2025– · Based on 1 season, 9 episodes through May 29, 2025 ·
Dept. Q is a Scottish cold-case crime drama adapted from Jussi Adler-Olsen's Danish novels. Season 1 follows abrasive DCI Carl Morck after a shooting that kills a young officer and leaves his partner DI James Hardy paralyzed. Morck is exiled to a basement public-relations cold-case unit called Department Q. He works with Syrian ex-policeman Akram Salim, recovering DC Rose Dickson, and later Hardy. Together they take on the four-year disappearance of hard-edged prosecutor Merritt Lingard.
The season centers on trauma, guilt, misfit teamwork, revenge, and ordinary justice-system corruption such as police public relations, buried cases, and a wealthy killer who intimidates officials. It is not driven by race, gender ideology, or queer politics. Visible diversity includes Syrian Muslim refugee Akram as a highly competent co-lead, women in major roles, disability and mental-health presence, and a brief, neutrally portrayed gay police officer. Those notes stay light and secondary to the crime plot. Core themes stay personal damage and cold-case investigation rather than campaigns about systemic racism, patriarchy, or queer liberation.
Community feedback
Was our 19% Woke rating accurate?
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Breakdown
These are the editorial factors and ratings behind our score for Dept. Q.
Woke representation / casting
The main cast is mostly White and Scottish or UK-coded. Noticeable diversity is Syrian Muslim refugee Akram as a highly competent co-lead, women in major roles, disability and mental-health presence, and a brief neutral gay officer. Modern Edinburgh makes that mix plausible, and it is not a quota cast or a race or gender swap of the white lead. Some viewers said it avoided forced diversity.
24%
Woke political dialogue
Not present. Dialogue is crime, trauma, Scottish swearing, and workplace sparring with no activist lectures on race, gender, DEI, colonial guilt, or identity politics.
0%
Identity-driven story themes
The core story is a cold-case procedural plus personal damage, not identity politics. Light identity-adjacent notes include Akram’s refugee and Syrian past as mystery, mental-health arcs, and incidental LGBTQ presence. It is not a campaign plot about systemic racism, patriarchy, or queer liberation.
10%
Western institutional / cultural critique
Police brass treat Dept. Q as a publicity and budget shell game, and officials are compromised by a rich industrialist while cold cases get buried. That is classic noir corruption and inept institutions. It is not modern framing of toxic masculinity, whiteness, or anti-Christian culture war.
14%
Woke character or canon changes
Not relevant. The Denmark to Edinburgh move, name tweaks such as Assad to Akram and Merete to Merritt, and UK localization are ordinary adaptation. Akram remains a Syrian immigrant assistant with a dark past matching the novels, not a race or gender-swapped legacy hero.
0%
Anti-woke backlash and complaints
Not present. No meaningful campaign says the show is too woke. Reaction often groups it with non-propaganda crime TV or hopes it does not go woke, and some praise the lack of forced diversity.
0%
Creator track record context
Cached scores are low to mild for Adler-Olsen, Scott Frank, Olivia Scott-Webb, Elisa Amoruso, Chandni Lakhani, and Stephen Greenhorn. No activist or DEI creative pattern is tied to this title. Frank’s public framing is trauma, ensemble, and mystery craft.
10%
Production
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