1991-1997 – the time of another crisis in Buckingham Palace. The Windsors are stuck somewhere between a conservative past and a progressive future. The public expresses dissatisfaction with the huge costs of maintaining the royal family, which most consider to be an obsolete institution. Elizabeth (Imelda Staunton) and Philip (Jonathan Pryce) do not understand the new generation, and the spouses themselves have long moved away from each other. The Queen is trying to keep the yacht Britannia close to her heart, while the children unanimously want one thing – to destroy their own marriages and live in love. Diana (Elizabeth Debicki), a cornered bird, just craves ordinary human warmth, understanding and attention.
The Crown creates a buzz no worse than those to whom the series is dedicated. In the weeks leading up to the release of the new season, show creator Peter Morgan faced a barrage of criticism, with Prince William asking not to use the infamous mother interview that he thought ruined Diana’s life, and Judi Dench writing an open letter condemning the show’s creators for misrepresenting the story. . As it turned out, the worried and angry had nothing to worry about: the authors are not trying to denigrate anyone’s reputation, but simply draw an approximate portrait of the monarchy at the end of the century. Even fans and close associates of Camilla Parker-Bowles can sleep peacefully: Charles’s future wife is portrayed not as an insidious lover, but as a woman unhappy because of her feelings, to whom the media have never been supportive. In a tragic love triangle, all parties are victims of a system that is merciless and devours everyone who allows himself to destroy the illusion of a fairy tale.
Despite the fact that the soul of the season is the broken Diana played by Elizabeth Debicki, the heart of the series continues to be Elizabeth – the cornerstone of everything that happens around. As once Olivia Coleman, Imelda Staunton appears to the public looking back and humbly watching the slow extinction of a woman. Young Claire Foy appears on the screen in fragments of memories that remind the audience what path the royal person has gone – from an insecure girl who wanted a quiet life near her beloved, to a steadfast sovereign forever subordinate to the crown in her obedient devotion.
All episodes are enveloped by the bitter motive of farewell. Elizabeth says goodbye to her adored yacht, Margaret to her first love, Diana to Charles, Charles to Diana, William to childhood, Russia to communism, Britain to the remaining colonies, and everything around to the 20th century. A memorial service for something irretrievably gone is intertwined with talk of a gap between generations. The chasm is illustrated not only within the monarchy, but also in the Al Fayed family, and in the inner workings of the BBC, and finally in Downing Street: Labor Tony Blair bypasses Conservative John Major and heralds a new chapter in British history.
Farewell, like a heavy door, slams one page shut and opens the next. The season is riddled with symbolism – like the fire at Windsor Castle and the forced transition to more modern technology – and the tone of the show is revealed with more sadness due to the recent death of the Queen. The death of Elizabeth II serves as a reminder that even something indestructible must eventually come to an end. Whether it’s one of the most expensive shows in history or the monarchy itself, nothing can last forever.