La casa de papel 4 is a Spanish crime drama television series created by Álex Pina. The plot plots two very prepared robberies led by a man known as The Professor, one at the Royal Mint of Spain and the other at the Central Bank of Spain. The series was initially planned as a 15-episode miniseries divided into two parts, the first with nine episodes and the second with six. Its original exhibition on the Spanish network Antena 3 took place from May 2, 2017 to November 23, 2017. La casa de papel features Úrsula Corberó, Álvaro Morte, Itziar Ituño, Alba Flores, Miguel Herrán and Jaime Lorente in the main cast.
Netflix acquired the global streaming rights in late 2017. The streaming service repurposed the length of episodes by increasing them to 22 episodes in total and splitting the entire miniseries into two parts, the first with 13 episodes and the second with nine. The first part was released in the Netflix catalog on December 20, 2017, followed by the second part on April 6, 2018. In April 2018, Netflix renewed the series with a significant budget for another 16 new episodes in total. Part 3, with eight episodes, was released on July 19, 2019. Part 4, also with eight episodes, was released on April 3, 2020. A documentary involving the producers and cast premiered on Netflix on the same day, titled Money Heist: The Phenomenon (La casa de papel: El Fenómeno). In July 2020, Netflix renewed the show for a fifth and final part with 10 episodes.
The series was filmed in Madrid, Spain. Significant portions of parts 3 and 4 were also filmed in Panama, Thailand and Italy (Florence). The narrative is told in real time and relies on flashbacks, time jumps, hidden character motivations and an unreliable narrator for complexity. The series subverts the robbery genre by being told from the perspective of a woman, Tokyo (Úrsula Corberó), and having a strong Spanish identity, where emotional dynamics offset the perfect strategic crime.
The series has received numerous awards, including best drama series at the 46th International Emmy Awards, as well as critical acclaim for its sophisticated plot, interpersonal dramas, directing, and trying to innovate Spanish television. The anti-fascist Italian song "Bella ciao", which plays several times throughout the series, became a summer hit across Europe in 2018. By 2018, the series was the most watched non-English-language series and one of the most watched general series on Netflix, with a particular resonance coming from viewers from Mediterranean Europe and Latin Americans
The series revolves around a multi-day heist prepared against the Royal Mint, located in the city of Madrid, Spain. A mysterious man known as "The Professor" is planning the biggest heist in history. To carry out the ambitious plan, a team of eight people with certain skills who have nothing to lose is recruited. The goal is to enter the Factory and print 2.4 billion euros. For this, the team needs eleven days of confinement, during which it will have to deal with elite police forces and 67 hostages.
It was more than sung that Nairobi (Alba Flores) had not died with the offense of Alicia Sierra (Najwa Nimri) at the end of the third season. It would have been a waste to murder the character and miss the biggest shock and biggest duel at a start to the season when we're still cold. What was more unthinkable is that finally Gandía (José Manuel Poga) would end the life of the most charismatic robber of the band.
On the one hand, this way of approaching Nairobi's death has an interesting point: when you think she's saved from it, when you think she's from sugar and she can survive it all, you get killed. It is an unexpected, powerful scene that generates a lot of helplessness. It deserves a round of applause, right? But there are also aspects of this death that have a bit of a scam, I can't help it.
Alba Flores does not survive the fourth season. Netflix And it is that one of the ghosts that has cost me the most to assume of La casa de papel is that these robbers, who for some things are quite short of lights and with impossible temperaments, did an advanced course of surgery for beginners in order to be able to have surgery each other at the Bank of Spain. If you allow yourself this license to save a character that at least does not help you to assassinate her four episodes later. It is to curl the curl a little and suffer twice in the same way with the same character.
Also, perhaps the most creeping thing about it is the emotional manipulation of flashbacks. Now you really want to sell us that Nairobi had asked the professor for sperm? And that he had said yes? So we have to mourn the death of Nairobi and the child they would later have had because they are a family? This is too much.
In the text about the most annoying things in La casa de papel, I already included Arturito (Enrique Arce). He has always been so obnoxious that, although he has his merit that he can drive us and the robbers out of our boxes, he is downright annoying. He is a want and I can not that perhaps in a robbery of this level and neither click nor cut.
Well, actually he does have a function: he can be obnoxious but he is right when he denounces that robbers are not as good people as they are painted. Yes, they torture them, but they kidnap people, threaten them with automatic weapons, put their lives in danger and profit from each of the media robberies.
This dimension of the character was the most interesting and in the fourth season, just in case we could coincide a little with him in his ideas, they have loaded it. He is still right in some of the outbursts. But who can support in any way the rapist of the series? That the heaviest hostage found a way to disappear for a while, give a woman pills and abuse her is perhaps the most forced of the season. And all to make it clear to us that, when we talk about villains and bad people, Arturito is the worst of all!
And finally, another element of season four that squeaks me is the ending. I am not referring to the maneuver in the parking lot that is as credible as Tokyo in Meredith Gray mode but to the fact that we dismissed the series without having finished the heist to the Bank of Spain. Was he the only one who was convinced that the third and fourth seasons would serve to tell a compact robbery?
In fact, I even mentioned this aspect as one of the reasons for the success of La casa de papel. It was refreshing that the Professor always had such a specific objective and that it was aired in a couple of seasons (LCDP 1 and 2 are the robbery at the Mint and Stamp Factory and it was to be expected that LCDP 3 and 4 are in the Bank of Spain) . This allowed the characters to air out a bit and the viewer to gather energy for the next mission.
Úrsula Corberó as Silene Oliveira, known as “Tokyo” Álvaro Morte as Sergio Marquina, known as "the Professor" Itziar Ituño as Raquel Murillo, known as "Lisbon" Pedro Alonso as Andrés de Fonollosa, known as “Berlin” Alba Flores as Ágata Jiménez, known as “Nairobi” Miguel Herrán as Aníbal Cortés, known as “Rio” Jaime Lorente as Ricardo Ramos, aka "Denver" Esther Acebo as Mónica Gaztambide, known as “Stockholm” Enrique Arce as Arturo Román Darko Peric as Yashin Dasáyev, aka "Helsinki" Hovik Keuchkerian as "Bogota", father of 7 children Rodrigo de la Serna as Martín, known as “the Engineer” or “Palermo” Najwa Nimri as Inspector Alicia Sierra
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