After a series of successful projects, including the popular Money Heist, renowned Spanish screenwriter and producer Álex Pina is revisiting one of his most iconic criminal creations with a new prequel titled ‘Berlin.’ Pina’s impressive career includes the gritty Sky Rojo and the Balearic excess exploration in White Lines, but his return to the world of heists promises to be a thrilling addition to his portfolio.
Money Heist, originally known as La Casa de Papel, took the world by storm after Netflix acquired it from the Spanish network Antena 3 in 2017. Pina’s fast-paced, violent, and stylish series about a group of red-overalled, Salvador Dalí-masked robbers targeting the royal mint and later the Bank of Spain became Netflix’s most-watched non-English-language series by 2020.
Now, two years after the conclusion of the Money Heist saga, Pina is focusing on one of the show’s most enigmatic characters, Berlin, in a prequel aptly titled ‘Berlin.’ Despite Berlin’s dramatic demise in season two, the creative team, including co-writer Esther Martínez Lobato, has found a way to bring him back through flashbacks and into the spotlight.
Pina acknowledges that Berlin’s enduring appeal lies in his multifaceted personality, describing him as someone who can be both cruel and kind, making him intriguing for viewers. His transgressive nature and black humor also add to his charm.
In the ‘Berlin‘ prequel, the character remains as snobbish, arch, and manipulative as ever. Berlin’s latest endeavor involves a Paris heist featuring a fourth-century chalice, the catacombs of the city, and royal jewels valued at €44 million. Amidst his schemes, Berlin doesn’t miss an opportunity to criticize those who don’t adhere to his impeccable fashion standards, humorously comparing them to “people who wear sweatpants to the airport.”
Compared to its predecessor, ‘Berlin’ adopts a lighter tone. After the intense atmosphere of Money Heist and the ultraviolence of Sky Rojo, Pina and Martínez Lobato were eager for a change of pace, seeking inspiration from 1990s blockbusters that expertly combined comedy, romance, and action with less emphasis on violence.
While Pina’s previous work often featured violence as a tension-building tool, he explains that it’s essential to create suspense and intrigue. The inclusion of violence or crime raises questions for viewers, such as whether the robbers will succeed or if the authorities will catch them.
Pina believes that part of Money Heist‘s global success is due to its Spanish identity and the passion it infused into a genre often characterized by its technical and cold execution. He suggests that audiences crave content that breaks away from the conventional English-speaking dramas, citing Squid Game as another example of a series that brought something refreshingly different.
Spanish TV is currently experiencing a surge in global popularity, with a significant share of spending on original European content coming from Spain. Pina’s next project, a drama centered around the ultra-rich seeking refuge in luxury bunkers during an apocalyptic event, is set to begin shooting next year. However, he remains open to the possibility of returning to the world of Money Heist, citing numerous unexplored character options.
As the creator, Pina’s enthusiasm for the franchise is evident, and he believes that the series still has a lot to offer. Ultimately, the decision to continue the Money Heist universe will depend on the audience’s response and their desire for more thrilling heists and intriguing characters.
