#lcdp Raquel

[eatingoutmen]

i had a vision guys…

+

i’m not artist, but if someone were to draw this. PLEASE tag me🙏

[lofan]

If anyone has wondered where this meme came from:

[dailytvwomen]

Itziar Ituño as Raquel Murillo — in Money Heist: Berlin (2023)

[thenajwanimri]

[moreaugriffins]

[yourmajestybee-s-corner]

A little edit of all my LCDP/Money Heist ships!!

Ships featured:

-Berlermo

-Denvila

-Marsinki

-Serquel

[once-in-a-blue-moon-rising]

Okay okay okay, this might sound just a tiny bit unhinged but I am convinced that the LCDP writers have seen and been influenced by Hannibal, owing to the parallels between the Hannibal/Will and Sergio/Raquel relationships (focusing especially on a scene in the show that really mirrors one in Hannibal).

So, let's look at the text. First up, Hannibal, 3x11

Hannibal: The building of a new body and the othering of himself, the splitting of his personality, all seem active and deliberate. He craves change. Will: He didn't murder those families. He changed them. Hannibal: Don't you crave change, Will?

Second, LCDP, 2x8

El Profesor: Yo estoy haciendo una inyección de liquidez. Pero no a la banca. La estoy haciendo aquí, en la economía real, de este grupo de desgraciados, que es lo que somos, Raquel. Para escapar de todo esto. Tu no quieres escapar? ('I'm injecting liquidity. But not to the banks. I'm doing it here, in the real economy, for this group of wretches, Raquel, which is what we are. To escape from all of this. Don't you want to escape?')

And, ok, they're not the only two stories in existence where one character begs the other to see things from their point of view, you might say. You're clutching at straws here, Nay, because Hannibal is your current obsession, and LCDP was the one that came before.

But it's not just the dialogue. And it's not just this one scene.

If we're looking very literally at these two scenes, you'll notice that one half of our pair is imprisoned, but even that's not just surface level. Both imprisoned parties should not, by rights, be there, if they'd behaved in a remotely rational way leading up to that point. Hannibal allowed himself to be imprisoned for Will, even though he should have killed him long ago to protect himself. Raquel, likewise, could and should have handed Sergio over to the police many, many episodes ago, but she didn't, because like Hannibal, she couldn't bring herself to hurt him.

However, the real parallel isn't between Hannibal and Raquel - Sergio/Hannibal and Raquel/Will are the parallel characters leading up to these scenes, and besides looking at who is currently imprisoned, the clearest parallels within the scenes too.

Both of these relationships are deeply manipulative and physically violent, but the person who is initially causing harm gets tripped up by their own feelings, opening a window for their intended victim to exercise power over them instead. And, although in each relationship there is a clear manipulator at first, even in their beginnings, they are equals, and natural enemies (even though they might not realise it at first).

That's not to say the characters are the same - Hannibal's manipulation is driven by curiosity, and Sergio's is driven by ideals. But the outcomes are surprisingly similar nonetheless - they realise their goals, and then they regret them. They both lose the trust of the person they have unwittingly fallen in love with, and as Will and Raquel see Hannibal and Sergio, respectively, for the people they really are, they want (or think they want) to exact revenge on them. Raquel ties Sergio up and interrogates him, threatens him, hurts him, and Will tries to have Hannibal killed, and works to prove that it's Hannibal who's the serial killer, not him. But both Will and Raquel, of course, are not quite able to bring their righteous violence to its logical conclusion. Raquel fails to turn Sergio into the police, despite the fact that she's in charge of catching him, and Will gets tangled in his own line as he tries to reel Hannibal in, finding Hannibal himself far more magnetic than the justice of catching him. Both of them want to hurt their manipulative counterpart, but they've fallen for them too (and for both of them, I think this adds to their fury at Hannibal/Sergio).

