“La Casa de Papel” is a work of fiction, but it goes beyond what is reasonable

“La Casa de Papel” is a work of fiction, but it goes beyond what is reasonable

NiT comedian and columnist Miguel Lambertini analyzes the first part of the fifth season of the most famous Spanish series of all time.

Half the season is still pending.

The first part of the 5th season of “La Casa de Papel” premiered last Friday and I managed to watch all five episodes on the fourth attempt after falling asleep three times. It’s true that my couch narcolepsy happens on most of the series I watch these days (movies then it’s really easy to forget), but this time it was a little more intense.

It’s that between the moments of exaggerated shooting and pyrotechnics that make the Eurovision Festival blush and the sweet moments that telecommunications operator feat. Chainsmoker’s video made it very difficult to follow the gang action in red overalls.

It was, without a doubt, one of the most anticipated returns on television, leaving thousands of fans around the world in anticipation when the professor finally appeared to be cornered about a year ago. But like anyone who’s seen this series, you know that Miguel Guedes’ doppelganger from Blind Zero is not that easy to get caught and always has one up his sleeve. Even if he is shot in the foot and goes for hours without wound care and blood loss, Sergio can give strategic directions to his companions and still has the judgment to deliver an emergency birth on the floor of his hiding place to the person who shot him .

Interestingly, it reminded me of the birth of my first child because it was my wife who was in pain, but I was the one who passed out at the time of the epidural which caused her to shoot me. But in the end everything went well – both deliveries – and the professor was finally able to put a bandage around the foothole.

Meanwhile, the “darlings” in the Bank of Spain redesigned the decoration using flamethrowers, heavy artillery fire and chickens filled with grenades. Yes, it does and no, it’s not Chef Ljubomir’s new dish.

This is essentially what happens during half of the episodes of this last part, while the other half is preoccupied with sentimental flashbacks that made a great film to promote Lisboa Tourism, but which are a bit of a stretch. Starting with the picture of Tokyo riding a motorcycle with her boyfriend on the 25 de Abril bridge, with the sunset in the background. Are you leaving Lisbon at rush hour and the bridge is almost without traffic? Going up the elevator in Bica, at the time of Santos Populares and the two of them are all alone in the carriage? It was good, but only in fiction.

“La Casa de Papel” is indeed a fiction, but it sometimes gets the impression that the writers are misusing this premise to push the boundaries of what is reasonable, and this leaves these last two seasons like a sketch at times. Except for scenes where we all miss Berlin, which is still one of the most charismatic characters and wouldn’t be bad – I say – if it were to be a spin-off series.

But in the middle of the chaos, the gang begins to fall on its side: “More morphine, more morphine!” Shouts Helsinki after taking it with a marble pillar on its feet; “Tokyo, Tokyo!” shouts Rio, clutching the jackhammer as he tries to rescue his trapped lover. “Aaaaaah” shouts Stockholm, who meanwhile takes a psychotic pause when he sees some kind of ghost of his ex Arturito and comes to the conclusion that it is best to take the poor poor Serb’s morphine and get a brave club, to forget everything that happens around you.

And it wasn’t a little, the protagonist was about to die and even though Tokyo had fired 145 shots in the chest, Tokyo still had the presence of mind to activate a blasting strap that it wore on its chest – which miraculously marked the 145 Shots Resisted – She avenges the death of her friend Nairobi with a brutal explosion that turns her main enemy into a Gandia whip. At least here I woke up and only had time to yell at my wife: “More morphine, more morphine!”

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