Astrid Ströher

After four years in prison for the manslaughter of her father, Sara Manzer wants to look ahead. She has support for her new life, which she gets primarily from her friend Marlene, who takes her into her apartment. Sara, who has turned from a party girl into a reserved woman as a result of her imprisonment, wants to shake off memories and reorient herself. But then the police are at her door again. A former colleague was stabbed and old files of her case were found on him. She reluctantly admits that she spoke to Benno Rose before his death. He had new insights into her old case that should relieve her. Sara insists she had nothing to do with Rose's death. But this statement cannot prevent the Freiburg commissioners Franziska Tobler and Friedemann Berg from doing further investigations in this case.

Danish soldier Esben fakes his own death in an attempt to flee the war and reunite with his beloved wife Kirstine and their son Karl after being apart for three years. However, everything has changed while he has been away. A charming German officer has taken over the role as the family’s father and is courting Kirstine. While hiding in his own attic, Esben witnesses this very real nightmare and must do everything in his power to survive, win back the love of Kirstine and save his family.

While Berlin-based businessman Paul Graf is in Shanghai, his nosy busybody mother Maria, who was only to mind his apartment, opens his mail, finds a letter notifying he's to become father and without consulting him travels to see the expectant mother, Nina, at her home, uncle Harald Brandl's farm and stork home. Maria falls in love with Harald but also finds the key to the Graf family's past, fled from Hungary during the Soviet-crushed rebellion. Paul arrives and finds Nina impossible to deal with, yet wants a bond with his unborn son.

In Hamburg, an aged sorcerer is searching for a replacement. Freddie, who's about 12, finds the wizard's book of spells and knows enough to read a few lines to his friend Emma. She repeats the lines adding exasperation about Mickey, a boy who's often mean to her. The next morning, Mickey finds himself in Emma's body, and Emma finds herself in Mickey's body. The wizard tracks down the book, takes it back, and disappears, leaving Freddy with no way to reverse the spell, which becomes permanent in 54 hours. Freddy, Emma, and Mickey must work together to search out a solution, while making discoveries about sex roles, courage, friendship, and each other

Restaurant critic Ina is on the verge of marrying the wealthy son of an entrepreneur Clemens Kehl. But then she runs into the car of smart Gunnar. With consequences: After the accident, she wakes up with no memory in the hospital again! Under the name Jula they try to get her true identity back on track...

Polizeiruf 110 is a long-running German language detective television series. The first episode was broadcast 27 June 1971 in the German Democratic Republic, and after the dissolution of Fernsehen der DDR the series was picked up by ARD. It was originally created as a counterpart to the West German series Tatort, and quickly became a public favorite. In contrast with other television crime series, in which killings are practically the primary focus, while Tatort handled homicide cases, the cases handled in the GDR TV's Polizeiruf were more often the more frequent, and less serious, crimes such as domestic violence, extortion, fraud, theft and juvenile delinquency, as well as alcoholism, child abuse and rape. Contrary to Tatort, which concentrated on the primary characters and their private lives, police procedure was the center of attention of Polizeiruf, especially in the earlier episodes. The scriptwriters attached particular importance to representation of the criminal and his state of mind, as well as the context of the crime. Many episodes aimed to teach and enlighten the audience about what does and what doesn't constitute appropriate behaviour and appropriate thought, rather than just to entertain. Polizeiruf was one of the few broadcasts by GDR media in which the real problems and difficulties of the supposedly more advanced socialist society could be displayed and discussed to some extent, albeit in a fictionalized and pedagogicalized environment.