In that, it differs from the English ‘perfect heist’ genre, which is cooler, more restrained, more scientific.” Rather, says Pina, Money Heist is rooted in Spanish literature’s great foundational text: “To rise up against the system is reckless and idealistic – Don Quixote! Yet I think it’s much more Latin than Spanish more passionate. It’s not grittily downbeat like its British equivalents or pared-back like Scandi crime shows. If there is such a thing as a quintessentially Spanish heist drama, then, this is it. A perfect heist, rational and cool, becomes something else when spiced up with Latin emotions.” The tragic dynamic between the Professor and his love interest-cum-arresting officer Raquel (Itziar Ituño) is a compelling example of this contrast in action. “We have this way of expressing ourselves, of exchanging our feelings that goes through the screen.” Pina agrees that cultural specificity is one of the show’s main selling points: “In Money Heist, feelings, fraternity and love are as important as the plots.
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She stars as Tokyo, the gang member whose irrepressible desire to drink rum and dance the salsa with strangers sets a shocking series of events in motion. “It has something different, especially for non-Spanish people,” says his co-star Úrsula Corberó. “Once you see the first chapter of the show, you are lost in it.” “It’s pure rock’n’roll,” says Álvaro Morte, who plays the gang’s meticulous mastermind, the Professor. The reasons for Money Heist’s appeal are obvious but also strangely ineffable, not least in episodes such as the season three opener, where characters switched between emotional extremes and glamorous locations with equally delirious speed.
In Argentina, where the show is particularly beloved, babies have been named after its protagonists.
They were even worn on political protests in Puerto Rico and during a real-life robbery in the French city of Nantes.
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Its impact has been huge: superfans send Pina photographs of tattoos of Tokyo and the Professor, and the gang’s masks and overalls now rival The Handmaid’s Tale bonnet for the most recognisable TV costume of recent years. Within months of arriving on the streaming service in 2017, the thriller had become the single most-watched series in countries including France, Italy, Argentina and Brazil, and its third series – released last year – was watched by 34 million households in its first week alone.
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