‘The Crown’ is one of the most popular and acclaimed series in the Netflix – and not for any reason. Based on the play of the same name, the production revolves around the rise of Elizabeth II to the throne of the United Kingdom and her extensive reign, navigating the unexpected death of her father, King George VI, and the various responsibilities of being the most famous monarch in the world. planet. After four years, the production has established itself as a gem of the set. mainstream which, despite dramatizing certain events by virtue of feeding the need for entertainment, offers an interesting glimpse into the royal family and the characters that still contemplate this core.
Now, we arrive at the fifth production cycle – and one of the most anticipated. After all, after the spectacular season finale previously, it was only natural that we were eager to see the unfolding of the story, the various scandals involving the members of the Crown and how the public became an active element of this configuration, especially in the era of globalization (which now affects the chronology of the show). The result is a little less than expected due to some flaws in the rhythm, but nothing too blatant to erase the aesthetic and performative beauty of the work – and which, even so, may alienate a little of the fans it gained in the previous iterations.
Following in the footsteps of previous seasons, our protagonist, Elizabeth II, gains a new look through the iconic Imelda Stauntonwho, as we can imagine, does a spectacular job, borrowing the mannerisms immortalized by Olivia Colman and Claire Foy in a very distant past. Here, the monarch faces a moral dilemma that extends both to her own family and to how the Queen is seen by her subjects: she remains stagnant in time and in a mythology painted over the Crown’s extensive history, while she moves away of the constant change that Britons face, with the exponential expansion of technology, the advent of the internet and the fact that everything is much more energetic than when she donned the mantle.
It is not surprising, therefore, that a good part of the media, including tabloids, loose the verb to talk about the apparent lack of tact that Elizabeth demonstrates – and that she should abdicate the throne in favor of handing it over to Prince Charles (Dominic West), her eldest son, who is involved with social causes aimed at young people – such as the creation of a scholarship program that includes inventive boys and girls who have ideas that would not be subsidized due to lack of opportunities. Of course, things don’t work that way and Charles will only assume command of the monarchy when Elizabeth passes away – and that’s not all: Charles remains in his marriage to Princess Diana (Elizabeth Debicki in a career-defining role), which goes from bad to worse. You paparazzi that make royal life hell continues to fuel gossip that they are about to break up and bring yet another problem to a Crown weakened by time and the considerable loss of power.
While Staunton and West do an impeccable job and virtually guarantee well-deserved Emmy nominations, it is Debicki who snatches one away from us. performance breathtaking, which steals all the spotlight. Unlike the passionate naivety that Corrin presents as the youngest Diana, Debicki launches herself into a construction marked by constant problematic, terrified by what the family in which she is inserted can do with her mental sanity and with her physical integrity. She carries with her the unconditional love of her children, but not enough to overshadow the fact that her husband is betraying the sanctity of his marriage to Camilla Parker Bowles (Olivia Williams), an old acquaintance who still awakens raw feelings in Charles. Despite maintaining her poise, Diana moves by a subtle irony that keeps her from completely freaking out and abandoning everything she’s built.
Recent episodes plunge into sober and harrowing contemplation, more than we’ve seen before. The color palette follows a similar aesthetic, marked by color conflicts that highlight the clash between the protagonists and supporting actors – whether between Elizabeth and her children or between Diana and herself; the direction does not deviate from the conventional, but it is safe enough to convince what it wants to sell; and, perhaps, this is the main problem of the fifth cycle (migrating to a verisimilitude guided by scandals that sometimes forgets to humanize the theme and the personas what Peter Morgan and his collaborators did with such excellence).
‘The Crown’ it may have slipped, but nothing that considerably stains an almost immaculate structure. What might turn viewers off is the seamless transition of pace and a celebration of tragedy that borders on sensationalism but doesn’t let things go awry. Overall, the gears fit together and, while needing some lubrication, are convincing enough to carry us through from start to finish.