Berlin and the Lady with an Ermine review: Pedro Alonso returns with flair

Returning to the Money Heist universe, Netflix's Berlin and the Lady with an Ermine delivers a lighter, more playful caper that relies heavily on Pedro Alonso's undeniable charm and flair.

In Short

• The Seville setting adds glamour, warmth and old-world elegance to the series
• Berlin rejects a duke's offer and turns the heist against him
• Candela injects fresh energy, while playful chemistry sharpens the emotional stakes

There are broadly two kinds of heist shows: those that ask viewers to admire the complexity of the robbery, and those that simply want them to enjoy the ride. Netflix's Berlin and the Lady with an Ermine belongs firmly to the second category. Set in Seville and built around the theft of a priceless Da Vinci painting, the series returns to the Money Heist universe with a lighter, more playful tone.

That shift works in its favour. Where Money Heist often carried emotional speeches, political symbolism and life-or-death tension, this spin-off is more interested in Pedro Alonso's charisma, stylish robberies, messy relationships and the spectacle of glamorous criminals moving through absurdly elaborate plans. The result is less a hard-edged crime thriller than a sleek caper about rich people behaving dramatically while thieves flirt their way through danger.

The story follows Berlin and his trusted partner Damin Vzquez, played by Tristn Ulloa, as they arrive in Seville in search of their next big score. What begins as an art heist grows more complicated when a wealthy duke tries to hire Berlin to steal Leonardo da Vinci's Lady with an Ermine. Berlin, offended at the idea of being treated like an ordinary hired criminal, decides instead to rob the duke himself. It is a petty and theatrical turn, but one that suits the character perfectly.

As expected, Berlin gathers his chaotic crew for the mission. Familiar faces return with unresolved romances, emotional baggage and trust issues that seem to follow this franchise at every turn. Among the newer additions, Candela stands out. Played by Inma Cuesta with confidence and spark, she brings fresh energy to the season. Her chemistry with Berlin is playful, unpredictable and full of the kind of romantic tension this universe thrives on.

The main reason the series remains watchable, however, is Alonso. He plays Berlin with the same theatrical charm that made the character one of Money Heist's most compelling figures, despite his deeply questionable morals. He moves through the show as if life itself were performance art. Even when the writing drifts into melodrama, Alonso's screen presence keeps the material engaging.

The series also continues the franchise's habit of treating crime as luxury escapism. Nobody appears especially burdened by the task of stealing priceless art. The characters are impeccably dressed, speak in heightened tones and somehow find time for intense emotional conversations in the middle of a robbery. Logic often takes a back seat to style, but the show is fully aware of that choice and does not pretend otherwise.

On the craft side, Berlin and the Lady with an Ermine looks polished and expensive. Seville is more than a backdrop; it gives the series warmth, glamour and an old-world elegance. Lavish estates, underground vaults and art-filled mansions create a glossy, near-fantastical atmosphere that fits Berlin's personality well. At its best, the show understands exactly how to turn place, costume and mood into part of the entertainment.

Its weakness is that the formula now feels familiar. The mechanics of the heist are enjoyable, but rarely surprising. Anyone who has seen Money Heist or the earlier Berlin series will recognise the rhythm: a detailed plan, emotional distractions, the threat of betrayal, romantic complications and a point at which everything seems lost before someone reveals they had accounted for that very problem. The interpersonal drama can also become repetitive, with love triangles, trust issues and emotional wounds occasionally slowing the pace and pushing the actual robbery into the background.

Even so, the series remains engaging because it embraces its own excess. It does not strain to become a serious crime drama. Instead, it leans into being sleek, knowingly ridiculous and deliberately overblown. One moment the characters are plotting an impossible art theft; the next they are exchanging passionate declarations under carefully arranged lighting. That self-awareness gives the show much of its appeal.

Most importantly, the series remembers that Berlin himself is the attraction. The heist may provide the plot, but Alonso's charisma provides the entertainment. Berlin and the Lady with an Ermine is not the sharpest entry in the Money Heist universe, but as an easy-to-binge crime caper filled with style, flirtation and emotional chaos, it delivers much of what its audience will expect. The eight-episode series is currently streaming on Netflix.

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