By anjali
Following the long-standing tradition of unnecessary spin-offs, Netflix’s Berlin, a prequel to the popular Money Heist, was released on the platform on Friday night. Trying to explore the earlier years of the mysterious Berlin, portrayed with skill by Pedro Alonso, the 10-episode series is just as nonsensical as the original plot, and a chaotic mix of reused elements, promoting troubling themes without acknowledging its own flaws.
Taking place before the events of Money Heist, Berlin makes the bold decision to demonstrate his genius by pulling off a daring heist to steal €44 million worth of jewels from a bank vault in Paris. What could possibly go awry? As it turns out, not a lot in Berlin’s world. The story unravels with the clumsiness of an intoxicated person navigating through a minefield of banana peels, depending more on sheer luck than on any carefully crafted strategy.
In a bold demonstration of creativity, the series shamelessly adopts characters and roles from its original show, almost as if it were hoping to go unnoticed. Aside from Berlin, the group comprises a thoughtful yet reserved mastermind who serves as the intellectual powerhouse (played by Tristán Ulloa as Damián, an older, bespectacled counterpart to Álvaro Morte’s El Profesor), a charming but less complex individual (Joel Sánchez as Bruce, a simplified version of Jaime Lorente’s Denver), and an adventurous soul haunted by a past relationship (Begoña Vargas, seemingly on track for disappointment as her character, Camerón, closely resembles Úrsula Corberó’s Tokyo).
The show openly acknowledges its parallels and features some original characters, such as Keila (played by Michelle Jenner), a unique addition as a timid hacker. However, it may come across as an inside joke that one character, Roi (portrayed by Julio Peña Fernández), has a name that is an anagram of Rio, the character played by Miguel Herrán in the original series.
This seems like a rushed and lazy cut-and-paste effort, making you question whether the creators, Álex Pina and Esther Martínez Lobato, were pressed for time or simply opted for a lazy approach.
Unleashed misogyny
Berlin consistently endorses misogynistic behavior, with female characters often conforming to clichéd roles of naivety, being irresistibly drawn to men, and struggling to think clearly when love and desire are involved.
The show’s effort to address misogyny and sexism feels inadequate, like trying to cover a deep wound with a small band-aid. It doesn’t solve the problem; instead, it’s uncomfortable to watch. It seems as if the writers believed that simply mentioning “misogyny” and “sexism” would make the series appear socially conscious, but it comes across as if they were trying to convey the message, “We know it’s wrong, but let’s do it anyway.”
Pedro Alonso is an Advocate of Chaos
In the midst of the wreckage of misguided storylines and questionable character decisions, Pedro Alonso stands out as the savior of Berlin. His depiction of Berlin highlights a character flourishing in chaos and excitement, reminding us of the brilliance that Money Heist can offer. Alonso’s acting breathed new life into a series in desperate need of depth.
Certainly! The only valuable aspect of the series is the ensemble cast. Although the storyline may be dull, the cast’s performances bring some dignity to Berlin. They exhibit energy and genuine connections, offering occasional relief from the tedious narrative that can induce yawns.
In summary: A Tedious Task With No Significant Consequences
Berlin not only disappoints in living up to the reputation of Money Heist; it falters, tumbles, and plunges into a realm of mediocrity. The effort to portray Berlin in a more human light backfires dramatically, resulting in a shallow and aimless character portrayal. What could have been a compelling delve into a complex character becomes a series of blunders, promoting questionable themes and leaning heavily on coincidences.
