It doesn't happen every day!

ARD is pooling its strengths for a so-called event series that is dedicated to a really explosive subject.

At

prime time,

Oktoberfest 1980

attracts the attention it deserves to one of the most underexposed chapters in the history of the Federal Republic of Germany - the right-wing terrorist attack on the Oktoberfest 40 years ago, which at the time cost 13 people their lives and injured more than 200.

Joke, this series doesn't exist.

If the ARDunserer Tage bundles forces, then it does it for the opposite of explosiveness, information and innovation.

Oktoberfest1900

is what comes out of it: a four-and-a-half-hour six-parter that comes up in every episode with the fade-in that it is based on "true events".

Which is actually a cheek.

Because it means just two characters in the series.

And only to a small extent.

Shortly before the last barrel there is a solution

One is a Nuremberg restaurateur whose name is Curt Prank (Mišel Matičević) and who, on the one hand, had stalls bought by straw men in 1898 in order to set up a large "beer castle".

And on the other hand, the drinking song

Ein Prosit zu Gemütlichkeit

is said to have brought to Munich.

And the other is a "Biermadl", who is called

Colina Kandl (Brigitte Hobmeier)

in

Oktoberfest1900

and who became known in real life through a picture that a painter made of her.

Where the historical role model rose through marriage to a financially better off society, Kandl first acts as a chaperone for the Prank daughter (Mercedes Müller) in the series, and later leads a waitress strike that insists on payment through fixed wages instead of just tips .

To what extent this action led to improvements or this prank was now significant for the development of the Oktoberfest, whether its beer castle was a success that characterizes the Volksfest to this day, or a flop that can be told as an anecdote of someone who failed - no idea, the series reveals it one not.

At one point, Prank threatens to run out of beer during the holiday season, which is shown in a dramatically drawn-out countdown.

But even though Felix Cramer's camera keeps looking anxiously at the bars with the dwindling number of barrels, the Zampano does nothing but feel his toothache, and there is a solution shortly before the last barrel.

That is roughly the concept of economy that

Oktoberfest

1900 uses

.

The series acts as if it tells of a corporate culture including urban politics.

The traditionalism of the Hoflinger family, which does not want to introduce any new types of beer, although business is not going well, is opposed to Frank's big plans.

If the art-loving Filius Ludwig (Markus Krojer) invites artist folk friends into their own economy, one wants to consider this an early and clever way of gentrification.


But then the Schwabinger Celebration Society even drives out the remaining regular audience, which is only irrelevant because the starving company simply never goes into bankruptcy.

That is the spirit of

Oktoberfest 1900

: Let's not talk

about

money, the main thing is that a Thomas Mann actor can grab Ludwig on the thighs.

The overseas viewer is also delighted to see the Nobel Prize winner for literature at such an early stage of his work.

Wasn't that gay?

What was going on in this Munich! The series as a gossip postille.