Dept Q: Matthew Goode Shines, But Is the Pacing a Dealbreaker?

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A star rating of 3 out of 5.

It’s clear that Netflix’s latest detective series, Dept Q, is bound to draw comparisons to the popular show, Slow Horses.

The story isn’t a typical spy thriller; rather, it unfolds amidst the Edinburgh police force. Despite the difference in setting, there are numerous similarities, as it features a main character who is both irascible and brilliant, leading a group of misfits and eccentrics to ensure justice prevails.

This story offers a refreshingly new take, ensuring continuity while keeping things interesting. Readers will observe that the book’s series originates prior to Mick Herron’s Slough House novels, as it was Jussi Adler-Olsen who began his series first.

Essentially, drawing parallels to Slow Horses isn’t an issue. However, the main issue with Dept Q lies in its failure to take cues from Slow Horses’ structure. Instead, it unabashedly overstays its welcome and is excessively lengthy.

In a different phrasing: The series Dept Q features Matthew Goode as Carl Morck, an experienced English police officer from Edinburgh who often finds himself at odds with others due to his abrasive personality. Compared to Gary Oldman’s character Jackson Lamb, Morck can be even more gruff and difficult to get along with.

At the beginning of the series, he finds himself stepping into a trap, resulting in his partner getting hurt and a novice officer losing his life. Miraculously, Morck escapes unscathed, yet he’s left puzzled and burdened by this turn of events, as well as tormented by the knowledge that the chaos and violence that ensued were due to his own carelessness and impetuous nature.

Upon his return to work following a break, he is assigned leadership of a fresh division, famously known as Dept Q. This department’s role is to revisit unsolved cases from the past. The creation of this department was decreed from above primarily for public relations purposes. Morck is informed that the more prominent the case he selects for investigation, the better – provided he delivers tangible results.

In the near future, Morck will be welcoming two new members: Alexej Manvelov’s Akram, a Syrian refugee with prior law enforcement background and an enigmatic history, yet unsuited for Edinburgh’s operational structure; and Leah Byrne’s Rose, a young, driven officer who has been confined to desk duties since her public breakdown.

Every aspect of this setup is flawless. The primary three characters form an enjoyable grouping, and it’s invigorating to observe how much freedom Goode was granted to portray Morck as such a dislikable character.

As a movie enthusiast, I often ponder if other actors could have dared to push boundaries as much as he did. With Goode in the lead, it felt like we could trust that his inherent charm would shine brightly, making the journey of breaking through his tough exterior over nine hours not just bearable, but enjoyable – a delightful challenge rather than a tedious task, to uncover his heart and warmth.

Goode plays an integral role, ensuring everything flows smoothly, yet it’s important to acknowledge the valuable contributions made by Manvelov and Byrne too. They both bring strength, warmth, and a unique charm to their roles. Notably, Akram stands out as a captivating character, and I eagerly anticipate exploring more about his background in possible upcoming seasons.

Indeed, it’s an absolute delight to witness the entire cast in action. Chloe Pirrie truly shines alongside Goode, but let me tell you, Kelly Macdonald, Kate Dickie, Mark Bonnar, Shirley Henderson, and Jamie Sives are all equally captivating. Each of them brings such depth and skill to their roles that it’s hard to pick a favorite – this ensemble is nothing short of extraordinary. They each contribute significantly to every scene, making the overall production even more compelling.

In some instances, these characters embody typical roles – for example, Kelly Macdonald portrays Morck’s therapist and possible love interest, Rachel, with both charm and complexity. However, it is challenging at times to avoid feeling that her character seems repetitive due to its similarities to other roles we have encountered in numerous variations before.

Dickie skillfully portrays a determined yet compassionate Chief Superintendent, often frustrated with Morck, yet unable to ignore his successes. She strives to develop a relatable and captivating character, but is limited by the lack of fresh scenarios.

Despite any minor disagreements, this cast excels in numerous ways, especially due to the genuine portrayal of the show’s environment by the Scottish actors – you won’t find a fake accent anywhere.

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Even with potential differences of opinion, the cast impresses on multiple fronts, with the Scottish actors delivering an authentic feel to the series’ location – there isn’t a single questionable accent in sight.

As a fresh reader diving into these stories, I must admit that shifting the setting from Copenhagen to Edinburgh might ruffle feathers for some die-hard fans. However, as someone who’s just joining this literary journey, I can confidently say that the change feels surprisingly organic and adds an intriguing new layer to the narrative.

One aspect that sets this apart is the avoidance of a mere copy-and-paste job where culturally unique scenes are moved to another setting without adaptation. Instead, the storyline has been skillfully crafted to exude a distinctly Scottish flavor, deeply embedded in the urban landscape of the capital city. Goodé’s Morck character provides an engaging contrast that enriches his surroundings.

Additionally, it provides ample room for humor, even in the most grim situations. Despite delving into some extremely difficult and rough themes, the series maintains a genuine, unforced humor that seems inherent to its characters.

In addition, the beautiful cityscape of Edinburgh serves as an aesthetically pleasing visual treat, with its iconic structures providing a picturesque background to some truly impressive set decoration.

In this series, the police station and another crucial setting are exceptionally detailed and unique, giving an authentic feel that differentiates it from typical detective dramas. The distinct style employed by the creators sets it apart from other shows in its genre.

To sum up, there are plenty of appealing aspects, and I have high expectations for upcoming seasons. However, the main issue – which is indeed significant – lies in the speed at which events unfold.

In a natural and easy-to-understand manner: The Slow Horses series skillfully transforms each of Herron’s novels into six-episode segments that neither feel hurried nor overly prolonged. This approach appears to be a successful formula, striking the right balance when adapting stories like these.

In the series Dept. Q, the story unfolds across nine separate episodes, equating to nine hours of viewing time. This extensive duration can make the midpoint of the season seem rather slow-paced.

As a cinephile, I must admit that while the beginning and ending of this film were engaging, the middle part seemed to drag on a bit. It wasn’t that it was terrible, but there were way too many unnecessary detours and subplots introduced, which made it challenging to maintain my interest throughout its lengthy runtime. Many of the storylines it explored didn’t seem to lead anywhere particularly rewarding in the end.

If Netflix were considering producing a second season, the problem of maintaining freshness and avoiding repetition could be readily addressed. However, it’s important to note that series often tend to settle into a familiar format, structure, and pattern over time, which raises the question of whether this issue can indeed be resolved.

As a dedicated movie enthusiast, I can’t help but feel a sense of responsibility towards the incredible show Dept Q. With its captivating cast and a finale that packs a punch, it would be a real pity for viewers to abandon ship midway due to a sluggish narrative. The potential for this series is immense, and it deserves to be enjoyed in its entirety.

Currently, we must make do with our available resources, and as of now, Department Q seems to be an ongoing project – much like its main character, it has the potential for greatness hidden within its current chaotic state, resembling a rough diamond just waiting to be refined.

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2025-05-29 10:04