[6.8/10] I want to cut The Crown some slack here. If it followed Queen Elizabeth’s life long enough, it was either going to have to recast or start using an array of prosthetics and old age make-ups. Either option comes with significant drawbacks. I love Olivia Colman in everything from Broadchurch to The Favourite. I’m a fan of Helena Bonham Carter’s work with Tim Burton and beyond. I...vaguely remember Tobias Menzies from Game of Thrones. Regardless, the creative team made the right call here.
And yet, it is undeniably jarring to go from the performers who’ve embodied Elizabeth, Philip, and their coterie for twenty episodes and move onto an almost entirely new cast. The production is the same. The sets are the same. The writer is the same. But there is an undeniable disconnect from episode 20 to episode 21.
It’s understandable, and well within the realm of willing suspension of disbelief. “Olding” cheekily makes reference to it with the Queen selecting a new portrait for stamps and currency that acknowledges the change. But it’s also hard to adjust on an emotional level to the fact that we’re only a few months along the timeline, but Claire Foy and Matt Smith are gone, and there's some veritable strangers wearing their clothes and living in their home. It will take some time to acclimate.
The Crown does its best to accommodate us. A surprising return from John Lithgow as a dying Winston Churchill provides connective tissue between one period of the show and the next. Colman’s Queen arrives to give her mentor one closing benediction, and a kiss on the forehead that mirrors the one he gave her upon his last departure. The icon’s death helps seal that we are at the end of one era and the beginning of another.
And, it must be said, Bonham Carter is the perfect casting to take the baton from Vanessa Kirby as Margaret. Beyond the physical resemblance between the two actors, Bonham Carter has made a career out of embodying the same chaotic, rebellious, off-beat energy that ran through Margaret’s veins in her performances as the Queen’s sister. Time will tell the tale, but at the jump, the casting directors nailed that one.
The problem is that, even if you can forgive the necessary but friction-filled transition of the cast, the writing here is below the series’ usual standards. Big picture, there's an interesting theme at play. The Queen is not a neophyte anymore. She listens to her husband, to her high society gossip mongers, and suspects that her new prime minister, Harold Wilson, must be a KGB spy. She’s confident in her political and social instincts after years on the job.
Only now, she discovers via her spymaster, that it is instead the art surveyor in residence at Buckingham Palace whom Elizabeth has been geeking out with, who has been doing dirty work for the Russians. The high society fops she’s been rubbing elbows with having been leading her astray, and the unlikely, comparatively salt of the earth economist she looked upon with skepticism is, unexpectedly, more on her wavelength.
There's something there! The changing of the tides isn’t just symbolized by Churchill’s passing, but by the arrival of the first Labour Party PM the Queen has ever had. Beyond her individual political affiliations, she’s only ever had Tory PMs, and in Winston’s wake, there's a certain comfort to that. Having that discomfort lead you astray, challenging your preconceived notions and forcing you to reevaluate your immediate reactions and maybe your broader prejudices is a good tack to follow with Elizabeth. It sets the season on a good thematic course as season three launches.
Hell, it even ties into the meta elements of the recasting. Baked into the story is the notion of giving new people a chance, even if they’re not what we’re used to, because they might surprise us with how much they’re on our wavelength. If the Queen herself is willing to expand her horizons and find common cause with a comparatively common man, who are we to turn up our noses at some new performers?
The problem is that even if the story is good, the nuts and bolts writing isn’t great. All of the scenes involving the spy mystery seem overblown and melodramatic, rather than elegant and/or naturalistic. This show’s never shied away from high drama before, but whether it’s breaking in a new cast or embarking on a new storytelling cycle, the delivery feels miscalibrated here.
More to the point, the episode’s dialogue is strewn with tortured, blunt metaphors. When Anthony Blunt, the double agent art historian, is giving his big speech before his arrest, he gives an on-the-nose oratory about truth that stings the ears. The Queen’s speech at his art event after the revelation comes down about palimpsests and the like, and double-identities in portraitures leads to painfully obvious coded exchanges with the appropriately-named Blunt expressing her distaste. And her closing exchange with Prime Minister Wilson about how numbers don’t mislead, but rather what-you-see-is-what-you-get, just like the man himself, could hardly be more ham-handed if the PM was wearing bacon-wrapped mittens.
Sure, there's some juice to Philip trying to threaten the turncoat to watch his back, only for the seemingly soft-spoken art dork to turn the threat around and intimate that he’ll expose Philip’s shenanigans with the Russian-entangled osteopath from last season, another piece of connective tissue. But the whole presentation of it feels a step down from the intimate, lived-in vibe The Crown managed to hone over its first two seasons.
With any luck, season 3 will find its sea legs again. Season 2 was already a bit of a step down from season 1, despite some major high points. You can tell that the show has already eclipsed its original premise. Reloading is a way to freshen things up a bit, but also a chance for things to go awry in a whole new way. The Crown has earned the leeway to figure itself out anew, but fresh cast or not, this isn’t the most confident start to the new era.
