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Claudia Michelsen, Maria Ehrich, Emilia Schüle, and Sonja Gerhardt in Ku'damm 63 (2021)

Sonja Gerhardt

Claudia Michelsen

Maria Ehrich

Annette Hess

Catharina rekindles her relationship with Fritz; Monika composes for the European Song Contest; Eva punishes Jürgen for his abuse; Helga is desperate because Wolfgang contacts his former lover who was imprisoned due to her denunci...

Ku&apos;damm 63

Growing

This series should be subtitled, &quot;Can the women keep their men?&quot; Giving the answer is not right and it is worth seeing how our heroines try to find happiness.

The evolution of the story is interesting. The time shift has progressed and we are on the brink of the youthful 1960s with more rock n&apos; roll music and some other minor changes. The characters, who we know quite well, have not undergone huge changes, but there is enough movement to stay engaged with them.

As with Ku&apos;Damm 56 and 59, the writing and overall story arc are well-handled, and, in this series the various plots have been better managed. For a mini-series where emotional highs and angst are essential, the balance between each character&apos;s stories blend well.

Still at the center, so to speak is the formidable mother, Caterina Schöllack as played by Claudia Michelsen. She dispenses her displeasure, steely glares and contemptuous snorts at anyone who crosses her iron will. Even with a back brace.

This series has enough to progress the stories of the Schöllack women into new phases and so it looks as if a Ku&apos;Damm 68 could be a possibility. If that does happen it will take the themes forward and resolve some other things to, such as the struggle between children and parents.

And later in the 1960s, with Germany experiencing youth rebellion, very heavy rock music, drugs and sexual revolution, we can imagine Caterina Schöllack stubbornly playing &quot;Preußens Gloria&quot; in defiance of such social depravity.

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This series should be subtitled, "Can the women keep their men?" Giving the answer is not right and it is worth seeing how our heroines try to find happiness.

The evolution of the story is interesting. The time shift has progressed and we are on the brink of the youthful 1960s with more rock n' roll music and some other minor changes. The characters, who we know quite well, have not undergone huge changes, but there is enough movement to stay engaged with them.

As with Ku'Damm 56 and 59, the writing and overall story arc are well-handled, and, in this series the various plots have been better managed. For a mini-series where emotional highs and angst are essential, the balance between each character's stories blend well.

Still at the center, so to speak is the formidable mother, Caterina Schöllack as played by Claudia Michelsen. She dispenses her displeasure, steely glares and contemptuous snorts at anyone who crosses her iron will. Even with a back brace.

This series has enough to progress the stories of the Schöllack women into new phases and so it looks as if a Ku'Damm 68 could be a possibility. If that does happen it will take the themes forward and resolve some other things to, such as the struggle between children and parents.

And later in the 1960s, with Germany experiencing youth rebellion, very heavy rock music, drugs and sexual revolution, we can imagine Caterina Schöllack stubbornly playing "Preußens Gloria" in defiance of such social depravity.

Catharina rekindles her relationship with Fritz; Monika composes for the European Song Contest; Eva punishes Jürgen for his abuse; Helga is desperate because Wolfgang contacts his former lover who was imprisoned due to her denunciation.

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Ku'damm 63

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