There is a good sentence in this "crime scene". Professor Boerne is once again all the way and away from his own glory and tries to deal critically with this self-love - but only to land again the excessive self-praise: "Just because I am narcissistic, that does not mean that not everything is always turns around me. "

Unfortunately, this is not one, but the only good sentence in this episode. He nicely sums up the general problem of the Münster thriller. The TV area in the eternal quota high has long since decoupled from any kind of criminal history: What is found in the episodes of rudimentary plot, serves only to bring the self-loathing investigators somehow in the lane. In Münster- "crime scenes" everything always revolves around Boerne and Thiel; for a punch line, the last plot remainder is deleted from the movie.

In the new episode, this eternal ego show will be multiplied again in its effect. Because Boerne (Jan Josef Liefers) and Thiel (Axel Prahl) hunt a murderer who kills doubles of them and their colleagues. Not nice to see yourself on the autopsy table.

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"Tatort" with Boerne and Thiel: who is the funniest in the whole country?

It starts with a woman who is found dead on the cathedral plate and looks like prosecutor Klemm (Mechthild Großmann). In addition to the body, the favorite cigarettes of the ketterauchenden lawyer were spread. We continue on a murdered ice cream shop girl, who is short-lived like Rechtsanikerin Haller (Christine Ursprung). To prevent further action, Boerne and Thiel embark on the search for their own doppelgängers.

Münster, forever occupied with itself

That could have been a good occasion to take the eternal self-employment of the investigators in the Münster "crime scene" on the shovel. The doppelganger is indeed a prolific comedy motif, because with it peculiarities and abysses can be miraculously mirrored and enlarged. For example, this was very skillfully seen in the comic strip comedy "How I Met Your Mother", where every character - Freud would have enjoyed it - stumbles over their counterparts over the course of the nine seasons, revealing hidden sides to themselves , I, it, superego.

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Photo gallery: All "Tatort" teams at a glance

But from this construction in the Münster "crime scene" no profit is drawn. When classic fan Boerne meets his counterpart, a jazz teacher shaming himself, the clash does not spark. Instead of recognizing oneself in the opposite or being alienated from oneself, there is a brash spectacle gag. Ironically, at this point, the participants do not care about the self-imposed narcissism theme - the self-obsessed Boerne is not even interested in his reflection. I, it, weariness.

This stupid and dumber version of a doppelganger comedy is also so sad because you can not quite explain how the Münster "crime scene" could get into this state of sedating complacency. Screenwriter Benjamin Hessler has previously co-written an interesting falcon "crime scene" about the new right-hand edge of the suburb, director Matthias Tiefenbacher has already made comedies with sovereign tempo and timing. And even if you sometimes forget it: Liefers and Prahl are (were?) Really good comedians. Even in the last "Tatort" episode, whose punch-line structure seemed as if it had been developed during a drinking game, they still ran up to high altitude dialog and slapsticktechnischchnisch.

In the doppelganger "crime scene", however, the dwindling interest in one's own TV area now shows itself in a potentiated form: The main actors are evidently doubly bored here - both by themselves and by their doppelgangers.

Rating: 2 out of 10

"Tatort: ​​Mirror, Mirror", Sunday, 20:15, ARD