{"id":4085,"date":"2020-04-12T15:15:28","date_gmt":"2020-04-12T15:15:28","guid":{"rendered":"http:\/\/www.detect-project.eu\/?p=4085"},"modified":"2020-04-14T08:37:20","modified_gmt":"2020-04-14T08:37:20","slug":"la-casa-de-papel-4","status":"publish","type":"post","link":"https:\/\/www.detect-project.eu\/2020\/04\/12\/la-casa-de-papel-4\/","title":{"rendered":"La casa de papel<\/em>: Netflix\u2019s Post-Crash Thriller Returns for a Fourth Season"},"content":{"rendered":"

[et_pb_section fb_built=”1″ fullwidth=”on” disabled_on=”on|on|off” module_class=”hero-section” _builder_version=”3.5.1″ background_image=”http:\/\/www.detect-project.eu\/wp-content\/uploads\/2020\/04\/casa-de-papel-banner-e1586704459649.jpg” custom_margin=”0px|||” custom_padding=”0px|||” custom_css_main_element=”max-height: 400px;”][et_pb_fullwidth_post_title featured_image=”off” _builder_version=”3.5.1″ title_font=”Roboto||||||||” title_text_color=”#ffffff” title_font_size=”38px” meta_font=”Trebuchet||||||||” meta_text_color=”#ffffff” meta_font_size=”14px” background_color=”rgba(0,0,0,0.5)” text_orientation=”center” custom_padding=”||120px|” filter_sepia=”1%” animation_style=”fold” custom_css_post_image=”margin-top: -190px;”][\/et_pb_fullwidth_post_title][\/et_pb_section][et_pb_section fb_built=”1″ fullwidth=”on” disabled_on=”off|off|on” module_class=”hero-section” _builder_version=”3.5.1″ background_image=”http:\/\/www.detect-project.eu\/wp-content\/uploads\/2020\/04\/casa-de-papel-banner-e1586704459649.jpg” custom_margin=”0px|||” custom_padding=”0px|||” custom_css_main_element=”max-height: 400px;”][et_pb_fullwidth_post_title featured_image=”off” _builder_version=”3.5.1″ title_font=”Roboto||||||||” title_text_color=”#ffffff” title_font_size=”32px” meta_font=”Trebuchet||||||||” meta_text_color=”#ffffff” meta_font_size=”12px” background_color=”rgba(0,0,0,0.5)” text_orientation=”center” custom_padding=”||120px|” filter_sepia=”1%” animation_style=”fold” custom_css_post_image=”margin-top: -190px;”][\/et_pb_fullwidth_post_title][\/et_pb_section][et_pb_section fb_built=”1″ specialty=”on” _builder_version=”3.5.1″ custom_margin=”||0px|” custom_padding=”||0||false|false”][et_pb_column type=”3_4″ specialty_columns=”3″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_row_inner admin_label=”Riga” _builder_version=”3.0.47″][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_image src=”http:\/\/www.detect-project.eu\/wp-content\/uploads\/2020\/04\/cover-casa-de-papel.jpg” _builder_version=”3.5.1″ border_width_all=”12px” border_color_all=”#ffffff” box_shadow_style=”preset2″ custom_margin=”-140px|||”][\/et_pb_image][\/et_pb_column_inner][\/et_pb_row_inner][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_blurb title=”La casa de papel \/ Money Heist 4 ” _builder_version=”3.5.1″ header_font=”Roboto|300|||||||” header_text_color=”#476399″ header_font_size=”16px” body_font=”Roboto||||||||” body_text_color=”rgba(0,0,0,0.6)” body_font_size=”12px” border_width_top=”2px” border_color_top=”#dbbb03″ custom_padding=”10px||30px|”]After its release on April 3rd until April 5th, Money Heist<\/em>‘s fourth season has been the most watched show world-wide.
\n[\/et_pb_blurb][\/et_pb_column][\/et_pb_section][et_pb_section fb_built=”1″ specialty=”on” _builder_version=”3.5.1″ custom_margin=”0px|||” custom_padding=”0px|||”][et_pb_column type=”3_4″ specialty_columns=”3″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_row_inner custom_padding=”0px|||” admin_label=”Riga” _builder_version=”3.5.1″][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_text _builder_version=”3.5.1″]<\/p>\n

Markus Schleich<\/strong> (Queen’s University Belfast)<\/p>\n

When\u00a0La casa de papel<\/em>\u00a0first appeared on Spanish television screens on the Spanish network Antena 3 in 2017, few would have guessed that it would become a global smash hit for Netflix. Even though Netflix are quite secretive\u00a0 about their ratings, they have announced that\u00a0La casa de papel<\/em>\u00a0is the streaming giant’s most-watched non-English language show worldwide. The first two seasons of\u00a0La casa de papel\u00a0<\/em>revolve around a long-prepared, multiple-day assault on the Royal Mint of Spain. After escaping the scene with roughly 2.4 billion Euro, the gang had to commit yet another heist to free one of their captured comrades. The third and fourth season, now commissioned directly by Netflix, brings the criminals to the Bank of Spain going after the country\u2019s gold reserves. After three seasons, the Spanish hit series is still hugely popular. After its release on April 3rd until April 5th, the fourth season has been the most watched show world-wide, according to leading global content demand analytics company for the multi-platform TV business, Parrot Analytics<\/a>. The COVID-19 pandemic has driven up the demand for streamable content. It does not, however, solely explain the success of the show.<\/p>\n

