Few TV premières have been as fervently anticipated as that of “The Crown” ’s fifth season—the first following the Queen’s death, in September. But the ten episodes are a startling letdown, inkookang writes.
If “The Crown” is remembered as a great series, instead of just a great-looking one, it’ll likely owe that reputation to its spectacular fourth season. The first three volumes of the lavishly budgeted Netflix series were often snoozy and uneven, presenting portraits of Queen Elizabeth II and the rest of the Royal Family that were as rigid as the institution they served.
Before the première, the Firm’s supporters pressured Netflix to explicitly state that the series is a dramatization. Presumably, they were concerned about the continuation of the story line involving Diana , whose poor treatment and suicidal despair were recently brought up by Prince Harry and Meghan Markle. Another cause for alarm was the focus on an aging Queen who is out of step with the modern world. When Elizabeth ascended the throne, at twenty-five, she became its unlikely savior.
The idea that Elizabeth should have abdicated around the time of her annus horribilis—the year that three of her four children gave up on their marriages and a fire ravaged Windsor Castle—isn’t new. This theme is explored in the 2006 film “The Queen,” also written by Morgan, set in the months after Diana’s death. One senses that Morgan may have said pretty much all he has to say—and more efficiently—in that movie.
Unsurprisingly, the season’s main villain is the media. If the episodes offer any indication of how the U.K. transformed during this period, it lies in the increasing viciousness of the press, as the explosion of commercial TV tests even the staid BBC’s commitment to virtuous programming. Diana is easy prey for unsavory journalists, who scheme to take advantage of her loneliness. Like so many other women of tabloid interest in the nineties, Diana has benefitted from feminist revisionism.
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