Season 5

Season 5 is far and away the most intriguing of long-running The Crown series. With chronic ensemble turnovers—covering each step-up to the next generation in Elizabeth II's extended monarchy—this season's thespian batch comes closest to absorbing its subjects' spirit, physique, and soul. As Prince Philip, Duke of Edinburgh, Jonathan Pryce is jarring—for about 5 seconds—before settling in as the troupe's strongest anchor (perfectly positioned by Pryce's God-given talent.)

Edinburgh's place in history, forever etched at the rear of his wife, makes the enigmatic Prince hard to fix on by cultural representations. Classically, he's been portrayed as a slightly frustrated, slightly sublimated, slightly emasculated would-be playboy. Earlier seasons of The Crown followed this model and cast Prince Philip as such—which is ok. His character blended nicely into the ostentatious decor. Pryce, however, shatters this stifled image with a portrayal that, at turns, is tender, stinging, terse, acerbic, and sharp-witted. Indeed, Pryce carries within him such a deep well of personal and royal moral code and effecting intelligence that he often threatens to upstage Imelda Staunton in her role as The Queen. Staunton holds her own but is often at risk of being swallowed up in her "steadfastness." The popcorn moments belong to her partner.

Of the next generation, Elizabeth Debicki's Diana is nothing short of breathtaking. The Late People's Princess is captured to astonishing effect, and one simply soaks in Diana's beautiful and 'alive' memory. For each awkward wig & mannequin-esque aping of an ethereal icon (i.e. Kristen Stewart / Spencer (2021); Naomi Watts / Diana (2013); Nicole Kidman / Grace of Monaco (2014); plus endless Marilyn's), Debicki shows what's possible in Tinseltown.

On the other hand, Dominic West's Prince Charles is the weakest link. In an otherwise muscular cast, locating West's POV for his Charles is milquetoast. Neither physicality nor spirit amount to much—even the dowdy cum "evil" Camilla Parker-Bowles in Olivia Williams' hands is gobsmackingly lively.

This season, brilliant casting with respective acting chops won the lion's share of plaudits. But the writing is strong with striking and (mostly) appropriate peeks at the inner lives and conflicts within "The System." At times, the season deteriorates to the maudlin, as with an overly-long sampling of "ordinary folks' " divorce stories or "regrets" for certain lovers. But for the most part unique corners are excavated for entertainment and for history.

My tiniest criticism is in the season ending at the most awkward of moments: over an impromptu and modest bite after the ballet, Dodi's dad invites the newly divorced and glum Princess on vacation. Diana demurs but promises to "think about it." Of course, the world knows what is to come. Meanwhile, Queen Elizabeth's cherished Royal Yacht is decommissioned—anticipating much upheaval and the coming transitions about to crash over The Crown—YET TO BE SCRIPTED!! wut??

It was a letdown to end so precipitously. Talk about a cliffhanger! I mean, early in the season, Dodi (Khalid Abdalla) and Diana have the barest drive-by introduction. And that's it. On the other hand, Season 5 did a handsome and generous dive into Dodi's father, Mohamed Al-Fayed (finely acted by Salim Dau), and his motivations, leading to multiple entanglements with The Royals. For instance, we learn Dodi and his Dad have won Oscars for being on the producing team for Chariots of Fire (1981)—WOW!—and other amusing social climbing intrigues for father and son in London and Paris society. If this is the trade-off, it's ground well spent. Nonetheless, Season 6 can't come soon enough!