DEP 重大事故捜査班
あらすじ
乗員乗客256人を乗せた旅客機が大西洋上でこつ然と姿を消す。TSIB（運輸安全調査局）の事故調査官ケンドラ率いるチームは、奇跡的に見つかった生存者の証言や関係者への聞き取り、技術的な調査を行う。次々と新事実が明らかになり、ケンドラは事故に何らかの裏があると疑う。
作品考察・見どころ
AIが作品の魅力を深く読み解いています
乗員乗客256人を乗せた旅客機が大西洋上でこつ然と姿を消す。TSIB（運輸安全調査局）の事故調査官ケンドラ率いるチームは、奇跡的に見つかった生存者の証言や関係者への聞き取り、技術的な調査を行う。次々と新事実が明らかになり、ケンドラは事故に何らかの裏があると疑う。
AIが作品の魅力を深く読み解いています
red herrings and simplistic patterns What "Departure" does well is throwing red herrings, lots of them. Distracting in many ways so the solution takes time, getting there step by step, following leads and making mistakes. The acting is OK, the production quality as well, nothing to get excited about - or annoyed by. It delays and distracts, but with detours, not filler scenes. So it could be considered OK-ish, entertaining, if it weren't for one thing: its gender/sex politics. The good guys are always men. Women can show adoration or remorse; but they don't get to take decisions or decisive actions. The bad people are all women... Wait, that's wrong. "Departure" does the exact opposite. Save for a single token female low-rank "baddie" in two seasons of "Departure", it is exactly like that: Men are always criminals, or do wrong and show remorse, or are helpful "allies" in the back. Everything of importance, everything positive, is done by women. A bit cheap, that. But that's how "Departure" works. Very predictable in this regard; and that makes it far too easy to spot the distractions and the solution.
