Crime Scene: Subscription Track: Can Herzog fill the gap that Bönisch left behind?

“Crime Scene” from Dortmund
Faber is reminiscent of Bönisch in the current movie

Since her first joint case “Heile Welt” (February 2021), the relationship between Commissioner Peter Faber (Jörg Hartmann, 55) and Chief Criminal Commissioner Rosa Herzog (Stefanie Reinsperger, 37) is slow but noticeable. The big question hovering over Dortmund “Crime Scene” Constellation: Can Rosa Herzog fill the hole that Martina Bönisch’s death (Anna Schudt, 51) left?

Can Faber be over Bönisch’s death through her?

In the new episode “Crime Scene: Siding” (March 30, 8:15 PM, the first), this question becomes particularly urgent. Faber, as so often between anger, pain and retreat, is driven into the tightness – professionally and emotionally. In a moment of openness he says, “I miss Martina.” A simple but deeply sad determination that brings the ghost of the past in the midst of the present.

Martina Bönisch was much more than just a colleague. There was a close, deep connection between her and Faber – carried by mutual respect, loyalty and a calm touch of tenderness. Your death in “Love me!” (February 2022) was a cut that not only shook Faber but the whole Dortmund team.

Faber has changed

Since then, Faber has often traded as a man living with a handbrake. Sometimes destructive, sometimes closed – but it doesn’t come anymore. He got a new professional partner in Rosa Herzog, but it is clear from the start that this relationship works differently.

Duke: different but strong

Rosa Herzog is not a label of Bönisch – and it won’t be. It brings a very own mix of analytical sharpness, sensitivity and silent determination. In “Heal World” she met Faber with skepticism, but also with a clear compass. It cannot be scared, not captured – and thereby develops his respect.

In the following cases, especially in “greed and fear” (2022) and “You Stay Here” (2023), Herzog several times showed that she is not only in parliamentary with Faber, but also has something to counter him emotionally. She is not Bönisch – but she is a counterpart.

Between distrust and approximation

It is difficult to understand what happened between Faber and Herzog. It is not a friendship, not a partnership in the classical sense – rather a fragile working relationship with subliminal excitement. Herzog has learned to read Faber’s withdrawal, not to take his outbreaks of anger in person. On the other hand, Faber is slowly looking to see that there is a colleague in Duke who does not want to replace him but may be able to catch.

The relationship continues in “siding”. Faber’s memory of Martina is not just a nostalgic review – it is an expression of guilt, pain and loss. Duke stands next to it, listens and says nothing. Their strength is often in silence and stays in the stay.

It’s not a replacement but gives a chance

Can Rosa Duke Martina Bönisch replace? The simple answer is: No. But that might not be the right question. Because what has evolved since “Perfect World” is not a repetition but something of its own. Duke will never be bönisch – but she could be the only person who can bring Faber back to life. Not through equality, but of difference.

Each new episode becomes clearer: Dortmund’s “Crime Scene” tells not only criminal cases, but also a story of loss, change – and how difficult it is to allow someone by his side. Especially when you’ve lost someone.

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