Latest news with #Q.
Business Upturn
3 days ago
- Entertainment
- Business Upturn
Dept. Q Season 2: Release date speculation, cast and plot details – Everything we know so far
By Aman Shukla Published on May 30, 2025, 19:30 IST Last updated May 30, 2025, 13:49 IST 'Dept. Q,' Netflix's gripping British crime thriller, captivated audiences with its debut season on May 29, 2025. Adapted from Jussi Adler-Olsen's Danish crime novels, the series follows Detective Chief Inspector Carl Morck, played by Matthew Goode, as he leads a misfit team in solving Edinburgh's cold cases. With Season 1 leaving fans eager for more, speculation about a second season is buzzing. Here's everything we know so far about Dept. Q Season 2. Dept. Q Season 2 Release Date Speculation As of May 30, 2025, Netflix has not officially confirmed a second season for Dept. Q. However, the show's strong reception, compelling narrative, and the wealth of source material from Adler-Olsen's book series fuel optimism for a renewal. If renewed in 2025 and production begins in early 2026, Dept. Q Season 2 could premiere in late 2026 or early 2027, likely between September 2026 and March 2027. Dept. Q Season 2 Expected Cast While no official cast list exists for Season 2, the police procedural format suggests core characters will return, with new faces tied to fresh cases. Here's a look at the likely returning cast: Matthew Goode as DCI Carl Morck : The brilliant yet abrasive detective, haunted by a violent attack that killed a colleague and paralyzed his partner, is the heart of Dept. Q. Jamie Sives as DCI James Hardy : Carl's paralyzed former partner, now walking with crutches after physiotherapy, remains integral to the team's dynamic. Alexej Manvelov as Akram Salim : A Syrian cop turned civilian assistant, his journey toward a DI rank could deepen in Season 2. Leah Byrne as Rose : The cadet seeking to prove herself is a mainstay, bringing fresh energy to the cold case unit. Kelly Macdonald as Dr. Rachel Irving: The police therapist aiding Carl's trauma recovery is likely to return for emotional depth. Dept. Q Season 2 Potential Plot Season 1, based on Adler-Olsen's 'The Keeper of Lost Causes,' ended with Carl and his team rescuing prosecutor Merritt Lingard after four years of captivity, followed by a three-month time jump. The finale teased unresolved threads, setting the stage for Season 2. Here's what we anticipate: The Leith Park Shooting: The ambush that injured Carl, paralyzed Hardy, and killed a young officer remains unsolved. Season 2 may explore this, with DCI Bruce's incompetent investigation offering Carl a chance to dig deeper despite conflicts of interest. New Cold Case: Following the book series, Season 2 might adapt 'The Absent One,' delving into a decades-old case involving a boarding school, the murder of a brother and sister, and a dubious confession. This would introduce fresh mysteries and suspects. Team Dynamics: The misfit squad—Carl, Akram, Rose, and Hardy—will likely grow stronger, with more resources secured via Season 1's budget win. Personal stakes, like Carl's guilt and Hardy's recovery, will deepen the narrative. Aman Shukla is a post-graduate in mass communication . A media enthusiast who has a strong hold on communication ,content writing and copy writing. Aman is currently working as journalist at
Scotsman
5 days ago
- Entertainment
- Scotsman
Dept. Q Cast: All of the Scottish actors in Netflix's new crime drama
4 . Kate Dickie – Detective Chief Superintendent Moira Jacobson Born in East Kilbride, Kate Dickie plays Detective Chief Superintendent Moira Jacobson in Dept. Q. She is perhaps best known for her role as Lysa Arryn in Game of Thrones, but has also appeared in films such as Prometheus, Filth, The Witch, The Green Knight, The Northman, and shows including Annika, Loki and, most recently, The Day of the Jackal. | Photo by for Netflix
CBC
03-04-2025
- Entertainment
- CBC
Life After creator Britta Johnson turned her teenage grief into an acclaimed musical
In a Q interview, the Canadian composer and playwright discusses her award-winning musical Media Audio | Britta Johnson turned her teenage grief into an acclaimed musical Open Full Embed in New Tab Loading external pages may require significantly more data usage than loading CBC Lite story pages. Growing up in the theatre town of Stratford, Ont., Britta Johnson was under the impression that pretty much everyone worked in the performing arts. Both her parents were pit musicians, and her older sisters ended up pursuing music as well. To her, it seemed as normal a career path as any nine-to-five. Following in her family's footsteps, Johnson wrote her first full-length musical, Big Box, when she was just in high school. It was inspired by her distaste for the Walmart that was set to open in her town. "Walmart still ended up coming to town," she tells Garvia Bailey in an interview for Q."I didn't end up saving the day, but I did kind of begin my career, which I feel very lucky about." Today, Johnson is one of Canada's most acclaimed composers, lyricists and playwrights. Her award-winning musical Life After follows a 16-year-old girl grappling with the death of her father. It originally debuted at the Toronto Fringe Festival in 2016, but later this month, it will return to Toronto at the CAA Ed Mirvish Theatre. The show is loosely inspired by Johnson's own experience of loss, but she says it's not autobiographical. "If it was a show about my grief, it would be a show about a girl growing her bangs out too long and getting kind of weird and quiet, which is far less theatrical," she says with a laugh. "But at least the texture of coming-of-age through loss, that first kind of transformative loss at this moment when you're just kind of trying to figure out what being a person is like — I certainly pulled from that experience in my life." [Grief is] so many colours at once.... I think music has the ability to hold all of that. - Britta Johnson When Johnson was 13, her father passed away. Then, near the end of her time in high school, one of her friends died and she found herself once again faced with grief. She recalls attending visitations, shoving finger sandwiches into her mouth to avoid the awkwardness of not knowing exactly what to do with herself. She couldn't quite put the things she was feeling into words, so she started writing music. "[Grief is] so many colours at once, and you exist in this altered state where the past and present are really mingling together," she says. "I think music has the ability to hold all of that, the comedy of it, the immense humour and warmth of it, as well as the things that are scary and devastating and hard." Life After also includes songs Johnson wrote as a teenager, many of which have remained untouched as the show has evolved. While writing the musical, she says she felt like she was collaborating with past versions of herself. The very first songs she wrote for this show are the only ones that haven't been rewritten. Even as she becomes a more skilled composer and her music takes on more complex forms, she's always striving to capture exactly what she was thinking as a teenager navigating the process of mourning. "My highest priority always in working on it is trying to preserve that initial impulse," she says. "There's something very honest at the core of this show that I found very early." Life After premieres at the CAA Ed Mirvish Theatre on April 16. Interview with Britta Johnson produced by Aajah Sauter.
