The chill of Edinburgh’s ancient streets has a new narrative unfolding as the crime thriller, Dept. Q, makes its global debut. All nine episodes of the gripping series are available for immediate viewing on Netflix. This release marks a significant moment for crime drama aficionados, eager to delve into a world crafted by Scott Frank, the acclaimed creator of The Queen’s Gambit and Godless.
At the heart of this dark and atmospheric procedural is Matthew Goode, who takes on the role of the “brash, but brilliant” Detective Chief Inspector Carl Mørck. The series draws inspiration from Jussi Adler-Olsen’s internationally bestselling Danish “Department Q” novels, promising a rich tapestry of suspense and character-driven storytelling. The series combines Frank’s celebrated directorial and screenwriting prowess, Goode’s compelling on-screen presence, the immense popularity of Adler-Olsen’s source material, and the vast visibility of Netflix’s global platform. Frank’s previous successes with Netflix have conditioned audiences to expect high-caliber productions, and Goode, a respected and versatile actor, is already generating buzz for his transformative portrayal of a deeply tormented detective. The existing fanbase of the “Department Q” novels, coupled with the critical acclaim of previous Danish film adaptations, further amplifies the anticipation surrounding this new interpretation.
The Sinister World of Dept. Q
The series plunges viewers into the troubled life of DCI Carl Mørck. Once a top-tier detective, Mørck is now a man “haunted by guilt” following a horrific shootout that killed a colleague and left his partner, DCI James Hardy, paralyzed. This traumatic event serves as the catalyst for his professional and personal unraveling. As the official Netflix synopsis reveals: “DCI Carl Mørck is a brilliant cop but a terrible colleague. His razor-sharp sarcasm hasn’t won him any friends in the Edinburgh police force.”
His fall from grace culminates in an exile to “Department Q,” a newly established and woefully under-resourced cold case unit, relegated to the dusty basement of Edinburgh’s police headquarters. This department is, in essence, a “publicity stunt,” conceived to divert public attention from the systemic failures and budget shortages of a police force eager to sideline the difficult and cynical Mørck. The department is a PR stunt, to distract the public from the failures of an under-resourced and decaying police force that is glad to be rid of him.
However, what begins as a bureaucratic dumping ground unexpectedly transforms into something more potent. But more by accident than design, Carl begins to assemble a motley crew of underdogs and outcasts who have everything to prove. The narrative truly ignites when “the stone-cold trail of a prominent official who vanished several years ago begins to heat up.” This central case, involving the disappearance of a high-profile politician named Merritt Lingard (played by Chloe Pirrie), mirrors the plot of The Keeper of Lost Causes (original Danish title: Kvinden i buret), the first novel in Adler-Olsen’s series, strongly suggesting this is the primary focus for the inaugural season. This reopened investigation forces Mørck to re-engage with his dormant investigative talents, pushing him to once again “rattle cages and refuse to take no for an answer.”
Dept. Q delves into Mørck’s personal demons and pervasive guilt, forming a central pillar of the narrative. The grim nature of cold cases provides fertile ground for exploring paths to redemption, not just for Mørck but for his fledgling team of “misfits.” The series also casts a critical eye on the institutional failings within an “under-resourced and decaying police force,” highlighting the often-frustrating realities of police work. The department’s very setting, confined to the basement, becomes a potent symbol. Initially representing Mørck’s professional and personal nadir, a place where the institution attempts to bury its problems and inconvenient personnel, it paradoxically transforms. This isolation, away from the daily hustle and political machinations of the upper floors, allows for a unique space where “real police work can actually happen,” fostering an unconventional yet surprisingly effective unit dedicated to unearthing long-buried truths. It’s an “exile with benefits,” where those discarded by the system find a new, albeit unorthodox, purpose.
The Cast
Leading the charge into Edinburgh’s forgotten crimes is Matthew Goode as DCI Carl Mørck. Described as “brash, but brilliant,” “fiery yet witty,” and “emotionally scarred,” Mørck is a man defined by his trauma and abrasive exterior. His “razor-sharp sarcasm” has alienated him from his colleagues. Scott Frank, who wrote the role specifically with Goode in mind, saw in him an actor who could convey “an undeniable intelligence with his toughness, but who could also be emotional without being sentimental.” Goode, often recognized for more dapper characters, undergoes a significant “raw transformation” for this role, shedding his polished persona for something “gritty and uncomfortable.” Adding another layer to Mørck’s outsider status is his Englishness within the Scottish setting, a deliberate choice by Frank to amplify his alienation, stemming from a bitter divorce with a Scottish ex-wife.
Mørck isn’t alone in the basement. He gradually assembles an “awkward but effective team,” a group of individuals who are themselves outsiders:
Alexej Manvelov as Akram Salim: The series’ counterpart to the novels’ indispensable Assad, Salim is a Syrian police officer who, after fleeing to Europe, becomes an integral, loyal, and quietly mysterious partner to Mørck. His past is not entirely clear, adding to his compelling presence.
