Season Five of ‘The Crown’ Is Sorrowful Beginning of the End

It is a bit of a surreal experience to watch the fifth season of Netflix’s prestige drama, The Crown, since Queen Elizabeth II’s passing last September. For many of us, she was a fixture before we were even born, so it’s strange to think of a life without her since she was not just a leader but a fixture in popular culture. After a landmark fourth season, Peter Morgan’s series returns in high form with a beautifully intelligent and melancholic

Imelda Staunton’s Elizabeth II feels adrift in her own country. The monarchy’s prominence in the everyday lives of the British people has always been a theme running through the heart of The Crown, but season five begins as a poll reveals that a majority of citizens do not feel The Queen is necessary. As she defends herself in her own household (err, palace), Prince Charles (Dominic West) is vocal about wanting a progressive monarchy. Since Elizabeth’s death, people on social media have echoed this result, but they haven’t exactly seen a leader in Charles, either. How does one represent the people when the people do not want to be represented by you? While last season showed how new blood (with Princess Diana and Margaret Thatcher) challenged tradition, but season five questions how this family will endure if they are erased or abandoned.

The fairytale wedding between Charles and Diana showed signed of distress by the time we left them last year, and season five begins with the pair unceremoniously trying to enjoy a second honeymoon to get the press off their backs. Much to Elizabeth’s consternation and persistence, they no longer have a desire to pretend they are happy, and they spend the majority of the season licking their wounds or firing highly-publicized barbs at one another.

As Diana, Elizabeth Debicki embodies Diana with both fragility and curiosity. The way that the actress holds her gaze at someone as she approaches them is enigmatic and true. Debicki’s performance is absolutely breathtaking and, quite possibly, the most accomplished portrayal of Diana to date.

This is a woman who has missed out on formative years of discovering herself, and it translates to someone who is not only lonely but someone who has to figure out what they want and who they are while every movements is analyzed. During her courtship with Dr. Hasnat Khan, she shares a late night vending machine date, and then has a warm interaction with Mohamed Al-Fayed before she is even introduced to his son Dodi (played by Khalid Abdalla). Any time Diana is on screen, we are haunted by what we know will play out in season six, and we want to see her as happy as possible. The highlight of the season comes in episode eight when Morgan shows us the risk of Diana’s interview with BBC’s Martin Bashir and runs the history of Guy Fawkes’ parallel to the broadcast.

The Crown has never solely been about Diana, and we are reminded of that as Elizabeth holds her ground as sovereign. Every marriage around her has either failed or faltered. In one emotional scene, Princess Margaret’s wounds are ripped open as Elizabeth grants mercy to her daughter, Anne. Lesley Manville perfectly carries on the wounded party girl legacy passed to her from Vanessa Kirby and Helena Bonham Carter, but her heartbreak weighs heavy on her soul. There are only so many times Margaret can be the life of the party without feeling the pain of an empty bed.

As we pass through time and witness scandals (the naughty transcripts of Charles and Camilla Parker Bowles’ phone romp splashed across The Daily Mail), new Prime Ministers (Tony Blair is introduced in episode ten), and seemingly superfluous spending (the maintenance of Elizabeth’s beloved yacht, Britannia, bookend the season), Elizabeth’s strength is an unshakable constant. Perhaps seeing Staunton as an Elizabeth closer to the image of what we have grown accustomed to for so many years allows us to connect with her more, but The Crown shows us more of Elizabeth’s vulnerable heart. In a stellar performance from Staunton, Elizabeth is both unmovable but heartbroken, sturdy but sympathetic.

It truly does feel like the beginning of the end as Elizabeth grapples with her identity and importance and Diana struggles to find love and herself. The Crown, however, never falters. It is clear why this is one of the most celebrated and awarded shows of the last ten years. It cements its place one of the most important dramas on television.

Onward.

The Crown debuts season five on Netflix on November 9.