"La casa de papel" redirects here. For the remake, see Money Heist (South Korean TV series).
| Money Heist | |
|---|---|
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| Spanish | La casa de papel |
| Genre |
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| Theme music composer | Manel Santisteban |
| Opening theme | "My Life Is Going On" by Cecilia Krull |
| Composers |
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| Country of origin | Spain |
| Original language | Spanish |
| No. of seasons | 3 (5 parts)[a] |
| No. of episodes | 36 (list of episodes) |
| Production | |
| Executive producers |
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| Production locations |
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| Cinematography | Migue Amoedo |
| Editors |
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| Camera setup | Single-camera |
| Running time | 67–77 minutes (Antena 3) 41–61 minutes (Netflix) |
| Production companies |
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| Distributor |
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| Release | |
| Original network |
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| Picture format | 1080p (16:9 HDTV)
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| Audio format | Dolby Atmos |
| Original release | 2 May 2017 – present |
| External links | |
| Website | |
Cash Heist (Spanish: La casa de papel, "The House of Paper") is a Spanish heist wrongdoing show TV series made by Álex Pina. The series follows two since quite a while ago pre-arranged heists drove by the Professor (Álvaro Morte), one on the Royal Mint of Spain, and one on the Bank of Spain, told according to the viewpoint of one of the looters, Tokyo (Úrsula Corberó). The account is told in a continuous like manner and depends on flashbacks, time-hops, stowed away person inspirations, and a questionable storyteller for intricacy.
The series was at first planned as a restricted series to be told in two sections. It had its unique run of 15 scenes on Spanish organization Antena 3 from 2 May 2017 through 23 November 2017. Netflix obtained worldwide streaming privileges in late 2017. It re-cut the series into 22 more limited scenes and delivered them around the world, starting with the initial segment on 20 December 2017, trailed constantly part on 6 April 2018. In April 2018, Netflix restored the series with an altogether expanded financial plan for 16 new scenes all out. Section 3, with eight scenes, was delivered on 19 July 2019. Section 4, likewise with eight scenes, was delivered on 3 April 2020. A narrative including the makers and the cast debuted on Netflix that very day, named Money Heist: The Phenomenon (Spanish: La casa de papel: El Fenómeno). In July 2020, Netflix restored the show for a fifth and last part, which would be delivered in two five-scene volumes on 3 September and 3 December 2021, separately. The series was shot in Madrid, Spain. Critical bits were likewise shot in Panama, Thailand, Italy (Florence), Denmark and Portugal.
The series got a few honors including the International Emmy Award for Best Drama Series at the 46th International Emmy Awards, just as basic approval for its modern plot, relational shows, bearing, and for attempting to advance Spanish TV. The Italian enemy of fundamentalist melody "Bella ciao", which plays on various occasions all through the series, turned into a mid year hit across Europe in 2018. By 2018, the series was the most-watched non-English-language series and one of the most-watched series generally on Netflix,[4] having specific reverberation with watchers from Mediterranean Europe and the Latin American areas.
Substance
Premise[edit]
Set in Madrid, a baffling man known as "The Professor" enlists a gathering of eight individuals, who pick city names as their false names, to complete a goal-oriented arrangement that includes entering the Royal Mint of Spain, and getting away with €984 million. Subsequent to kidnapping 67 individuals inside the Mint, the group intends to stay inside for 11 days to print the cash as they manage first class police powers. In the occasions following the underlying heist, the gathering's individuals are constrained back into public and plan briefly heist, this time on the Bank of Spain, as they again manage prisoners and police powers.
Cast and characters[edit]
See moreover: List of Money Heist cast individuals
Úrsula Corberó as Silene Oliveira (Tokyo): a runaway turned looter who is explored by the Professor, then, at that point, joins his gathering and takes part in his arrangements. She additionally goes about as the untrustworthy storyteller.
Álvaro Morte as Sergio Marquina (The Professor)/Salvador "Salva" Martín: the genius of the heist who collected the gathering, and Berlin's more youthful sibling
Itziar Ituño as Raquel Murillo (Lisbon): an investigator of the National Police Corps who is placed accountable for the case until she joins the gathering partially 3
Pedro Alonso as Andrés de Fonollosa (Berlin): an in critical condition gem criminal and the Professor's second-in-order and more seasoned sibling
Paco Tous as Agustín Ramos (Moscow) (parts 1–2; included parts 3–5): a previous excavator turned lawbreaker and Denver's dad
Alba Flores as Ágata Jiménez (Nairobi) (parts 1–4; included section 5): a specialist in falsifying and fraud, accountable for printing the cash and supervised the softening of gold
Miguel Herrán as Aníbal Cortés (Rio): a youthful programmer who later turns into Tokyo's sweetheart
Jaime Lorente as Ricardo/Daniel[b] Ramos (Denver): Moscow's child who goes along with him in the heist
Esther Acebo as Mónica Gaztambide (Stockholm): one of the prisoners who is Arturo Román's secretary and special lady, doing his offspring of wedlock; during the theft, she goes gaga for Denver and turns into an assistant to the gathering
Enrique Arce as Arturo Román: a prisoner and the previous Director of the Royal Mint of Spain
María Pedraza as Alison Parker (parts 1–2): a prisoner and little girl of the British envoy to Spain
Darko Perić as Mirko Dragic (Helsinki): a veteran Serbian fighter and Oslo's cousin
Kiti Mánver as Mariví Fuentes (parts 1–2; highlighted parts 3–4): Raquel's mom
Hovik Keuchkerian as Bogotá (parts 3–present): a specialist in metallurgy who joins the theft of the Bank of Spain
Luka Peroš as Jakov (Marseille; section 4–present; highlighted section 3): an individual from the posse who joins the theft of the Bank of Spain and fills in as a contact for the gathering.
