Within three weeks in the ARD media library, the polarizing 20s miniseries “Eldorado KaDeWe” was viewed 5.1 million times. “On average, the series had 850,000 stream views per episode,” said a spokeswoman for Rundfunk Berlin-Brandenburg (RBB) for the period from December 20 to January 8 inclusive. As things currently stand, the series with Valerie Stoll in the lead role will be available in the media library until the end of March (March 27th). The ARD put the six episodes of about 45 minutes each online on December 20th. On December 27, the first – very unusual – showed all six episodes in a row on TV in a single evening.
According to the media magazine “DWDL.de”, according to the final weighted values from television research, each episode saw an average of 2.6 million viewers. In the morning after a linear television broadcast, initially only “preliminary weighted data” is available. Three days later these are updated with “finally weighted”. They are the relevant figures for the TV industry, but they are hardly noticed in public anymore. In them, for example, there is the time-shifted viewing of the same evening, but nothing of the use of the media library.
Eldorado KaDeWe: History of the Berlin luxury department store
The miniseries “Eldorado KaDeWe” revolves largely around a lesbian love story and also the story of the Berlin department store of the West. It polarizes the audience primarily for technical reasons; opinions have been so divergent about a few television productions in recent years: Many were confused or even angry because the series, which was set in the 1920s, also lets a lot of the 2020s get through in the background – in other words Today’s cars, construction cranes, graffiti, advertising, people dressed in modern clothes.
The director Julia von Heinz (“And tomorrow the whole world”, “I’ll be gone”) explained that this was not sloppy work, but intent. In response to complaints about the Berlin television tower, which was built during the GDR era, she wrote on Facebook, for example, that the tower had even been digitally inserted into the picture because the four protagonists in the scene were actually standing on a roof in Budapest.
“I wanted to get as close as possible visually to Berlin in the 1920s,” wrote von Heinz (45). “It was a noisy, roaring city full of traffic, buses and elevated trains. Today’s Berlin is much more similar to it than any backdrop in Babelsberg. I wanted to build a visual bridge to the present, as we are still occupied with many topics today. ” But many viewers spoiled (or spoiled) by computer simulations were downright pissed off on social media about this approach to equipment. (dpa)