As many reviewers have remarked, it is hard to resist a heist that takes a\u00a0Robin Hood-esque approach. While showcasing genre hybridization, antiheroes, and certain cinematic aesthetics, elements commonly associated with the concept of \u201cquality tv\u201d,\u00a0La casa de papel\u00a0<\/em>is a vastly different breed from HBO-serials or the prestigious Nordic Noir crime shows. While most heist films are usually told with a rational male Anglo-centric focus,\u00a0La casa de papel<\/em>\u00a0is decisively Spanish and features a female narrator, Tokyo. According to the producers, the cultural identity played an important part for the international appeal of the series, as it made the story more relatable for viewers in Spain, where the show has originally been broadcasted. By avoiding adapting the series to international demands, the show is easily distinguishable from American TV series\u00a0and thereby raises international awareness for Spanish sensibilities. The emotional aspects of the show, such as the passion and impulsivity of the protagonists disrupting the perfect plan, certainly remind viewers more of telenovelas than of crime procedurals. The non-linear storytelling adds to the subversion of the heist genre. At the same time, it should be noted that\u00a0La casa de papel<\/em>\u00a0is not universally seen as a quality show: numerous plot holes, clich\u00e9d slow-motions, unbelievable love stories and more of the like have earned the show the questionable reputation of being a highly enjoyable masterpiece of trash.<\/p>\n

[\/et_pb_text][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner _builder_version=”3.5.1″][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_image src=”http:\/\/www.detect-project.eu\/wp-content\/uploads\/2020\/04\/casa-de-papel3.jpg” _builder_version=”3.5.1″][\/et_pb_image][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner custom_padding=”0px||0px|” admin_label=”Riga” _builder_version=”3.5.1″ custom_margin=”0px||0px|”][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_text _builder_version=”3.5.1″] For the DETECt consortium, this crime show makes an excellent case study<\/a> for its strong Spanish\/European identity and as a prototypical example of the impact of contemporary production and distribution strategies alone. There is more to this show, however, that deserves attention. Various reviews in newspapers, blogs, and forums have noticed that the immense popularity of the\u00a0La casa de papel<\/em>\u00a0cannot merely be explained by the show’s production values or its storytelling.\u00a0La casa de papel<\/em>\u00a0<\/em>seems to promote a populist agenda, even more so in the Netflix produced seasons. <\/p>\n

The series being set after the financial crisis of 2007\u20132008, which brought a time of severe austerity to Spain, many critics argued that the series was an explicit allegory of rebellion against capitalism, a revenge against the government. In one of the pivotal moments, the Professor teaches his team how people should seek to develop their own solutions for the failing capitalist system in preparation for the heist. A common theme picked up in reviews, is a Robin Hood analogy of taking from the rich and giving to the poor which arguably made it easier for viewers to connect with the show, as many Western citizens seem to currently display an obvious antipathy towards banks and politicians.\u00a0La casa de papel\u00a0<\/em>captures the mood of Europe ten years after the crash through its Robin Hood ethos, which leads many viewers to root for the criminals, clearly described as the real heroes of the show. <\/p>\n

This Robin Hood analogy rings somewhat hollow in the first two seasons as the criminals are actually not giving anything back to the poor but keep everything for themselves. That, however, changes in the third season, where the gang is literally showering large crowds with money. The broader population seems to be on the side of the robbers at that point as there is a large following for them when they enter the Bank of Spain, potentially seeing this new heist as a channel for the discontent of those struggling with the aftermath of the financial crash and political injustices.[\/et_pb_text][et_pb_image src=”http:\/\/www.detect-project.eu\/wp-content\/uploads\/2020\/04\/casa-de-papel-4.jpg” _builder_version=”3.5.1″][\/et_pb_image][et_pb_text _builder_version=”3.5.1″] The heist that occupies most of season 3 and 4 \u2013 and, presumably, the upcoming season 5\u2013 is even bigger, bolder, and more risky than their attack on the Royal Mint of Spain. While the first two seasons showed how the robbers tricked the state, season 3 and 4 shows the viewers how the system strikes back: ruthlessly, brutally, and without any regards for laws and regulations. In the first two seasons, characters on both sides of the heist were complex, such as Raquel, the police officer who eventually joined the gang. The new season main villains, Alicia and Gan\u00eda, are bloodthirsty and remorseless and make it hard to feel any sympathy for the representatives of the “Establishment”. While this somewhat schematic good guys against bad guys doesn\u2019t make for a good show, it almost forces the viewer to identify with the robbers.<\/p>\n

It is safe to say that the most recent season of\u00a0La casa de papel\u00a0<\/em>is its most violent yet. When the first two seasons described a circumscribed rebellion, the latter offerings have turned into a full blown insurrection against the status quo. In the final episode of season three the professor himself says: \u201cThis is no longer a heist, we\u2019re taking down the system, this is a war.\u201d<\/p>\n

The extreme demand for this show and the heavily politicised discourse about it in various European internet forums, on social media, and in established mass media might be seen as an indicator that the show, for all its flaws, still appeals to a large audience for its populist agenda. Seen in the context of the new economic crisis and the political tensions provoked by the spread of the coronavirus, the show\u2019s grim outlook might yet again capture the present mood within the European Union. [\/et_pb_text][\/et_pb_column_inner][\/et_pb_row_inner][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_blurb title=”Critics” _builder_version=”3.5.1″ header_font=”Roboto|300|||||||” header_text_color=”#476399″ header_font_size=”16px” body_font=”Roboto||||||||” body_text_color=”rgba(0,0,0,0.6)” body_font_size=”12px” border_width_top=”2px” border_color_top=”#dbbb03″ custom_margin=”30px|||” custom_padding=”10px|||”]Money Heist<\/em> being set after the financial crisis of 2007\u20132008, which brought a time of severe austerity to Spain, many critics argued that the series was an explicit allegory of rebellion against capitalism, a revenge against the government.
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