fealgu

So, this new police drama? Honestly, it's pretty much as basic as it gets. What's worse, it feels like they just let a bunch of high schoolers handle the writing, because the plot never really gets any more exciting or deep. You'll probably be bored by episode two.

And the acting? Nothing special there either. It's just a lot of the same old stuff.

Basically, if you're thinking about watching this, just know it's going to be a lot of predictable Eastern European gangster stuff, scenes that make you roll your eyes because they're so unrealistic, and dialogue that sounds like it was written just to force the story along, not because anyone would actually say it. Save your time!

Netflix's Department Q entered the crowded field of noir crime dramas, and sadly, it does little to distinguish itself. I anticipated a series with a higher 'IQ,' one that would build upon or even subvert the genre's established patterns. Instead, we're given more of the same, suggesting a missed opportunity for writers to either craft truly original stories or significantly enhance existing adaptations.

The show leans heavily on tired archetypes: the maverick cop, the eccentric sidekick, the perpetually frustrated boss, and the obligatory 'weird' supporting cast. These character types, frankly, add nothing of substance to the plot here and test the limits of viewer tolerance.

Compounding these issues are the excessive episode count and glaring logical flaws, including baffling continuity errors within the storyline. The pacing is agonizingly slow, often feeling like a deliberate attempt to stretch thin material across too many hours.

The acting, while adequate, frequently borders on being over-the-top.

However, the most egregious flaw is the consistently shoddy police work. It's truly baffling to see a supposed 'top investigator' demonstrate such a casual disregard for basic evidence contamination protocols. This disconnect between a character's described expertise and their depicted incompetence is jarring. Good writing demands that characters behave consistently with their established roles - you wouldn't write about a fisherman grabbing a tennis racket to net fish. Department Q makes similar, perplexing choices with its lead, leading to a viewing experience that feels intellectually underserved.

Let's be clear: Beregec isn't just bad television, it's an insult to the very notion of creativity. Watching this show feels less like entertainment and more like a checklist of tired tropes strung together.

The premise is insultingly familiar. We have your standard rogue cop - naturally, with a "unique" way of solving crimes that apparently no one else in the entire police force can fathom. Predictably, this maverick (dressed for salsa dance class) is constantly butting heads with the obligatory jealous or antagonistic fellow officer, who serves no purpose other than to create artificial conflict. Add to this a annoying reporter , the mandatory psychologist visits (their interaction is simply: wtf!), and a captain who oscillates between begrudging trust and performative reprimands, and you've got a supporting cast carved from the most worn-out crime tv template.

The plot itself? Forget about it. Each episode feels like an exercise with crime procedural clichés. Our "hero" inevitably gets taken off the case for his insubordination (yawn), only to go rogue and solve it on his own (double yawn). Throw in a dash of family drama - the brooding protagonist grappling with a lost loved one, the strained parent/child relationship punctuated by the oh-so-original "I must take this call" moment that leads to a cancelled appointment or forgotten child - and you've hit peak unoriginality.

And let's not forget the villains! This week's antagonist? Surprise, surprise, they have a personal vendetta! And what's a crime show without a good old-fashioned kidnapping of a family member to raise the stakes (spoiler alert: they aren't raised, just telegraphed from miles away). Honestly, watching an episode of Beregec feels like enduring a particularly dull rerun of a standard CSI episode from fifteen years ago, only somehow less engaging.

By this point, the argument for AI-generated television becomes alarmingly compelling. If this is the level of creative output we can expect from human writers, perhaps the algorithms could indeed save the studios some money by churning out equally bland, if not slightly more coherent, content.