Of the "crime scene" In a quick check: Hope dies last

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The “crime scene” in a quick check
Hope dies last

From Ingo Scheel

A serial killer who sends puzzling advance warnings. A family between the theater stage and the therapy room. And a dead person with whom Felix Murot once had a very close relationship. For the philosopher among the “crime scene” commissioners, this time it will be a very personal matter.

What is happening?

First of all, there are three dead who could hardly be more different: a Turkish greengrocer, a Chinese IT expert and a philosophy professor who ended up homeless. But there is also something they all have in common: They were killed with a shot in the neck, with a weapon that dates back to the time of the Third Reich.

For Felix Murot (Ulrich Tukur) the case gets a particularly personal note, because the inspector once studied before he went to the police. His major: philosophy. His professor: the murdered Jochen Muthesius (Heinrich Giskes). When Tukur finally reveals to his assistant Magda Wächter (Barbara Philipp) that each of the three murders had been announced to him in encrypted form, the case becomes all the more puzzling.

For the two of them it becomes a trip into the middle of a tragic family affair. There is son Paul Muthesius (Lars Eidinger), an actor for whom life itself is only suitable for the stage. His sister Inga (Karoline Eichhorn), a family therapist who carries an old injury with her. And Laura (Friederike Ott), who has committed herself body and soul to the Christian faith.

The opaque and charismatic Franziska von Mierendorff (Angela Winkler), whose son Jürgen (Christian Friedel) has drifted into the right-wing extremist camp, also resides in the house next door. Murot, after all, is deeper into this case than he would like – one reason why he resorted to brutal means.

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What is it really about?

There is Lars Eidinger (right) again.

(Photo: HR / Bettina Müller)

The first setting reveals the philosophical core. “Hope” is written on a somewhat shredded memorial. It’s easy to get to the Frankfurt School, to Ernst Bloch, whose key work “The Hope Principle” provides the title of the tenth Murot case. In the foreword of the book, written between 1938 and 1947, it says: “Who are we? Where do we come from? Where are we going? What do we expect? What awaits us? Many just feel confused. The ground is shaking, they don’t know why and of what.”

Based on these questions, author Martin Rauhaus and director Rainer Kaufmann construct an ambiguous criminal case in which universal emotional states merge with one another in a very appealing way: tragedy and optimism, destruction and hope, the senselessness of our being – and the uplifting feeling when sunlight touches our face for a moment warms.


Lars Eidinger again? In a role again in which he acts (see Borowski’s last case)? At some point it’s good, isn’t it?


Lars Eidinger again! Again in a role in which he acts (see Borowski’s last case)! But it’s good again, isn’t it?

How was it?

9 out of 10 points – wonderfully crazy family constellation, well staffed, exciting until the end.

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