Warning: Spoilers ahead
In Episode 5 of The Crown (Season 2), Queen Elizabeth sits across from Lord Altrincham, a politician-turned-journalist whose scathing piece about the archaic functioning of the Palace, and the fact that the Queen comes across as a “priggish schoolgirl” in her speeches, has caused a furore in Britain. Unknown to the world (and because it creates room for terrific fiction), the Queen has invited Lord Altrincham over for a secret rendezvous.
“The age of deference is over,” the well-intentioned writer tells the Queen in the politest tone. “What is left without deference?” Elizabeth retorts. “Anarchy?”
The Queen has learnt to speak her mind now. Lillibet has “matured”, ever since we first saw her on her wedding day as a young bride. And yet, we could bicker, she remains a largely passive character; nothing more than a, errr, figurehead. It’s something creator Peter Morgan and his team of writers seem to be deliberately gunning for. Resultantly, the character does not allow actor Claire Foy to always vie for attention, and even though lacking showiness, her performance speaks volumes. Foy, who won hearts with her warm portrayal of the monarch in Season 1, is doubly awe-inspiring this time around.
The theatrics, then, are left to those close to the Queen — husband Philip, and sister Margaret. Prince Philip, especially, gets a more well-rounded arc this season. Philip and Elizabeth’s marriage continues to crumble under the weight of the latter’s royal duties, but the two choose to stick it out (‘divorce’ is ruled out in the opening scene itself). We even see Philip’s tumultuous childhood in one episode, giving us a better understanding of the character’s back story, even though Matt Smith’s portrayal remains largely unidimensional, even if persistently charming.
Much like in Season 1, it’s Vanessa Kirby as Princess Margaret who shines despite relatively shorter screen time. Her angst when Elizabeth nixed her dreams of getting married to an older, divorced man, and ensuing confrontation, was one of last year’s best TV moments. This time, Margaret is living it up with late night soirées and booze-filled weekends, even though the loneliness persists. And as has been proven in the past, there’s no distressed damsel who can resist a dose of Matthew Goode (playing impish photographer Antony Armstrong-Jones).
The complicated relationship Margaret and Antony (the future Lord Snowdon) come to share, is set up stylishly in an episode where Margaret poses for the photographer in his studio-cum-apartment. Wonderfully lit and shot, this section is bathed in an uncharacteristic hyper-sexual vibe, and their sparkling chemistry remains seeped in palpable tension thereon. Each episode of The Crown , in fact, encapsulates a chapter that is, in itself, ripe for a big screen narration. Who wouldn’t want an entire movie dedicated to the icy cold vibes shared between the uppity Queen and the flamboyant Jackie Kennedy?
Familiar, as well as fresh, faces appear in cameos (John Lithgow, Jared Harris, Michael C Hall) in this new season, which is packed with a lot more scandal and innuendo, and which reminds us once again that old must always make way for the new.
“What is left without deference? Anarchy?”
Lord Altrincham’s reply to Her Majesty is what we expect it to be, and yet, it fills us with glee. “Equality.”
The first two seasons of The Crown are now streaming on Netflix
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