Review by Andrew BloomVIP 9BlockedParentSpoilers2023-08-15T03:18:53Z
[6.8/10] I want to cut The Crown some slack here. If it followed Queen Elizabeth’s life long enough, it was either going to have to recast or start using an array of prosthetics and old age make-ups. Either option comes with significant drawbacks. I love Olivia Colman in everything from Broadchurch to The Favourite. I’m a fan of Helena Bonham Carter’s work with Tim Burton and beyond. I...vaguely remember Tobias Menzies from Game of Thrones. Regardless, the creative team made the right call here.
And yet, it is undeniably jarring to go from the performers who’ve embodied Elizabeth, Philip, and their coterie for twenty episodes and move onto an almost entirely new cast. The production is the same. The sets are the same. The writer is the same. But there is an undeniable disconnect from episode 20 to episode 21.
It’s understandable, and well within the realm of willing suspension of disbelief. “Olding” cheekily makes reference to it with the Queen selecting a new portrait for stamps and currency that acknowledges the change. But it’s also hard to adjust on an emotional level to the fact that we’re only a few months along the timeline, but Claire Foy and Matt Smith are gone, and there's some veritable strangers wearing their clothes and living in their home. It will take some time to acclimate.
The Crown does its best to accommodate us. A surprising return from John Lithgow as a dying Winston Churchill provides connective tissue between one period of the show and the next. Colman’s Queen arrives to give her mentor one closing benediction, and a kiss on the forehead that mirrors the one he gave her upon his last departure. The icon’s death helps seal that we are at the end of one era and the beginning of another.
And, it must be said, Bonham Carter is the perfect casting to take the baton from Vanessa Kirby as Margaret. Beyond the physical resemblance between the two actors, Bonham Carter has made a career out of embodying the same chaotic, rebellious, off-beat energy that ran through Margaret’s veins in her performances as the Queen’s sister. Time will tell the tale, but at the jump, the casting directors nailed that one.
The problem is that, even if you can forgive the necessary but friction-filled transition of the cast, the writing here is below the series’ usual standards. Big picture, there's an interesting theme at play. The Queen is not a neophyte anymore. She listens to her husband, to her high society gossip mongers, and suspects that her new prime minister, Harold Wilson, must be a KGB spy. She’s confident in her political and social instincts after years on the job.
Only now, she discovers via her spymaster, that it is instead the art surveyor in residence at Buckingham Palace whom Elizabeth has been geeking out with, who has been doing dirty work for the Russians. The high society fops she’s been rubbing elbows with having been leading her astray, and the unlikely, comparatively salt of the earth economist she looked upon with skepticism is, unexpectedly, more on her wavelength.
There's something there! The changing of the tides isn’t just symbolized by Churchill’s passing, but by the arrival of the first Labour Party PM the Queen has ever had. Beyond her individual political affiliations, she’s only ever had Tory PMs, and in Winston’s wake, there's a certain comfort to that. Having that discomfort lead you astray, challenging your preconceived notions and forcing you to reevaluate your immediate reactions and maybe your broader prejudices is a good tack to follow with Elizabeth. It sets the season on a good thematic course as season three launches.
Hell, it even ties into the meta elements of the recasting. Baked into the story is the notion of giving new people a chance, even if they’re not what we’re used to, because they might surprise us with how much they’re on our wavelength. If the Queen herself is willing to expand her horizons and find common cause with a comparatively common man, who are we to turn up our noses at some new performers?
The problem is that even if the story is good, the nuts and bolts writing isn’t great. All of the scenes involving the spy mystery seem overblown and melodramatic, rather than elegant and/or naturalistic. This show’s never shied away from high drama before, but whether it’s breaking in a new cast or embarking on a new storytelling cycle, the delivery feels miscalibrated here.
More to the point, the episode’s dialogue is strewn with tortured, blunt metaphors. When Anthony Blunt, the double agent art historian, is giving his big speech before his arrest, he gives an on-the-nose oratory about truth that stings the ears. The Queen’s speech at his art event after the revelation comes down about palimpsests and the like, and double-identities in portraitures leads to painfully obvious coded exchanges with the appropriately-named Blunt expressing her distaste. And her closing exchange with Prime Minister Wilson about how numbers don’t mislead, but rather what-you-see-is-what-you-get, just like the man himself, could hardly be more ham-handed if the PM was wearing bacon-wrapped mittens.
Sure, there's some juice to Philip trying to threaten the turncoat to watch his back, only for the seemingly soft-spoken art dork to turn the threat around and intimate that he’ll expose Philip’s shenanigans with the Russian-entangled osteopath from last season, another piece of connective tissue. But the whole presentation of it feels a step down from the intimate, lived-in vibe The Crown managed to hone over its first two seasons.
With any luck, season 3 will find its sea legs again. Season 2 was already a bit of a step down from season 1, despite some major high points. You can tell that the show has already eclipsed its original premise. Reloading is a way to freshen things up a bit, but also a chance for things to go awry in a whole new way. The Crown has earned the leeway to figure itself out anew, but fresh cast or not, this isn’t the most confident start to the new era.