“How host'n schloafn?” “Oah, froag mi net!” It's unfair, but this wonderfully droning dialect makes even the most banal conversations between Bibi Fellner and Moritz Eisner sound charming. But of course it's not the dialect alone, but the fact that Adele Neuhauser and Harald Krassnitzer have given their grumpy characters in fourteen joint episodes so clear that they are encountered like old acquaintances, not as shamefacedly put into a cumbersome plot . And that's a lot, the "O" and the "A" to say it in Austrian.

Lulled from sleep, Lieutenant Colonel Eisner has to endure a sight that is not common even in wild Vienna: a man, "southern type", was cut out alive in a disreputable furnished apartment - "could be an illegal puff" - and then the perpetrators have He had both hands severed before they suffocated him on the edge of a drawer. Chechen poetry, suspects the cheeky lady from the state police headquarters (Kristina Sprenger): "The murder itself was so brutal that nobody will dare to question the new man or boss, if they will." so?

A few key words now quickly come up that signal the political topicality: human trafficking, smuggling crime, refugees.

It is only logical that the latest wave of refugees does not leave German-language television films without a trace.

Of course, one would have wished for more determination, because the subject seems a little bit stuck here.

One time illegals run away from a back room;

an African woman reports on her escape on the ghost ship;

dumping wages for Afghans are mentioned;

Bibi Fellner makes a sarcastic remark about the treatment of the people in the refugee home: “probably very loving and humane”.

The villain wears a mustache

And yet this is not the focus. The subject of forced prostitution does play a role - women from Eastern Europe also stay illegally in Austria - but soon the plot revolves entirely around the stupid power struggle in the pimping scene. Not only do Turks and Chechens mix here, but also an organic Austrian who wears a rogue schnauzer. The underworld has long since become multicultural.

In terms of content and dramaturgical terms, this “Tatort” by author and director Thomas Roth is reminiscent of the episode “Counted”, also set in a migrant pimp milieu, for which the Austrian team received the Grimme Prize two years ago. However, the current episode lacks the charisma of “Counted”, which exceeded the conventions with strong images and terrifying ideas. The cliché villain Andy Mittermeier (Michael Fuith), on the other hand, seems to have seen many "Tatort" episodes. He knows that as a chief crook you have to poison a dog with a malicious smile, quote the old Chinese "art of war" or appear in the inspector's room in the middle of the night - Simsalabim.

There are even more of the worn scenes. In addition, there is an embarrassing intercultural subplot: Eisner's daughter Claudia moved in with her Muslim friend Kerem, whom she describes as an “Austrian with a Turkish heart”. The worried Mr. Papa (“what soag i, oa fundamentalist”) at least brings presents, of course the wrong ones: “Kerem doesn't eat pork.” Everyone looks a bit stupid.

But despite the slightly clichéd and surprisingly mysterious plot, a semi-solid milieu thriller has emerged that asks far-reaching questions to society: “What kind of world is this? A crime happens for years and everyone looks the other way. ”And where the evil becomes all too banal -“ How stupid do you have to be? ”, Hubert Kramar, aka Ernstl, finally finds the right words - there is always that powdered sugar -Dialect. Eisner, who always seems pissed off, and his partner who happily rushes around with a pimp sledge would be watched without a script and would feel wonderfully entertained.