Belén Cuesta as Julia (Manila; section 4–present; included section 3): godchild of Moscow and Denver's beloved companion, presently a trans lady, who joins the group and postures as one of the prisoners during the burglary of the Bank of Spain
Fernando Cayo as Colonel Luis Tamayo (section 4–present; included section 3): an individual from the Spanish Intelligence who administers Alicia's work looking into the issue
Rodrigo de la Serna as Martín Berrote (Palermo/The Engineer; parts 3–present): an old Argentine companion of Berlin who arranged the theft of the Bank of Spain with him and expected his place as chief
Najwa Nimri as Alicia Sierra (parts 3–present): a pregnant reviewer of the National Police Corps put responsible for the case after Raquel left from the power
Recurring[edit]
Roberto García Ruiz as Dimitri Mostovói/Radko Dragić[c] (Oslo; parts 1–2; included parts 3–4): a veteran Serbian officer and Helsinki's cousin
Fernando Soto as Ángel Rubio (parts 1–2; included parts 3–5): a delegate reviewer and Raquel's second-in-order
Juan Fernández as Colonel Luis Prieto (parts 1–2; included parts 3–4): an individual from the Spanish Intelligence who regulates Raquel's work looking into it
Anna Gras as Mercedes Colmenar (parts 1–2): Alison's educator and one of the prisoners
Fran Morcillo as Pablo Ruiz (section 1): Alison's classmate and one of the prisoners
Clara Alvarado as Ariadna Cascales (parts 1–2): one of the prisoners who works in the Mint
Mario de la Rosa as Suárez: the head of the Grupo Especial de Operaciones
Miquel García Borda as Alberto Vicuña (parts 1–2; highlighted section 4): Raquel's ex and a criminological analyst
Naia Guz as Paula Vicuña Murillo (parts 1–2; included parts 3–4): Raquel and Alberto's little girl
José Manuel Poga as César Gandía (parts 4–5; highlighted section 3): head of safety for the Bank of Spain who escapes from prisoner and causes devastation for the gathering
Antonio Romero as Benito Antoñanzas (parts 3–5): a colleague to Colonel Luis Tamayo, who is convinced by the Professor to take care of undertakings for him
Diana Gómez as Tatiana (included parts 3–5): the fifth ex of Berlin who is an expert musician and hoodlum
Enthusiasm Munné as Mario Urbaneja (included parts 3–5): the legislative leader of the Bank of Spain
Olalla Hernández as Amanda (included parts 3–5): a prisoner that Arturo assaults
Mari Carmen Sánchez as Paquita (included parts 3–5): a prisoner and a medical attendant who watches out for Nairobi while she recuperates
Carlos Suárez as Miguel Fernández (included parts 3–5): an apprehensive prisoner
Ahikar Azcona as Matías Caño (highlighted parts 3–5): an individual from the gathering who to a great extent monitors the prisoners
Ramón Agirre as Benjamín (highlighted parts 4–5): father of Manila who helps the Professor in his arrangement
Antonio García Ferreras as himself (included parts 4–5): a columnist
Patrick Criado as Rafael (highlighted section 5): Berlin's child
Alberto Amarilla as Ramiro (section 5)
Miguel Ángel Silvestre (included section 5): René, Tokyo's beau prior to working with the Professor
José Manuel Seda as Sagasta (section 5): head of the military detail inside the bank
Production[edit]
Origination and writing[edit]
Additional data: § Themes and investigation
We needed to make a tiny task in a straightforward manner; we needed to cross lines we were unable to cross in past projects, as far as account and design with no middle people.
— Writer Esther Martinez Lobato, October 2018[11]
The series was brought about by screenwriter Álex Pina and chief Jesús Colmenar during their long periods of coordinated effort since 2008.[12] After completing their work on the Spanish jail show Locked Up (Vis a vis), they passed on Globomedia to set up their own creation organization, named Vancouver Media, in 2016.[12][13] For their first task, they considered either shooting a parody or fostering a heist story for television,[12] with the last option having never been endeavored before on Spanish television.[14] Along with previous Locked Up colleagues,[d] they created Money Heist as a purposeful venture to attempt new things without outside interference.[11] Pina was firm with regards to making it a restricted series, feeling that weakening had turned into an issue for his past productions.[15]
At first entitled Los Desahuciados (The Evicted) in the origination phase,[15] the series was created to undermine heist shows and join components of the activity class, thrill rides and oddity, while as yet being credible.[12] Pina saw a benefit over average heist films in that character improvement could traverse a significantly longer account arc.[16] Characters were to be displayed from different sides to break the watchers' previously established inclinations of villainy and hold their premium all through the show.[16] Key parts of the arranged storyline were recorded at the beginning,[17] while the better story beats were grown steadily to not overpower the writers.[18] Writer Javier Gómez Santander contrasted the creative cycle with the Pro
Design[edit]
The show's look and climate were created by maker Álex Pina, chief Jesús Colmenar, and head of photography Migue Amoedo, as indicated by La Vanguardia "the most productive TV triplet in late years".[42] Abdón Alcañiz filled in as workmanship director.[43] Their cooperation projects ordinarily accept an essential tone as a basis;[43] Money Heist had red as "one of the distinctive highlights of the series"[44] that remained over the dark sets.[45] Blue, green and yellow were set apart as an illegal shading underway design.[45] To accomplish "outright movie quality", red tones were tried with various sorts of textures, surfaces and lighting.[46] The iconography of the burglars' red jumpsuits reflected the yellow jail clothing regulation in Locked Up.[44] For section 3, the Italian retail clothing organization Diesel changed the red jumpsuits to more readily fit the body and dispatched an attire line propelled by the series.[45] Salvador Dalí was picked as the looters' cover plan due to Dalí's unmistakable appearance that additionally fills in as a famous social reference to Spain; Don Quixote as an elective veil configuration was discarded.[47] This decision started analysis by the Gala-Salvador Dalí Foundation for not mentioning the important permissions.[27]
