The population of half the world has been locked up at home for weeks. The quarantine becomes long. But those who seem to live half a life between four walls are the thieves of The Paper House. The two confinements, that of real life and that of fiction, will have an end, of course. But both are too long.

The paper house cannot be said not to have remained true to itself. From the beginning, it has had the same strengths and weaknesses. The first two installments, which aired on Antena 3 and became a sudden worldwide success on Netflix, had moments of pure adrenaline with characters whose motivations were impossible not to understand. The mix of rampant action and emotional drama worked very well. Visually, The Paper House was (and is) a cannon, with a use of color, light and iconography that makes it recognizable anywhere in the world, whatever language is spoken. In his move to Netflix, with two new sets of chapters after the first heist had a closed end, he has maintained and reinforced that aesthetic commitment and the good conjunction with the accompanying music, very well executed from the direction. Charismatic characters and dialogues full of phrases ideal to be printed on T-shirts did the rest. In addition to that mysterious factor that nobody knows what it is and that turns some series into successes while leaving others buried by the tide of content.

After seeing four chapters of the eight that arrive this Friday on Netflix, it is also verified that La casa de papel stumbles again on the same stones as in its first stage. Then, as now, it already had ups and downs in the development of the story, with a central section too long. The start of the fourth installment takes up the story at the point where it stayed: the thieves inside the Bank of Spain going through difficult times and one of them, Nairobi, on the verge of death, while The Professor continues to believe that Lisbon has killed at the hands of the Police, when in reality she is only being held. But it shows clear symptoms of wear and tear a story that is already getting too long and that is increasingly difficult to surprise the viewer, who already knows what each other is capable of. Thefts, both from the Mint and Stamps and from the Bank of Spain, have dragged on for too many chapters. Nor does it seem that at this point it makes much sense to keep the flashbacks of Berlin, El Profesor and Palermo beyond being able to continue counting on the character of Pedro Alonso.

The paper house, like Elite a few weeks ago, comes to Netflix at the best time, with millions of people locked up in their homes and crazy about having entertainment to get hooked on. The bombing, in any case, is assured.