Ian Thomas Malone

the crown Archive



November 2020



The Crown returns to form on the coattails of its most celebrated Princess

Written by , Posted in Blog, Pop Culture, TV Reviews

There is perhaps no greater moment of excitement for fans of The Crown than the arrival of Princess Diana. Four seasons in to a planned six-season run (briefly reduced to five before returning to its original course), Diana represents a turning point for the series, where period drama increasingly encroaches upon our modern era. As the Royal Family today endures controversies surrounding Megxit and Prince Andrew’s choice of friends, Diana’s popularity endures.

Surrounded by an exceptional cast including Olivia Colman, Helena Bonham Carter, and Tobias Menzies, Emma Corrin captivates as the young Princess of Wales. Corrin’s performance illustrates the complexities of Diana’s position both as an outsider to the Royal Family and as a figure who became a global sensation. Diana is a singular figure in modern culture. Corrin handles that immensely daunting task with nuance and grace.

Fellow season four newcomer Gillian Anderson takes on a similarly daunting task as Margaret Thatcher, in many ways the inverse of Diana for the purposes of The Crown. Thatcher is among the most hated politicians of the modern era, posing difficulties for a fictional depiction that’s bound to try and humanize the Iron Lady. Anderson is wonderful, occasionally bringing out those moments in the viewer where one’s emotions are tied up in an uncomfortable display of sympathy toward a figure known for her absence of humanity.

Season three often suffered from a lack of urgency to make the most of its ten episodes. Season four by comparison often has too much to do. Diana’s rise takes up much of the early episodes, intertwined with the Queen’s relationship with Thatcher. The Crown has always emphasized episodic storytelling within its broader narrative, but season four simply has better stories to tell. There’s nothing comparable to last year, when a whole episode was wasted on Prince Philip being fascinated with the moon.

Ten episodes is not a lot of time to spend on a group of individuals as complex and fascinating as the Royal Family. Prince Philip and Princesses Anne and Margaret see their roles greatly diminished, a necessary decision made in service to the season’s more compelling narratives. The Queen Mother (Marion Bailey) continues to be woefully ignored, a fascinating figure done a great disservice by The Crown.

Colman is finally given a chance to shine. Season three often sidelined the Queen in favor of the actions around her. Between conflicts with Thatcher and her responsibilities as a mother, the Queen has plenty to do this time around.

In many ways, Prince Charles is the true antagonist of the season, more so than Thatcher. Josh O’Connor does a fabulous job as the dour Prince of Wales, perpetually sulking over his marital problems and jealous of Diana’s enormous popularity. The Crown is hardly fair to the future King of England, who is depicted as fairly lazy and selfish. Stories need heroes and villains.

The Crown is not a documentary. Biopics almost always take large creative liberties with their subjects. Many articles are popping up over the inaccuracies of the events depicted, a fair correction of the record. One might feel a natural degree of sympathy toward how someone like the Duchess of Cornwall might feel at being seen as a vicious adulterer uncaring toward the mental wellbeing of a national icon. As bleak as it sounds, that shouldn’t really override the primary objective of The Crown, to produce compelling television.

Diana’s arrival gives The Crown a chance to recapture the magic of spectacle. Few series evoke a sense of awe and wonder quite like Morgan’s Royal Family fantasies. Historians can balk at the creative liberties all they want, but this is one of the most exciting shows on television. Truth need not be as important.




November 2019



Season Three of The Crown Lacks Purpose

Written by , Posted in Blog, Pop Culture, TV Reviews

Cast changes are a predicament that practically every television show faces. The idea of The Crown switching up its entire principal cast every two seasons is pretty much without precedent, though the name recognition of the subject matter makes this proposition a bit less daunting. It’s not as if the Royal Family needs much of an introduction.

To its credit, the new cast barely need to be reintroduced either. Olivia Coleman, Tobias Menzies, and Helena Bonham Carter all pick up their roles seamlessly, playing the aged Royals with grace consistent with the characters’ trajectories thus far. Pictures of the first generation cast, as well as an early cameo from John Lithgow’s Winston Churchill, serve more as treats for the fans than needed continuity bridges.

While the actors pick up where their predecessor left off, season three often feels unsure of where it’s supposed to go as a story. The previous two seasons of The Crown managed to blend larger historical plots with an intimate family narrative quite effectively. That sense of cohesiveness is completely missing here, the show’s attention scattershot over a spread of plots that share little in common with each other.

Season three feels determined to shine the spotlight on anyone other than Elizabeth, squandering Olivia Colman by reducing her character to a reactionary role. It’s hard to parse what exactly her plotline is supposed to be, as she’s rarely the main focus of any episode. Colman is superb, but she’s simply given nothing to work with, no time to shine. Claire Foy’s Elizabeth received many storylines with which she could advance her character. By comparison, Colman gets almost nothing.

The Crown has always been an ensemble drama, but the Queen isn’t supposed to be reduced to mere supporting character. Philip and Margaret both enjoy several episodes worth of extended focus. The show has always found plenty of time for Margaret, but season three doesn’t really have anything new to say about her as a person. The themes present in her focus episodes retread familiar ground.

This situation is exacerbated by the fact that the show now also focuses on the younger generation of royals, particularly Prince Charles (Josh O’Connor) and Princess Anne (Erin Doherty). The whole point of switching up the cast was to move the ball forward and tell new stories about this family. Too often, the show seems perfectly content to roll around in well-trodden grass, which often comes at the expense of the Queen herself. By the time the show carved out time for the rest of the family, old characters and new, there’s little space left for Elizabeth to have a substantive arc for herself.

There are a few standout elements worth noting. The Queen’s relationship with Prime Minister Harold Wilson (Jason Watkins) receives a fair amount of attention, a peculiar friendship given Wilson’s Labour roots. Menzies’ Prince Philip is the real standout of the season, building off Matt Smith’s early interpretation while leaving his own mark on a man eager to find purpose as age changes his perspective on life.

The Crown is rarely bad television, but it is often quite boring. The events covered feel quaint compared to magnitude of earlier arcs. This show is designed to portray 60 individual chapters in the life of this family. Season three feels like a big waste of time when you consider how much history lies within the walls of this family’s time in Buckingham Palace.