’s what makes this show tick — the idea that real danger doesn’t always come in uniform.
Behind the scenes, a tight-knit team brings it all to life
The show is produced by Jed Mercurio’s HTM Television (Mercurio is best known for Bodyguard and Line of Duty) in partnership with All3Media International. Chris Brandon, previously known for Bloodlands, is lead writer for season 3, overseeing an arc that’s promising psychological stakes just as high as the physical ones.
Directing duties are split between Jamie Donoughue, who’s worked on Doctor Who and A Discovery of Witches, and Audrey Cooke, who has prior experience with this very series. To read Taylor Swift opens up in final Eras Tour docuseries episode
The executive production team includes McClure herself, along with Mercurio, Daniel Walker, Jessica Sharkey, and Brandon — a setup that probably helps keep the tone so consistent. The continuity of vision is especially important given that season 3 and the upcoming season 4 were filmed back to back.
McClure has admitted that the shooting schedule was intense and at times disorienting, since the two seasons weren’t shot chronologically. But she sees a silver lining: “The names of places, all the technical things, and details of the plot are very much in your bones.”
Lana’s inner war takes center stage
One of the big developments this year is the focus on Lana’s mental health. Her tinnitus and PTSD, subtly hinted at in previous seasons, now become a core part of the story.
“PTSD has always been a thing for Lana, but it was very much in the background before,” McClure said in a recent interview. “Whereas we bring that to the forefront this time.”
That shift feels right. It adds depth to a character often defined by her ability to hold it all together. Trigger Point isn’t content to just show explosions — it shows the fallout.
McClure even compared Lana to the bombs she faces: “The question is, when is Lana going to explode?” And I love that image. For all her calm under pressure, Lana has always looked like someone pushing pain down, burying it under professionalism. Watching that unravel, little by little, could be the heart of this season.
Comic relief, when execution feels personal
Though the tone is heavy, McClure was quick to point out the importance of humor — for both the story and the actors living in it day after day.
“It can’t just be based on trauma,” she explained, referring to Lana and Hass’s friendship. A few well-placed jokes, especially from Nabil Elouahabi, keep the show from collapsing under its own weight.
Flemyng’s role as Wyles promises to shake things up. McClure described his casting as “a real coup,” and with good reason: his presence alone brings a certain charisma, a quiet menace that doesn’t require shouting or theatrics.
Some notes from the trenches, as McClure calls them
- Joel Snarr, the show’s explosives consultant, has been essential for realism. The actors now instinctively “check a doorway” before walking through it.
- McClure has described the emotional and physical intensity of playing Lana as something she feels “in her bones.”
- Season 3 shoots directly into season 4 — a rarity for British television — giving Trigger Point a momentum not just in story, but in production energy as well.
McClure’s respect for the crew is palpable. “It is such a team effort,” she said. “You just can’t do this without every single person turning up and giving it their everything.”
Honestly, that shows on screen. Trigger Point has always felt like more than just a vehicle for suspense. It’s crafted, not assembled. That’s rare, and it’s part of why I’m excited to see how far Lana goes — and how close to herself she’s willing to get, this time around.
