Opinion: The Crown's Final Season Fails to Impress

Holly Thomas, a writer and editor based in London and morning editor at Katie Couric Media, shares her opinions on the highly anticipated season of "The Crown." This time, the focus is not on the Queen, and it seems that no one is too concerned about it.

Holly Thomas

In season six, or more precisely, in the first four episodes recently aired, Elizabeth Debicki shines as the unmistakable protagonist: the late Princess Diana. Set in the weeks preceding her tragic demise in 1997, this installment exposes the gradual unraveling of the show's storyline, as every character succumbs to the magnetic pull of Diana's presence.

The episodes seamlessly blend together, abandoning the traditional "monster of the week" formula in favor of a continuous buildup towards a highly anticipated climax. This departure from compartmentalized storytelling serves as a symbolic representation of history. It is fitting that the season, which many critics have deemed the downfall of the show, also tackles the largest disaster faced by the institution thus far.

One of the aspects that captivated viewers upon the arrival of "The Crown" in 2016 was its grand cinematic scale. The first seasons boasted an extraordinary budget, resulting in episodes that resembled mini-movies. For example, episode four ("Act of God") beautifully portrayed the catastrophic London smog of 1952, while episode eight ("Pride and Joy") showcased the Queen and Prince Phillip's arduous global journey amidst Elizabeth's rivalry with her sister Margaret.

The lines between episodes one and three of season six, on the other hand, defy delineation. Their common themes persist: Diana, as always, overshadowing her former in-laws; Prince Charles' envy as he strives for public approval of Camilla Parker-Bowles; the resistance of the senior royals against modernization and Mohamed Al-Fayed's efforts to portray his son Dodi as the new Mr. Spencer. The visuals of Diana frolicking on Al-Fayed's yacht in a swimsuit and the paparazzi chasing her could seamlessly fit into any segment of the storyboard. It may be a deliberate display of chaos, but chaos nonetheless.

The Coronation Vestments, which include the Supertunica on the left and the Imperial Mantle on the right, are showcased in the Throne Room at Buckingham Palace in London, England. The vestments are intended for King Charles III to wear during his coronation at Westminster Abbey on May 6, 2023. (Photo: Victoria Jones-Pool/Getty Images)

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The affinity for metaphors in the show has reached unparalleled levels, culminating in a spectacular display. Recall the intense second episode of the fourth season, where the royal family subjects young Princess Diana and Margaret Thatcher to a series of challenges at Balmoral Castle. Diana's part involves stalking and ultimately slaying a stag alongside Prince Philip, symbolizing her eventual destiny with Charles. Season six takes this concept even further, stretching over multiple hours.

The hired celebrity paparazzo, who was employed by Al-Fayed to expose the news of his son's and Diana's new relationship, presents a stark contrast to the dedicated Scotsman who patiently nibbles on digestive biscuits while waiting to capture carefully staged photographs of the royal family. Diana appears angelic from the start, advising a "lost" Dodi to stand up against his overpowering father and struggling to keep up with her whirlwind charitable commitments. The anticipation surrounding her final phone call with her sons is remarkably intense, overshadowing the heartbreaking truth that, as both William and Harry have subsequently recounted, the conversation was brief and perfunctory. Given the impossibility of portraying this period of history to everyone's satisfaction, season six refrains from being overly harsh. While there has been criticism of its inclusion of ghostly visions of Diana and Dodi after their deaths, it could have been even more unforgiving in its depiction of the royals' reaction to Diana's passing. The show only briefly touches upon the Queen's initial refusal to publicly display her grief before eventually succumbing to public pressure. However, if people are bound to be angry regardless, why not take a stronger stance?

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The creator of the show, Peter Morgan, may argue that he has explored similar themes in his 2006 film "The Queen." However, given the frequency at which the show has sparked controversy with its portrayals of lesser-known or fictitious royal blunders (such as Prince Charles advocating for his mother's abdication in season five), it seems peculiar to dedicate such limited screen time to an event that is widely acknowledged as a public relations disaster.

Instead, season six (part one) of "The Crown" shifts the focus to Mohamed Al-Fayed, portrayed by Salim Dau, as the sacrificial figure. The show suggests that Al-Fayed's relentless pursuit to have his son Dodi marry Diana, with the aim of securing British citizenship, is partially responsible for the tragic outcome of their deaths. According to the series, Al-Fayed's manipulation of their relationship and pressure on Dodi to propose ultimately leads to Diana's fatal night in Paris.

In reality, Al-Fayed, who passed away earlier this year, consistently denied any involvement in their relationship, a statement reiterated by his former spokesperson after the episode aired. While TV dramas are not bound by strict adherence to historical accuracy and often employ artistic liberties, introducing a seemingly fictionalized proposal storyline when the true events are well-documented adds fuel to an already explosive situation. In a way, "The Crown's" portrayal of Diana's death aligns with real life, showcasing the show's inability to handle the tragedy.