![]() ![]() Here Charles yells and preposterously demands that positive coverage of Camilla displace the tabloid reports of Diana frolicking around St Tropez with Dodi Fayed (Khalid Abdalla). And he explodes at his Deputy Private Secretary, Mark Bolland (Ben Lloyd Hughes), the public relations expert who was seen in season five starting to orchestrate a long-game plan for Camilla to become Queen. He silently glowers at his mother, whom he calls "Mummy", when she refuses to attend Camilla's (Olivia Williams) 50th birthday party, which would have been a first sign of acceptance. But The Crown's Charles has coarseness and anger underneath, creating a character who will only be appealing to anti-monarchists. You might say feeling entitled is an occupational hazard for someone raised to believe God wants him to be King. West's down-to-earth quality is all wrong for a character who, more than ever, seems endlessly self-absorbed and privileged. And yes, she appears after her death and converses with both Charles and the Queen (Imelda Staunton), but those characters are clearly, as Morgan has said, imagining what she might have said to them, a sign of their grief rather than a ghost story.Īnd the series can't avoid its baked-in casting flaw. The show is very respectful of the scenes surrounding Diana's death and its aftermath, with no images of the crash or her body. (Six more instalments will arrive on 14 December, going through to the wedding of Charles and Camilla in 2005.) The most pressing hand-wringers' concerns amount to nothing. ![]() This season's first four episodes are set in 1997, flashing back two months from the Paris car crash, then moving forward through Diana's (Elizabeth Debicki) funeral. At times Morgan has made the Queen herself seem relatable in her everyday problems, with youthful insecurities, rumours of her husband's infidelities that it seems she'd rather not know about, and a daughter-in-law she found troublesome. Last season the biggest controversy centred on the idea that Charles had asked Prime Minister John Major to help him nudge the Queen toward abdication, an encounter the real Major called "a barrel-load of nonsense".īut such intimate fictions, depicted by the show's creator and main writer, Peter Morgan, with vibrant dialogue and plausibility, set it apart from clumsy historical dramas and news reports. There has always been a gap between the series' popularity and some public hand-wringing about those imaginative leaps. Starting with Princess Elizabeth in 1947, the series has played off reality while dramatising what the Royal Family might have said and done. Why The Buccaneers is the new Bridgertonīut this season's best moments so far, glimmering through here and there, affirm what has always been the show's most successful, tantalising and satisfying element: the imagined scenes. 12 of the best TV shows to watch in November ![]() How Dominic West transformed into King Charles III Instead of righting the near-disaster of last season, it leans into its flaws, including the miscasting of the earthy Dominic West as Prince Charles and the endless, unenlightening reconstructions of the real images and videos that have become part of the culture, recognisable around the world even to viewers too young to remember the 1990s or Diana's death first-hand. ![]() That scene, with a trajectory so familiar we can fill in the blanks, points to what's weakest about this new season. All the while we never leave the dog walker, who takes out his phone to call for help. A black car speeds into a tunnel, followed by more cars and motorcycles, and the sound of a deadly crash. The first episode starts with a man walking his dog on a narrow street, and as soon as we spot the Eiffel Tower, we know what's coming. In its sixth and final season, The Crown doesn't waste a second in getting to its most obvious, looming event. ![]()
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