To make the plot more practical, the makers mentioned and got guidance from the public police and the Spanish Ministry of Interior.[48][49] The looters' banknotes were printed with authorization of the Bank of Spain and had an expanded size as an enemy of fake measure.[48] The more prominent monetary support of Netflix for section 3 took into consideration the form of more than 50 sets across five fundamental shooting areas world-wide.[50] Preparing a remote and uninhabited island in Panama to address a burglar stow away out demonstrated troublesome, as it should have been cleaned, gotten and based on, and involved hours-long going with material transportation.[46] The genuine Bank of Spain was inaccessible for visiting and recording for security reasons, so the makers reproduced the Bank on a two-level stage by their own envisioning, taking motivation from Spanish engineering of the Francisco Franco era.[46] Publicly accessible data was utilized to make the Bank's principle lobby set like the genuine area. The other inside sets were propelled by various periods and falsely matured to emphasize the structure's history.[50] Bronze and rock models and themes from the Valle de los Caídos were reproduced for the interior,[46] and more than 50 artworks were painted for the Bank to imitate the Ateneo de Madrid.[50]
Filming[edit]
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Parts 1 and 2 were shot consecutive in the more prominent Madrid area from January until August 2017.[23][25][51] The pilot scene was recorded in 26 days,[48] while any remaining scenes had around 14 recording days.[16] Production was parted into two units to save time, with one unit shooting scenes including the Professor and the police, and the other recording scenes with the robbers.[19] The principle storyline is set in the Royal Mint of Spain in Madrid, however the outside scenes were shot at the Spanish National Research Council (CSIC) central command for its passing similarity to the Mint,[48] and on the top of the Higher Technical School of Aeronautical Engineers, part of the Technical University of Madrid.[51] The hunting bequest where the burglars plan their upset was shot at the Finca El Gasco ranch domain in Torrelodones.[51] Interior shooting occurred at the previous Locked Up sets in Colmenar Viejo[13] and at the Spanish public day by day paper ABC in Torrejón de Ardoz for print machine scenes.[23] As the show was planned as a restricted series, all sets were annihilated once creation of section 2 had finished.[19]
Parts 3 and 4 were additionally recorded back-to-back,[52] with 21 to 23 shooting days for each episode.[16] Netflix declared the beginning of shooting on 25 October 2018,[28] and shooting of section 4 finished in August 2019.[53] In 2018, Netflix had opened their first European creation center in Tres Cantos close to Madrid for new and existing Netflix productions;[54] principle shooting moved there onto a set multiple times the size of the set utilized for parts 1 and 2.[55] The fundamental storyline is set in the Bank of Spain in Madrid, yet the outside was shot at the Ministry of Development complex Nuevos Ministerios.[55] A scene where cash is dropped from the sky was recorded at Callao Square.[51] Ermita de San Frutos in Carrascal del Río filled in as the outside of the Italian religious community where the burglars plan the heist.[45] The RV scenes of the Professor and Lisbon were shot at the abandoned Las Salinas sea shores in Almería to cause the crowd to feel that the characters are protected from the police despite the fact that their precise area is undisclosed at first.[56] Underwater scenes inside the vault were shot at Pinewood Studios in the United Kingdom.[22][57] The start of section 3 was likewise recorded in Thailand, on the Guna Yala islands in Panama, and in Florence, Italy,[46] which assisted with countering the claustrophobic sensation of the initial two parts,[16] but on the other hand was a declaration of the plot's worldwide repercussions.[58] Filming for the fifth and last season closed on 14 May 2021.[59]
Primary article: Money Heist (soundtrack)
The series' signature melody, "My Life Is Going On," was created by Manel Santisteban, who additionally filled in as arranger on Locked Up. Santisteban moved toward Spanish artist, Cecilia Krull, to compose and play out the verses, which are tied in with believing in one's capacities and the future.[60] The signature tune is played behind a title succession highlighting paper models of significant settings from the series.[60] Krull's primary wellspring of motivation was the person Tokyo in the main scene of the series, when the Professor offers her an exit from a frantic moment.[61] The verses are in English as the language that fell into place without a hitch for Krull at the hour of writing.[61]
The Italian enemy of fundamentalist melody "Bella ciao" plays on numerous occasions all through the series and goes with two symbolic key scenes: toward the finish of the initial segment the Professor and Berlin sing it in anticipation of the heist, accepting themselves as opposition against the establishment,[62] and in the second part it plays during the cheats' break from the Mint, as an illustration for freedom.[63] Regarding the utilization of the tune, Tokyo describes in one of her portrayals, "The existence of the Professor spun around a solitary thought: Resistance. His granddad, who had battled against the fundamentalists in Italy, shown him the tune, and he educated us."[63] The melody was brought to the show by essayist Javier Gómez Santander. He had paid attention to "Bella ciao" at home to perk him up, as he had become disappointed for not observing a reasonable tune for the center of part 1.[18] He knew about the melody's significance and history and felt it addressed good values.[18] "Bella ciao" turned into a mid year hit in Europe in 2018, for the most part because of the ubiquity of the series and not the tune's grave themes.[62]
Episodes[edit]
| Part[a] | Season[a] | Episodes | Originally released | ||||
|---|---|---|---|---|---|---|---|
| First released | Last released | Network | |||||
| 1 | 1[e] | 9 | 2 May 2017 | 27 June 2017 | Antena 3 | ||
| 2 | 6 | 16 October 2017 | 23 November 2017 | ||||
| 3 | 2 | 8 | 19 July 2019 | Netflix | |||
| 4 | 8 | 3 April 2020 | |||||
| 5 | 3 | 10 | 5 | 3 September 2021 | |||
| 5 | 3 December 2021[66] | ||||||
Season 1: Parts 1 and 2 (2017)[edit]
Section 1 starts with the result of a bombed bank theft by a lady utilizing the moniker "Tokyo" as a man called the "Teacher" saves her from being gotten by the police. He proposes to remember her for a heist of huge extents. After a short layout of the arrangement, the story leaps to the start of a multi-day attack on the Royal Mint of Spain in Madrid. The eight looters are code-named for urban areas: Tokyo, Moscow, Berlin, Nairobi, Rio, Denver, Helsinki, and Oslo. Wearing red jumpsuits and veils portraying craftsman Salvador Dalí, the burglars accept 67 prisoners as a component of their arrangement to print and escape with €2.4 billion through a self-constructed get away from burrow. The Professor heads the heist from an outside area. Flashbacks all through the series show the five months of arrangement at a neglected hunting home in the Toledo open country; the looters are not to share individual data nor take part in close to home connections, and are cautioned that there will be losses.