Korea Herald
06-03-2025
- Politics
- Korea Herald
Gender equality created through education, mentoring, system reforms: Philippines envoy
Q. What challenges have you faced as a female Ambassador, and how have you overcome them? Do you believe female representation in diplomacy and politics has improved globally? As a woman and as a public servant, one of my regular activities is to read the findings of the annual WEF Global Gender Gap Index, the longest-running tracking index for closing the gender gap globally across critical areas of women's engagement and is very informative for the work that I do as a diplomat. Some of the statistics have been encouraging but the overall picture requires all stakeholders to exert more effort to close the gap which according to the 2024 report, will take 134 years to achieve parity or about 5 generations. A tall order for any country. The Philippines is one of the best performers in the Asia-Pacific (3rd after New Zealand and Australia) and has been in the top 10, 20, and 25 globally in the past in closing the gender gap. But there have been years where our ranking has gone down principally in the field of women's representation in politics. There are fewer women in ministerial-level positions and fewer women being elected to public office. There is a need, therefore, to improve on this and to address the factors which are pushing women away from politics. In 2024 an unprecedented number of elections took place globally and in some countries, women had lower engagements as candidates so this needs to be addressed through education, mentoring, and reforms of systems that do not encourage women's participation. In diplomacy, however, the Philippines has the highest women to men ratio in Chiefs of Mission positions with 51 percent of women reaching the highest diplomatic rank compared to 49 percent for men. That being said, as a woman diplomat I continue to face challenges. There have been many times, for example, where I have been the only woman in the room during important meetings. However, I learned through the years that a surefire way to overcome this is to prepare well, to study hard, and to know all the issues on the agenda. I have found that if you know what you are talking about, people will listen and respect your contributions. Q. What policies or social campaigns have been promoted in your country to improve women's rights and leadership? The Philippines is acknowledged as among the top countries in the Asia-Pacific Region with strong gender and development policies such as the passage of a Magna Carta for Women. One specific policy which has a far-reaching impact is that Gender and Development programs (GAD) are embedded under the law in every branch of government in the Philippines. There is a GAD component for all instrumentalities of government. Agencies and offices, including our Embassies, are required to allocate 5 percent of our total budgets to GAD programs. This serves to institutionalize GAD sensitivity, consciousness, and advocacy in the public sector and it has likewise been adopted to some degree in the private sector as well. For us at the Philippine Embassy in Seoul, it allows us to implement training, learning, mentoring, and other programs on gender and development both with our Korean and international partners and our overseas community. I always advise young women to study hard, prepare, be engaged and involved, to volunteer early on for advocacies they believe in for greater exposure and awareness on issues, and to interact with different stakeholders coming from diverse perspectives as this is an essential part of any work in international relations. There is no substitute for studying issues from various angles so that they can appreciate matters more wholistically and can find responsive solutions for all. As women in the field of international relations it is important to build on the special strengths of women -- an attention to detail and empathy for those affected by their work. Q. There are growing concerns that AI gender bias reflects both technological limitations and deep-rooted societal prejudices. Despite economic and technological advancements, what measures do you believe are necessary to bridge the gender gap both online and offline? The statistics in terms of the growing AI gender bias and gender gap is quite alarming. In terms of representation alone only 22 percent of the global talent pool in AI is composed of women and of this number, less than 14 percent, are in positions of seniority or at a decision-making level which would have an impact on how AI can bridge the gender gap or how it can perpetuate stereotypes in this new technological field. As with other sectors there is a need to address this disparity by working on the following critical matters, namely, ensuring greater access to technology for all regardless of gender and it must start early on in the home, in education, in the workplace; mentoring and positive representation of women and girls online, in tech, and offline; and to ensure that various institutions allow for the entry of women in the AI space at all levels so they have a say in gender representation online and offline.
