The House of Paper and the eternal return of the same

The premise is a must: I can’t stand spoilers and whoever makes them and I certainly have no intention of revealing anything of the fifth season of La casa di Carta, the most viewed Spanish series in the world from 2017 to today thanks to Netflix which has been able to ride the wave of approval and success was achieved by producing the following releases. The fact is, to be honest, there is nothing to disclose because nothing happens. There is an obviously richer budget, action film special effects but I struggle to find something distinctive or unreleased. Indeed, there is no trace of the “political” objective and of those early romantic ideals, the real engine of the criminal design. As well as the character of some protagonists, flattened to the point of speck. For the rest between the last chapter and the previous ones there is no difference, no evolution, no variation, not even a twist that is such and therefore unexpected. We are faced with a pattern that is repeated cyclically, and which still sees the robbers with Dali masks in opposition inside the Bank and the police forces, with army grafts, outside. In between the usual soup of ramshackle relationships, mad hostages who try to blow up the Professor’s plans, various random flashblacks on Berlin that never hurt and an important but very telephone death, which you begin to smell from the first episode. Basically we could do a replay of the first or third season and believe very well that we are seeing the fifth (it really happened to someone, I swear). At the moment it is not known who will come out alive from the last fight, but waiting for the final the real winners are those of Netflix marketing who sadistically split into two tranches to make us hold our breath until December.