All through parts 1 and 2, the burglars inside the Mint experience issues adhering to their jobs and face uncooperative prisoners, brutality, separation, and uprising. Tokyo describes occasions through voice-overs. While Denver seeks after a relationship with prisoner Mónica Gaztambide, investigator Raquel Murillo of the National Police Corps haggles with the Professor outwardly and starts a personal connection with his change inner self "Salva." The Professor's character is more than once near being uncovered and Raquel at last acknowledges Salva is the Professor, however she is sincerely unfit to hand him over to the police. Toward the finish of section 2, following 128 hours, the burglars escape from the Mint with €984 million, yet Oslo, Moscow and Berlin are killed. One year after the heist, Raquel finds a progression of postcards left by the Professor, who composed the directions for an area in Palawan in the Philippines, where she reunites with him.
Season 2: Parts 3 and 4 (2019–20)[edit]
Section 3 starts a few years after the heist on the Royal Mint of Spain, showing the looters partaking in their lives matched up in different areas. Notwithstanding, when Europol catches Rio with a blocked telephone, the Professor gets Berlin's old intends to attack the Bank of Spain to compel Europol to surrender Rio to forestall his torment. He and Raquel (passing by "Lisbon") get the pack, including Mónica (passing by "Stockholm"), back together, and enroll three new individuals: Palermo, Bogotá and Marseille, with Palermo in control. Flashbacks to the Professor and Berlin layout the arranged new heist and their various ways to deal with affection. The hidden looters slip into the intensely protected bank, take prisoners and ultimately get close enough to the gold and state mysteries. Simultaneously, the Professor and Lisbon travel in a RV and afterward a rescue vehicle while speaking with the burglars and the police. The looters foil a police break of the bank, constraining the police, driven by Colonel Luis Tamayo and pregnant monitor Alicia Sierra, to deliver Rio to the burglars. Nairobi is harmed by a police rifleman's fired to the chest. With another police attack on the bank coming, and accepting Lisbon has been executed by the police, the Professor radios Palermo and pronounces DEFCON 2. The looters react by terminating a rocket at the reinforced police vehicle that is progressing on the bank, diverting the burglars from society legends to executioners according to people in general. Section 3 finishes up by showing Lisbon alive and in care, and Tokyo portraying that the Professor had succumbed to a snare. She presumes that on account of the Professor's erroneous conclusion, "the conflict had started."
Section 4 starts with the looters racing to save Nairobi's life. While Tokyo organizes an overthrow and assumes control over order from Palermo, the Professor and Marseille derive that Lisbon should in any case be alive and being examined by Sierra in the police garrison tent external the bank. They convince Tamayo's aide, Antoñanzas, to help them so the Professor can build up a 48-hour détente with the police. As the gathering figures out how to save Nairobi's life, the limited Palermo endeavors to reassert order by conspiring with Gandía, the controlled head of safety for the Bank of Spain. Gandía get away, starts interchanges with the police from inside a frenzy room inside the bank, and takes part in a fierce waiting game with the pack. Palermo switches course, recovers the trust of the gathering, and rejoins them. Gandía shoots Nairobi in the head, killing her right away, however the posse later recover him. As the police set up one more attack on the bank, the Professor opens to the public the unlawful torment of Rio and Lisbon's confinement and cross examination. Sierra is terminated and starts seeking after the Professor all alone. The Professor enrolls outer assistance to free Lisbon after she is moved from the garrison tent to the Supreme Court building. Section 4 finishes up with Lisbon rejoining the group inside the bank, and with Sierra tracking down the Professor's hideaway, then, at that point, holding him at gunpoint.
