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Of course, heirs are all criminals.

Privileged.

The Commissioner is very rigorous on this.

She doesn't like inheriting.

Which is possibly because she ended up in a classic heir thriller that obeys all the rules of the Agatha Christie dramaturgy.

In such a beautiful high house with too many suspects and false leads.

And doesn't feel comfortable in it.

“What we inherit” is the name of the new case for the fabulous Commissioner Löbau from Freiburg.

So she could have been warned.

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Elisabeth Klingler got married to her partner.

Which is quite unusual in the very German “Tatort”.

Her name is Elena, she comes from Poland.

Both are around seventy.

Murderous chamber play

Elisabeth runs a confectionery empire in the Black Forest (the best seller is a Mon-Chéri-like praline made from chocolate, cherry and alcohol).

Then Elisabeth lies dead on the stairs.

She has just announced a - for the sad - change of her will to her family.

In favor of Elena.

She should inherit the villa.

The other inheritors do not even know that she will inherit much more because the patriarch has not informed anyone of the marriage.

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Which is pretty much the only unbelievable thing about this perfectly played, perfectly balanced, fairly conservative chamber play.

Every character that author Patrick Brunken sends through his relationship maze, which is overgrown with legal creepers, has a special agenda, a special guilt and indebtedness to carry around with him.

They talk a lot, they negotiate a lot.

The fact that you are not overwhelmed by the many texts also has something to do with Franziska Schlotterer, whose direction guides you through the thicket with the greatest of ease.

And with Jenny Schily, who equips Gesine, the intended company heiress, with such a blistering cold that the television smokes quietly as soon as she appears.

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The fact that the story, like all industrial heritage stories in the “Tatort” this year, has a Nazi background, continues a trend.

For the third time the forced labor system of the Nazis is the topic.

But it is not exhibited. Will be played out. Obtains organically. That's just how it is. Like gender, by the way. The inheritance sneaking was going on for some time, then the historical happened. Gesine says “workers”. With a break. And with a capital I.