I went to drama school at the height of the Irish boom, and when I graduated and went home, everything was a pound shop [dollar store] all of a sudden. I think that’s how you see the consequences of big things: in the smaller ways. Humanizing everything is so important because it’s so easy to become hardened.

The idea of immigrants closing the door behind them I find very interesting as well. It’s just so messy. Even politically, there’s no right answer.

I do know what it’s like to be an outsider in different countries. I’ve been an Irish person in President Obama’s America, and then I got my third Visa quite recently, under President Trump. And suddenly the questions started changing. All of a sudden they need you to put your Twitter and Instagram handle down. Why does the American government need to know that? It’s getting harder and harder to make jokes about it all.

Do you think all this complication has led to the rise of dramedies and really dark comedies over the last few years, “This Way Up” being one of them?

I think there is more space for more different types of voices. The one thing that feels really lovely, is that I want to watch my show. I also know there will be people tuning in thinking, “Is this comedy?” And that’s probably O.K. There’s enough space. Whereas, 15 years ago, when there were only four channels, you’d have to beat to a similar drum, because it was too risky in terms of advertisers and space.

With women, for so long we were eye-rolling, sighing, perfect things and we were either virgins or mothers or sluts. Everyone wants to be seen with all their complexities, and that comes with as many different types of stories as possible. And that feels like a relief in many ways and I think that next step is having that intersectionality. That’s where we have to make sure we keep the door open for other people as well.