Season 3: Part 5 Volumes 1 and 2 (2021)[edit]
Section 5 Volume 1 starts with Sierra tracking down the Professor and taking him out, then, at that point, tying him up and examining him. After Lisbon enters the bank, the posse gets ready for an assault by troops of the Spanish armed force. The posse catches Gandia, then, at that point, liberates him rather than killing him. Gandia needs to get retribution on the pack, so Tamayo has him join the attack by the warriors. Subsequent to discovering the Professor has been gotten however that Sierra has not informed the police, Lisbon tells the group they won't surrender. Benjamin and Marseille track down the Professor, and Sierra takes them out and ties them up. At the point when Sierra battles to convey her child, she liberates the Professor, Marseille, and Benjamin so they can help. Sierra brings forth a little girl, whom she names Victoria. Arturo Roman, a prisoner in both the Royal Mint and the Bank of Spain, engaged in extramarital relations with Stockholm before the principal heist, and Arturo's updates outrage Denver. At the point when Arturo, the legislative head of the bank, and different prisoners start a defiance, Stockholm shoots Arturo, who is delivered so he can get clinical consideration. In a flashback, Berlin persuades his child Rafael to assist him with taking 12 kilograms of gold with Tatiana, Bogota, and Marseille. In the present, the group begins battling the fighters, with Helsinki supporting an extreme physical issue. Stockholm feels responsibility over shooting Arturo, who is her child's introduction to the world dad, and takes morphine while nursing Helsinki, which leaves her incapable to support the pack's guard against the assaulting officers. Section 5 Volume 1 closes with Tokyo forfeiting herself to overcome Gandia and the fighters.
Subjects and analysis[edit]
The series was noted for its disruptions of the heist class. While heist films are normally told with a judicious male Anglo-driven concentration, the series reevaluates the heist story by giving it a solid Spanish personality and telling it according to a female viewpoint through Tokyo.[67] The makers viewed the social way of life as a significant piece of the character of the series, as it made the story more appealing for viewers.[22] They additionally tried not to adjust the series to global tastes,[22] which assisted with separating it from the standard American TV series[68] and raised worldwide attention to Spanish sensibilities.[22] Emotional elements like the enthusiasm and impulsivity of fellowship and love offset the ideal vital wrongdoing for expanded tension.[52][67] Nearly all fundamental characters, including the relationship-restricting Professor, at last surrender to love,[58] for which the series got correlations with telenovelas.[4][69] Comedic components, which were contrasted with Back to the Future[25] and dark comedy,[55] likewise offset the heist tension.[70] The heist film equation is undermined by the heist beginning straight after the initial credits as opposed to waiting on how the posse is brought together.[2]
With the series being set after the monetary emergency of 2007–2008, which brought about serious severity gauges in Spain,[69] pundits contended that the series was an express purposeful anecdote of resistance to capitalism,[4][71] including The Globe and Mail, who considered the series to be "rebellious in that it's with regards to a heist for individuals. It's retribution against a government."[69] According to Le Monde, the Professor's showing scenes in the Toledo hunting bequest, specifically, featured how individuals should try to foster their own answers for the error prone industrialist system.[71] The show's Robin Hood relationship of burglarizing the rich and providing for the poor got different translations. El Español contended that the relationship made it more straightforward for watchers to interface with the show, as current culture would in general be burnt out on banks and legislative issues already,[68] and the New Statesman said the rich were not generally taken from however sabotaged at their roots.[4] On the other hand, Esquire's Mireia Mullor considered the Robin Hood similarity to be a simple interruption methodology for the looters, as they at first didn't plan to utilize the cash from their first heist to work on the personal satisfaction of ordinary individuals; thus, Mullor likewise contends that the huge after for the burglars partially 3 was not justifiable despite the fact that they addressed a channel for the discontent of those bearing monetary and political injustices.[72]
The characters were planned as multi-dimensional and integral adversaries and screw-ups whose moralities are ever-changing.[19] Examples incorporate Berlin, who shifts from a burglar abusing prisoners, to one of the series' most darling characters.[19] There is likewise the prisoner Mónica Gaztambide, just as reviewer Raquel Murillo, who in the end join the reason for the robbers.[19] Gonzálvez of The Huffington Post observes that a group of people might consider the looters evil at first for carrying out a wrongdoing, yet as the series advances it denotes the monetary framework as the genuine insidiousness and recommends the looters have moral and compassionate legitimization fo
Broadcast and release [edit]
Original broadcast[edit]
Section 1 circulated on allowed to-air Spanish TV direct Antena 3 in the Wednesday 10:40 p.m. time allotment from 2 May 2017 till 27 June 2017.[48] Part 2 moved to the Monday 10:40 p.m. time allotment and was communicated from 16 October 2017 till 23 November 2017,[82] with the initially arranged 18 to 21 scenes slice down to 15.[18][83] As the series was created with Spanish early evening TV in mind,[12] the scenes had a length of around 70 minutes, as is ordinary for Spanish television.[84] The initial five scenes of section 1 were trailed by an aftershow entitled Tercer Grado (Third Grade).[26]
In spite of blacklist calls after Itziar Ituño (Raquel Murillo) had challenged the facilities of ETA detainees of her home Basque Country in March 2016,[85] the show had the best debut of a Spanish series since April 2015,[86] with multiple million watchers and the larger part portion of watchers in its timeslot, practically twofold the quantity of the following most elevated saw station/show.[74] The show got great audits and stayed a forerunner in the business target bunch for the primary portion of part 1,[86] however the viewership ultimately slipped to bring down figures than anticipated by the Antena 3 executives.[87] Argentine paper La Nación credited the lessening in watcher numbers to the adjustment of schedule openings, the late transmission times and the late spring break between the parts.[24] Pina considered the business breaks to be mindful, as they upset the account stream of the series that generally played practically continuously, despite the fact that the breaks were calculated in during writing.[84] La Vanguardia saw the premium melting away just among the regular crowd, as the plot unfurled too leisurely at the pace of one scene for every week.[42] Writer Javier Gómez Santander respected the series' run on Antena 3 as a "disappointment" in 2019, as the evaluations declined to "not much", yet lauded Antena 3 for making a series that didn't depend on normal independent episodes.[18]
Netflix acquisition[edit]
Section 1 was made accessible on Netflix Spain on 1 July 2017, as other series having a place with Antena 3's parent media bunch Atresmedia.[88] In December 2017, Netflix gained the restrictive worldwide streaming privileges for the series.[74][88] Netflix re-cut the series into 22 scenes of around 50 minutes' length.[84] Cliffhangers and scenes must be isolated and moved to different scenes, however this demonstrated less exceptional than anticipated on account of the series' unending plot twists.[84] Netflix named the series and renamed it from La casa de papel to Money Heist for dispersion in the English-talking world,[74] delivering the initial segment on 20 December 2017 with practically no promotion.[18][23] The subsequent part was made accessible for spilling on 6 April 2018.[23] Pina surveyed the watcher experience on Antena 3 versus Netflix as "altogether different", albeit the substance of the series stayed the same.[84]
"[Money Heist had] no advancement or anything. Netflix put it in that heap of series that it has, which resembles the sock cabinet that you never examine and from which just the calculation can save you, and we didn't think it was nothing to joke about."
