"In here it's about money and it's the same outside," explains the imprisoned Momo Kaval, who was just aspiring to a life of luxury as a professional football player, but was then hanged by his organized criminal family on the basis of false testimony, his visiting friend Daniela (Lulu Hacke).

With that, however, the walls have already been partially torn down: the prison is not a different world, but the concentration of the outer world in a small, contested space.

The purposes do not differ: "It's all about money." That the prison, in which dependencies emerge more clearly than in the supposed freedom - in this case the clan's access to the individual - that this social miniature with its unity of place, time and action constitutes an ideal drama setting, writers have always remarked.

A corresponding number of stories take place behind bars.

"Prison Break", "Orange Is The New Black", "Oz", "Wentworth", "Locked Up", "Il Re", "The Inmate", "In with the Devil", "Prison Playbook": Those alone lavishly produced prison series of recent date are now competing well capitalistically.

Anyone who wants to play here (beyond comedy formats like "In Prison") has to invest, first in symbolic capital in the form of prison authenticity: rough characters, raw language, merciless plot.

The fact that ARD wants to be successful in this field is courageous, and their commitment is remarkable.

Kida Khodr Ramadan, our clan boss of hearts since “4 Blocks” (TNT), acts as showrunner, director and godfather.

To speak of star hype would be an understatement

For "Asbest" he has now committed half the acting talent of Berlin.

To speak of star hype would be an understatement.

Greats like Detlev Buck or Sabin Tambrea were even bought for completely insignificant roles.

"4 Blocks" is reminiscent not only of the look, atmosphere and the slightly adolescent macho coolness of "Asbest", but also of supporting actors such as Frederick Lau or Ludwig Trepte and the continuous soundtrack of German rap.

Lyrically, of course, it fits the gangster idiom of the big boys: fuck this and fuck that in every second sentence.

"I fuck soccer";

"I'll fuck your mother too";

"I fuck that Sharif";

"Fuck you Henry";

"We'll fuck these dogs";

"Why are you fucking your head now?" Even slang can be monotonous.

But Ramadan went further in its investment in street credibility.

Despite the noble ensemble, he gave the lead role to Xidir Koder Alian, a rapper with no acting experience who, unlike Sido and B-Tight in "Blutbrüdaz", does not play a rapper, but rather the young footballer Mohamed (Momo), who is in prison becomes a real gangster (the "Breaking Bad" narrative works in all shades).

Xidir does it quite well in the midst of all the professionals, always staying himself. His game doesn't seem all that variable, of course.

He actually only masters the expression short-tempered and arrogant.

The few facing moments seem awkward in terms of acting.