Leah Byrne as DC Rose Dickson: A sharp, no-nonsense, and determined young detective. Having experienced a nervous breakdown, she seeks redemption and a chance to prove herself within Department Q, refusing to let Mørck’s difficult demeanor go unchallenged.
Kelly Macdonald as Dr. Rachel Irving: A perceptive and quick-witted police therapist tasked with evaluating officers for frontline duty. She quickly sees through Mørck’s defenses, understanding his trauma and superiority complex, and they develop a significant connection throughout the series.
Chloe Pirrie as Merritt Lingard: A “ruthless and ambitious prosecutor” with a troubled past. Her path intersects with Mørck’s when her years-old disappearance becomes the first major cold case for Department Q, making her the central victim whose fate the team must uncover.
Other key figures populating this world include Jamie Sives as DCI James Hardy, Mørck’s former partner whose paralysis haunts Carl; Mark Bonnar as the authoritative Lord Advocate Stephen Burns; Kate Dickie as Detective Chief Superintendent Moira Jacobson, the superior who strategically places Mørck in the basement office; and Shirley Henderson as Claire Marsh.
The dynamic among these “underdogs and outcasts” and “misfits and rebels” who “have everything to prove” evolves into a gritty reinvention of the “found family” trope. While far from warm or sentimental, their shared banishment and the demanding nature of their work forge an undeniable and unconventional bond, providing an emotional core that goes beyond the procedural elements of crime-solving.
From Danish Bestseller to Scotland’s Mean Streets: The Art of Adaptation
Dept. Q originates from Danish author Jussi Adler-Olsen’s internationally acclaimed “Department Q” (Afdeling Q) series, a collection of ten novels (with an eleventh recently published in Danish) that have captivated readers worldwide. The first novel, Kvinden i buret (2007), known in English as Mercy or The Keeper of Lost Causes (2011), lays the groundwork for Mørck’s character and the cold case unit, focusing on the disappearance of politician Merete Lynggaard, a plot mirrored in the series with Merritt Lingard. These novels have already seen success through a series of Danish film adaptations, attesting to their potent cinematic quality.
A pivotal creative decision for the Netflix series was Scott Frank’s transposition of the setting from Copenhagen, Denmark, to the atmospheric streets of Edinburgh, Scotland. Frank explained his reasoning. He perceived that adapting Danish crime fiction for a global English-speaking audience necessitated more than mere translation; it required a “cultural transformation.” The city’s “Gothic grandeur,” its “medieval alleyways and Georgian terraces offer the perfect backdrop for this brand of Gothic crime fiction,” replacing Nordic gloom with a distinct Scottish melancholy.
This adaptation is clearly intended as a reinterpretation, not simply a relocation. Frank’s two-decade-long interest in the project signals a deep commitment to the source material, balanced with a clear artistic vision. The choice of Edinburgh was deliberate, aiming to tap into a unique, brooding atmosphere distinct from traditional Scandinavian noir. The involvement of a multicultural writing team, including Scottish writers like Stephen Greenhorn alongside Frank and Chandni Lakhani, ensures this new vision is rooted in cultural authenticity, achieving a “cultural translation without betrayal.” The series, therefore, aims to offer a fresh perspective, a hybrid that can appeal to both loyal fans of Adler-Olsen’s work and newcomers drawn to compelling crime drama.
The Scott Frank Touch
Scott Frank is the driving force behind Dept. Q, serving as creator, executive producer, and writer or co-writer for all nine episodes. He also directed six of these episodes, including the crucial first two, ensuring a cohesive and singular vision from the outset. Frank’s pedigree is undeniable, with critically acclaimed Netflix projects like The Queen’s Gambit and Godless to his name, alongside lauded screenwriting credits for films such as Logan and Minority Report. This track record alone has generated considerable anticipation for Dept. Q.
This project is a long-held passion for Frank, who had been “mulling over an adaptation of Adler-Olsen’s works for several years,” even as far back as two decades. His commitment was solidified when he met Jussi Adler-Olsen during the filming of A Walk Among the Tombstones in 2014, at which point the author personally entrusted him with bringing Department Q to the screen in English.
Frank assembled a formidable writing team, collaborating with Chandni Lakhani (known for her work on Black Mirror), Scottish writer Stephen Greenhorn (River City, Doctor Who), and Colette Kane. This “multicultural Netflix writing team” was designed to fuse Lakhani’s knack for psychological complexity with Greenhorn’s Scottish local authenticity and Kane’s insights into British institutional dynamics, creating a narrative that is both internationally resonant and deeply rooted in its setting.
At the core of Frank’s narrative philosophy is a “character-centric approach,” with a keen focus on “how damaged people navigate impossible circumstances.” His aim with Dept. Q is to deliver a “psychologically brutal crime drama” that unflinchingly explores “institutional corruption.” This “Scott Frank Effect”—his ability to take genre material and elevate it with profound characterization, striking visual style, and thematic depth—suggests that Dept. Q will transcend the conventions of a standard police procedural. His deep personal investment and hands-on creative control promise a meticulously crafted and thought-provoking series.
Where to Watch “Dept. Q”