show
— Writer Javier Gómez Santander, September 2019[18]
Without a committed Netflix promoting campaign,[47] the series turned into the most-watched non-English language series on Netflix in mid 2018, inside four months of being added to the stage, to the makers' surprise.[4][89] This provoked Netflix to sign a worldwide restrictive by and large arrangement with Pina presently afterwards.[90] Diego Ávalos, overseer of unique substance for Netflix in Europe, noticed that the series was abnormal in being watched across a wide range of profile groups.[91] Common clarifications for the exceptional contrasts in viewership between Antena 3 and Netflix were changed utilization propensities for series viewers[18][84] and the marathon watching capability of streaming.[42][84] Some individuals in Spain likewise came to know the series just from Netflix, unconscious of its unique Antena 3 broadcast.[84] Pina and Sonia Martínez of Antena 3 would likewise later say that the series, with its popularity of watcher consideration, unwittingly followed the video-on-request design from the beginning.[84]
In October 2017, Álex Pina said that section 2 had remote yet deliberate side project prospects, and that his group was available to proceed with the burglars' story as motion pictures or a Netflix renewal.[92] Following the show's prosperity on the streaming stage, Netflix moved toward Pina and Atresmedia to deliver new parts for the initially independent story. The scholars pulled out themselves for over two months to settle on a direction,[46] making a book of scriptures with focal thoughts for new scenes in the process.[28] The vital variables in tolerating Netflix's arrangement were the makers perceiving that characters actually had comments, and having the chance to stray from the impeccably organized heist of the initial two parts.[52] Adamant that the story ought to be set in Spain again,[55] the makers needed to make it a spin-off rather than an immediate continuation, and develop the commonality and love between the characters rather than the previous gathering of strangers.[12] Rio's catch was picked as the impetus to get the posse back together in light of the fact that he as the storyteller's beau addressed the fundamental passionate element for the restoration not to be "suicide."[93]
Netflix authoritatively recharged the series for the third part with an extensively expanded spending plan on 18 April 2018,[21] which may make section 3 the most costly series per scene in Spanish TV history, as per Variety.[16] As composing was in progress, Pina expressed in July 2018 that he liked Netflix's choice to make the scenes 45 to 50 minutes of length, as the account could be more compacted and global watchers would have more opportunity to devour the story in more modest parts.[47] With Netflix's new push to work on the quality and allure of its English-language forms of unfamiliar shows, and more than 70% of watchers in the United States picking names over captions for the series, Netflix recruited another naming group for section 3 and once again named the initial two sections accordingly.[1] Part 3, comprising of eight scenes, was delivered on 19 July 2019;[52] the initial two scenes of section 3 likewise had a restricted dramatic delivery in Spain one day before.[16]
In August 2019, Netflix declared that section 3 was gushed by 34 million family accounts inside its first seven day stretch of delivery, of which 24 million completed the series inside this period,[70] along these lines making it one of the most-watched creations on Netflix ever, paying little mind to language.[94] The viewership of section 3 expanded, when Netflix announced that section 3 was seen 44 million families during its first month and turned into the most famous show on Netflix during the third quarter.[95] Netflix had an expected 148 million endorsers worldwide in mid-2019.[96] In October 2019, Netflix positioned Money Heist as their third-most-sat in front of the TV series for the beyond twelve months,[97] and named it as the most-watched series across a few European business sectors in 2019, including France, Spain and Italy, however not the UK.[98] Twitter positioned the show fourth in its "Top TV shows around the world" of 2019.[99]
Shooting of an at first unannounced fourth piece of eight scenes finished in August 2019.[52][53] Álex Pina and author Javier Gómez Santander expressed that dissimilar to section 3, where the aim was to re-draw in the crowd with high-energy show after the transition to Netflix, the tale of section 4 would unfurl increasingly slow more person driven.[100] At another event, Pina and leader maker Esther Martínez Lobato prodded section 4 as the "most awful [part] of all" since "this much strain needs to detonate somewhere".[101] Alba Flores (Nairobi) said the scriptwriters had recently made numerous concessions to fans to some degree 3, yet would conflict with crowd wishes partially 4 and that "any individual who loves Nairobi will suffer".[102] According to Pedro Alonso (Berlin), the focal point of section 4 would be on saving Nairobi's life and remaining by one another to survive.[102] Part 4 was delivered on 3 April 2020;[103] a narrative including the makers and the cast debuted on Netflix that very day, named Money Heist: The Phenomenon.[104] Part 4 broke various viewership records for a non-English Netflix series, drawing in 65 million of families during its initial a month, and went to turn into the most watched non-English series at the time.[105][106]