And then we reach these two scenes I referenced at the top of the post. In both shows, they appear towards the end (at least, the assumed end at the time - LCDP, of course, got three more seasons later on, and Hannibal was [is?!] supposed to have more too). In both shows, Will and Raquel have experienced a loss of some kind, a really significant loss, tied to their identity, that is the fault of Hannibal/Sergio - Raquel has lost her job and integrity as an inspector; Will's family has nearly been killed and are emotionally lost to him - and yet they are both running towards the cause of that loss. Raquel, of course, is ostensibly trying to catch Sergio by herself, and Will has come to yell at Hannibal. But there's a calm in both scenes that wouldn't be there if all the wronged party felt was anger - after a fight Raquel lets Sergio talk to her without interruption, just as Will allows Hannibal to talk back to him, to ask him questions. And then our two manipulators - both of whom, I might add, have almost thrown everything away for the people who were supposed to be collateral damage - make this final plea in the dialogue above.

They're very different people, Sergio and Hannibal, but the plea is, at it's core, the same. The world, they say, The world doesn't look the way you were taught to see it, and you don't fit into it the way you thought either.

It's a plea for acceptance, because if Will and Raquel can accept the world and themselves the way Hannibal and Sergio see them, then they are, by extension, accepting them. It's a please, god, just say you want to run away with me.

And, in both instances, it works.

[esterzach]

These two!!! I love that every second is filled with details, both subtle and glaringly obvious! And the synchrony between them in every gesture! She appears, looking worried, Nirobi manages to say "Excuse me!?". He gives the group on the table a warning glare and a face that says, "Just dare say something!" No one else reacts, even though they are not happy.

Hand holding—establishing her place. It seems the gesture comes simultaneously from both sides. He reaches toward her, and she reaches toward him. He takes her hand, and she grabs him and, at the same time. It seems like he is the one placing her hand on his shoulder, a gesture aimed both at the group and at her. It's as if he is saying that her place is next to him now. He is informing them by this gesture only.

The hand game is wild - they both squeeze to reassure each other, sort of giving each other confidence and caressing each other hands - an intimate calming gesture, that repeats during the heist. Seems almost like they are transferring strength to each other.

Tokyo says: "She is one of us now." She nods.

Her face changes from worry to challenge when she turns to the band. As if she says: "I'm informing you that I'm here to stay."

A hand on the shoulder - it seems like it begins as showing connection and power to the others. But the gesture quickly changes into squeezing his shoulder. Reassurance - you are not alone, everything is going to be fine, I believe in you. A similar conversation happens at the end, but because they are tied up, it all happens through facial expressions. It looks like her "love language" is a touch. And when she can't do that, she uses every other tool in the box. It already happened in the previous season. It happens again here. In order to communicate and convince he uses words explicitly - knowledge, hard facts, logic. She uses everything.

She takes her place. It's not in the gang. At least not yet. She has a different status. Almost like a queen on a throne. Or a politician, standing behind the ruler. The hidden power - the one who influences and gives advice. The one who has the power to turn the direction of the events.

She keeps her status and the places behind him through the heist. Until they clash and her status is changed.

That's in a matter of seconds!

[honestlyjustamillyfanpage]

"I'm Tokyo! I'm Rio! I'm El Profesor!"

I'm the guy who uses his one second of screen time to send Raquel a love heart

[depressopax]

La casa de papel valentines card

I'm having a bit too much for making these lmao 😭

Part 1

[acealpaca]

*Andres, Martin and Sergio are sitting on a bench*

Raquel: Guys, why do you look so sad?

Andres: Sit with us so we can tell you.

*Raquel sits down*

Sergio: the bench is fresly painted.

[eatingoutmen]

God, I just love women.

(finna make a lil drabble/thirst abt all of them soon)

[iwanttobeliv]

Olá, sou nova no fandom e depois de meses lendo todas as fics existentes sobre esses dois não resisti e acabei escrevendo minha primeira historia sobre eles. A julgar pelo menos nível de surto, a primeira de varias. Titulo: Contra ventos e tempestades Resumo: Quando o helicóptero em que estão alça voo rumo ao que acreditam ser o começo de um final feliz, Raquel observa a Sergio, sabendo que existe muito mais por trás daquela fachada de fortaleza absoluta, sabendo que algumas feridas talvez nunca venham a cicatrizar. Post Series Finale. Serquel all the way!

[the-girl-who-didnt-make-anysense]

That’s that me, espresso

[thenajwanimri]

Alicia & Raquel in Berlin (2023)

[ariana-aguilar-fanfiction]

Serquel wedding.

Scene:

https://archiveofourown.org/works/65955700/chapters/170365831

Series:

https://archiveofourown.org/series/4754323