Art often imitates life (and vice versa), and the rumor and speculation swirling before a new season of “The Crown” is released rivals the attention received by the figures it portrays. Outrage about potential storylines hits fever-pitch heights as we enter the final stretch, and it is no surprise that emotion runs high with the events of 1997 about to play out. But this is not a reenactment nor a docuseries, and Peter Morgan’s drama-infused telling shouldn’t be assessed based on accuracy or who it will offend. With this in mind, the first part of Season 6 hits some highs with solid performances, costumes, and production design. Where it suffers is the unsubtle narrative framing devices that hammer home the overarching themes as the Princess Diana (Elizabeth Debicki) story hits its inevitable conclusion.
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The third iteration of the cast has had time to find their feet, and the lens is firmly fixed on Debicki as Princess Diana and what would turn out to be the final summer of her life. Narrowing in on the events that begin with a Mediterranean vacation accompanied by her sons and following the press scrum documenting her every move dials up the tension. There is no escaping Paris; at times, it unfurls like a horror movie. You can yell all you want at the screen, yet nothing can change the outcome, no matter how much you want Dodi Fayed (Khalid Abdalla) and Diana to stay at the Ritz.
Morgan excels at painting the claustrophobic intensity of the press coverage, from the boats filled with paparazzi in St. Tropez to the photographers on mopeds swarming any car Diana is in. The second episode pits a “tabloid princess” against a “broadsheet prince” as Prince Charles (Dominic West) tries to regain some public opinion ground against his ex-wife. Journalists have played a role in crafting the royal narrative since the first season, and opinions printed across the different British newspapers are part of the daily circus—both on and off the screen. Princess Margaret (Lesley Manville) is the ghost of tabloid journalism past, representing what happens when someone cannot marry who they love due to outdated beliefs about divorce. Manville shines in the few moments she is on screen, and the large ensemble becomes a Greek Chorus to the Diana show as it plays out publicly.
The symbiotic relationship between the press and royals is a fascinating ongoing dynamic. However, Morgan’s choice to use two photographers with polar opposite intentions is one example of not trusting the audience to understand how Diana and Charles attract (and court) different attention.
It also doesn’t help matters that this portrayal of Charles is skewed so positively there is hardly any space for anyone else—or any nuance. His romance with Camilla Parker-Bowles (Olivia Williams) is no longer in the shadows. Yet, his mother’s inability to approve puts the entire sympathy spotlight on Charles. He is somehow always in step with the country—particularly after Diana’s death— rather heavy-handed. If anyone thinks Morgan is anti-monarchy, they clearly haven’t tuned into this series.
Whereas Charles is depicted as a modern man who knows what he wants, Diana lacks stability and agency. Whereas the series did skip over some of Diana’s earlier AIDS charity work in the Emma Corrin season, Morgan doesn’t repeat this mistake twice. He highlights how Diana used her voice to champion the global banning of landmines and the huge impact this had. Indelible images of Diana wearing protective gear and crisp Ralph Lauren button-down shirts are recreated and offer a contrasting picture of the one clad in different bathing suits on luxury yachts. Costume designer Amy Roberts doesn’t simply match Diana’s attire but instead captures the moment’s mood. Details like this and the mid-90s needle drops are a time capsule sucking the audience back to this era with eerie effectiveness.
Again, the paradox of Diana’s life is that she wants to use her fame for good but can’t escape having every detail of her private business splashed on the front page. Debicki is magnetic when Diana tries to fight for some semblance of autonomy; the best moments are when she gets space to breathe away from the ulterior motives of others. Scenes with William (Rufus Kampa) and Harry (Fflyn Edwards) are infused with love, and there is no doubt that her children are her first priority. The boys are already wary of the media but do get to squeeze some normalcy in (including a great movie night choice) before events take a tragic turn. Edwards shows impressive range as the mysterious child in Netflix’s “1899” and overcomes the slightly distracting wig as the 12-year-old Harry when teasing either of his parents.
No matter who she is with, Debicki doesn’t just nail Diana’s mannerisms; she also inhabits the web of responsibilities and prying eyes. There is the much-reported “ghost Diana,” which Morgan defended ahead of time to Variety, citing it as a narrative device. He is not wrong, but these scenes are overwrought and impossible to take seriously, no matter how committed the cast is to the material, emotion, and execution.
While Debicki doesn’t share much screen time with her ex, there is a sense of ease opposite West as Charles. While the future King is entering a period of confidence in these episodes, it is still hard to reconcile this version against Josh O’Connor’s note-perfect portrayal. West exudes too much bravado, except when he wants to combat Diana’s press coverage. That is when the insecure cracks come out, but even then, he takes charge.
Contrastingly, Dodi is insecure and guided by his father’s hand. A case could be made that The Crown shows how Mohamed Al-Fayed (Salim Daw) pressures his son, akin to how the Windsors are shaped by image and responsibility. Unfortunately, Mohamed only has one speed, and that is scoring his son a princess. Whereas last season gave insight into the businessman’s past, Mohamed isn’t given the same grace on this occasion and instead comes across as cartoonishly hungry for access to royalty.
The royal family doesn’t entirely come out of these events smelling of roses, and Morgan does address the slow response from the Queen after Diana’s death—something he covers in detail in the 2006 film, “The Queen.” Imelda Staunton spends most of the season playing an Elizabeth who still can’t quite fathom how the world has moved on, and it is only through her conversations with an underused Manville as Margaret that she gets some perspective.
But the focus is purposefully on Diana, in what could be considered a time capsule of her final summer. Morgan successfully displays the enormity of her persona both in life and death, as well as the frenzy of the press whenever she appears in public. The four episodes don’t drag, and knowing what will happen builds dread before giving way to sorrow. In its final stretch, it tips further into overly symbolic dialogue, but thanks to Debicki’s stirring performance, “The Crown” still reigns when depicting this sprawling family soap opera. [B-]
Season 6 of “The Crown” premieres November 16 on Netflix.