In October 2019, the web-based versions of Spanish paper's ABC and La Vanguardia re-revealed claims by the Spanish site formulatv.com that Netflix had recharged the series for a fifth part, and that pre-creation had as of now begun.[107][108][109] In November 2019, La Vanguardia cited chief Jesús Colmenar's assertion "That there will be a fifth [part] can be said", and that the new part would be recorded after Vancouver Media's new task Sky Rojo.[56] Colmenar additionally expressed that there have been conversations with Netflix about making a side project of the series,[56] just as Pina.[110] In a meeting in December 2019, Pina and Martínez Lobato would not examine the chance of a fifth part due to classification contracts, and just said that "Somebody knows there will be [a part 5], yet we don't."[101] On 31 July 2020, Netflix reestablished the show for a fifth and last part.[111] On 24 May 2021, it was declared that the fifth piece of the show would be delivered in two five-scene volumes on 3 September and 3 December, respectively.[112]
Reception[edit]
Public response[edit]
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After the transition to Netflix, the series stayed the most-followed series on Netflix for six back to back weeks and became one of the most famous series on IMDb.[84] It routinely moved on Twitter around the world, generally in light of the fact that big names remarked on it, for example, football players Neymar and Marc Bartra, American vocalist Romeo Santos,[23] and creator Stephen King.[77] While clients overwhelmed informal communities with media of themselves wearing the looters' outfit,[23] the burglars' ensembles were worn at the Rio Carnival, and Dalí symbols were displayed on tremendous standards in Saudi Arabia football stadiums.[84] Real film of these occasions would later be displayed to some degree 3 as an accolade for the show's global success.[113] The Musée Grévin in Paris added sculptures of the looters to its wax historical center in summer 2018.[4] The show's iconography was utilized noticeably by outsiders for advertising,[114] sports presentations,[115] and in porn.[116]
Albeit the show's initial two sections were well known, the homegrown market in Spain neglected to persuade Antena 3 to proceed with the series and it was retired until worldwide reaction heightened to where the cast and group were gotten back to for another two seasons.[117]
There have likewise been negative reactions to the impact of the show. In various occurrences, genuine heist men wore the show's red ensembles and Dalì covers in their assaults or duplicated the anecdotal burglars' invasion plans.[4][23][118] The looters' outfits were restricted at the 2019 Limassol Carnival Festival as a safety effort as a result.[119] The series was utilized in an assault on YouTube, when programmers eliminated the most-played tune in the stage's set of experiences, "Despacito", and left a picture of the show instead.[23] In inconsequential reports, a columnist from Turkish TV channel AkitTV and an Ankaran government official have both cautioned against the show for probably reassuring psychological warfare and being "a perilous image of rebellion".[4]
Spanish paper El Mundo considered the public reaction to be an impression of the "environment of worldwide embitterment" where the burglars address the "wonderful antiheroes",[17] and the New Statesman clarified the show's reverberation with global crowds as coming from the "social and monetary strains it portrays, and due to the idealistic getaway it offers."[4] Viewer reaction was particularly high in Mediterranean Europe and the Latin world, specifically Spain, Italy, France, Portugal, Brazil, Chile and Argentina,[52] so exceptionally Spanish as a typical language didn't seem, by all accounts, to be a binding together justification behind the show's success.[18] Writer Javier Gómez Santander and entertainer Pedro Alonso (Berlin) rather contended that the Latin world used to feel at the outskirts of worldwide significance, however another opinion was coming that Spain could rival the worldwide players as far as media creation levels and give the remainder of the world a voice.[18][70]
Netflix cooperated with Tom Clancy's Rainbow Six Siege for an in-game occasion, where prisoners on the Bank map, wore Money Heist outfits. Outfits for 2 in-game characters were available and the music behind the scenes during the heist, was Bella Ciao.[120]
The series is one of two Spanish language TV series to be included in TV Time's main 50 most followed TV shows ever, as of now being the fifth most followed series on the platform.[121]
The series' start on Antena 3 was gotten well by Spanish media.[86] Nayín Costas of El Confidencial named the debut a promising beginning that enraptured watchers with "adrenaline, very much dosed hints of humor and a great deal of strain," however thought of it as a test to keep up with the sensational pressure for the rest of the series.[122] While considering the pilot's voice-over portrayal superfluous and the sound altering and discoursed lacking, Natalia Marcos of El País partook in the show's troupe cast and the desire, saying "It is trying, baldfaced and engaging, basically when it begins. Presently we need more, which isn't little."[44] Reviewing the full initial segment, Marcos praised the series for its exceptional heading, the melodic choice and for attempting to improve Spanish TV, yet scrutinized the length and ebbing tension.[87] At the finish of the series' unique run, Nayín Costas of El Confidencial complimented the series for its "excellent conclusion" that might make the finale "perhaps the best scene of the Spanish season", however lamented that it planned to fulfill watchers with an anticipated cheerful closure as opposed to gambling to "accomplish something else, unique, driven", and that the show couldn't continue in the strides of Pina's Locked Up.[123]
After the show's transition to Netflix for its worldwide delivery, Adrian Hennigan of the Israeli Haaretz said the series was "to a greater extent a twisty spine chiller as opposed to lathery telenovela, driven by its shrewd plot, drawing in characters, tense blaze focuses, throbbing score and periodic snapshots of humor", yet provoked the English title "Cash Heist" as bland.[2] In a searing survey, Pauline Bock of the British magazine New Statesman scrutinized the worldwide publicity of the series, saying that it was "brimming with plot openings, old hat slow-movements, cheesy romantic tales and unnecessary intimate moments", prior to proceeding to add that "the music is vainglorious, the voice-over bothering, and it's horribly edited".[4] John Doyle of The Globe and Mail lauded parts 1 and 2 for the heist class disruptions; he likewise said that the series could be "scrumptiously sensational on occasion" with "silly contorts and much energy" like a telenovela.[69] Jennifer Keishin Armstrong of the BBC saw the series' actual allure in the relational dramatizations arising through the heist between "the delightful looters, their lovely prisoners, and the excellent specialists attempting to haggle with them."[74] David Hugendick of Die Zeit tracked down the series "at times a cycle nostalgic, somewhat cartoonesque," and the dramatization now and then too telenovela-like, yet "all with a better than average for timing and spectacle."[124]
Audit aggregator site Rotten Tomatoes gave section 3 an endorsement rating of 100% dependent on 12 surveys, with a normal rating of 7/10. The site's basic agreement peruses, "A daring arrangement told in a non-straight manner keeps the third portion moving as Money Heist pulls together on the relations between its darling characters."[125] While praising the specialized accomplishments, Javier Zurro of El Español depicted the third part as "five star amusement" that couldn't rise above its foundations and needed oddity. He felt unaffected by the inside dramatization between the characters and explicitly, hated Tokyo's portrayal for its hollowness.[68] Alex Jiménez of Spanish paper ABC observed section 3 generally prevailing in its endeavors to reexamine the show and stay fresh.[113] Euan Ferguson of The Guardian suggested observing section 3, as "it's as yet a brilliant Peaky Blinders, just with tapas and subtitles,"[126] while Pere Solà Gimferrer of La Vanguardia found that the quantity of plot openings partially 3 must be suffered with consistent suspension of disbelief.[78] Though engaged, Alfonso Rivadeneyra García of Peruvian paper El Comercio said the show does "what it excels at: profess to be the sharpest kid in class when, indeed, it is just the most alive."[127]
Awards and nominations[edit]
| Year | Award | Category | Nominees | Result | Ref. |
|---|---|---|---|---|---|
| 2017 | 19th Iris Awards | Best screenplay | Álex Pina, Esther Martínez Lobato, David Barrocal, Pablo Roa, Esther Morales, Fernando Sancristóbal, Javier Gómez Santander | Won | [128] |
| FesTVal | Best direction in fiction | Jesús Colmenar, Alejandro Bazzano, Miguel Ángel Vivas, Álex Rodrigo | Nominated | [129] | |
| Best fiction (by critics) | Money Heist | Nominated | |||
| Fotogramas de Plata | Audience Award – Best Spanish Series | Money Heist | Won | [130] | |
| Best TV Actor | Pedro Alonso | Nominated | |||
| 2018 | 46th International Emmy Awards | Best drama series | Money Heist | Won | [131] |
| Iris Award | Best actress | Úrsula Corberó | Won | [132] | |
| Best series | Money Heist | Nominated | |||
| MiM Series | Best direction | Jesús Colmenar, Alejandro Bazzano, Miguel Ángel Vivas, Álex Rodrigo | Won | [133] | |
| Golden Nymph | Best drama TV series | Money Heist | Won | [133] | |
| Spanish Actors Union | Best supporting television actor | Pedro Alonso | Won | [134] | |
| Best supporting television actress | Alba Flores | Nominated | |||
| Best television actor | Álvaro Morte | Nominated | |||
| Best TV cast actor | Jaime Lorente | Nominated | |||
| Best stand-out actress | Esther Acebo | Nominated | |||
| Premios Fénix | Best series | Money Heist | Nominated | [135] | |
| Festival de Luchon | Audience Choice Award | Money Heist | Won | [136] | |
| Jury Spanish Series Award | Money Heist | Won | |||
| Camille Awards | composer | Iván Martínez Lacámara | Nominated | [137] | |
| composer | Manel Santisteban | Nominated | |||
| Production Company | Vancouver Media | Nominated | |||
| 5th Feroz Awards | Best Drama Series | Money Heist | Nominated | [138] | |
| Best Lead Actress in a Series | Úrsula Corberó | Nominated | |||
| Best Lead Actor in a Series | Álvaro Morte | Nominated | |||
| Best Supporting Actress in a Series | Alba Flores | Nominated | |||
| Best Supporting Actor in a Series | Paco Tous | Nominated | |||
| 2019 | 21st Iris Awards | Best actor | Álvaro Morte | Won | [139] |
| Best actress | Alba Flores | Won | |||
| Best direction | Jesús Colmenar, Álex Rodrigo, Koldo Serra, Javier Quintas | Won | |||
| Best fiction | Money Heist | Won | |||
| Best production | Cristina López Ferrar | Won | |||
| Spanish Actors Union | Lead Performance, Male | Álvaro Morte | Won | [140] | |
| Lead Performance, Female | Alba Flores | Nominated | |||
| Supporting Performance, Male | Jaime Lorente | Nominated | |||
| 2020 | 7th Feroz Awards | Best drama series | Money Heist | Nominated | [141] |
| Best leading actor of a series | Álvaro Morte | Nominated | |||
| Best supporting actress in a series | Alba Flores | Nominated | |||
| Fotogramas de Plata | Audience Award – Best Spanish Series | Money Heist | Nominated | [142] | |
| Best TV Actor | Álvaro Morte | Nominated | |||
| Spanish Actors Union | Performance in a Minor Role, Male | Fernando Cayo | Won | [143] | |
| Lead Performance, Female | Alba Flores | Nominated | |||
| 7th Platino Awards | Best Miniseries or TV series | Money Heist | Won | [144] | |
| Best Male Performance in a Miniseries or TV series | Álvaro Morte | Won | |||
| Best Female Performance in a Miniseries or TV series | Úrsula Corberó | Nominated | |||
| Best Female Supporting Performance in a Miniseries or TV series | Alba Flores | Won | |||
| 2021 | Forqué Awards | Best Fiction Series | Nominated | [145] |
