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Claire Foy

THE CROWN: The State of the Monarchy (Season 3 – Review)

Roughly halfway into Peter Morgan’s sprawling potted history of Queen Elizabeth II, you realise The Crown has reached a point of security. After two seasons which made a star out of Claire Foy and gave Netflix perhaps it’s most prestige original property, Season 3 has the self-assured confidence we see Elizabeth, now middle-aged, begin to imbue.

The unique central gimmick of Morgan’s drama was announced at the very beginning – that every two seasons of a projected six, the actors portraying Her Majesty and family would age-up alongside the characters themselves, and Season 3 marks the first instance of this change. Foy truly made Elizabeth her own, essaying with grace a young woman thrust into a role unlike any other on the planet while having to balance her own youth and sexuality with the rigours of her position. Olivia Colman, despite freshly minted with a Best Actress Oscar for portraying another British Queen in The Favourite, always had some big shoes to fill. As you might imagine with an actor of Colman’s character, she does just that. Nor does she attempt to simply replicate Foy’s performance.

To do so in the first place would have been a tactical error as Season 3, which takes place over a 13 year span from 1964 through to Elizabeth’s Silver Jubilee celebrations in 1977, presents a different Queen. The season premiere is called Olding and that forms part of the central theme in Morgan’s show this year: change. The opening scenes of the season nicely mark the actor transition as Elizabeth sees proposals for a new set of stamps, with her face replacing Foy’s; indeed Morgan bookends this nicely in finale Cri de Coeur when she is presented with a photograph from the late 40’s showing Foy and Matt Smith as Prince Philip. “How young we were” Elizabeth wistfully remarks. How young too, in a sense, was her country.

Season 3 is driven by not just Elizabeth’s and her family’s transition into different ages, roles, responsibilities and desires, but that of her country; a United Kingdom weathering economic downturn, socialist revolution, and the ripples of class war which continues the break down of the colonial Establishment on which her family was built. The Crown, halfway in, questions the state of monarchy itself in the modern age.

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The Crown Season 2: The Price of Marriage

The second season of The Crown has something of a difficult act to follow. The first season, despite having a wealth of recognised talent in front of and behind the camera, and being the most expensive TV series ever commissioned by Netflix at a whopping £100 million, nonetheless was a gamble nobody expected the streaming giant to falter with. The Royal family can entice both loyalists and those who find the monarchy an outdated institution, so the fact it almost certainly garnered strong ratings alongside plenty of critical buzz, meant The Crown got off to a romping start, making an instantaneous star out of Claire Foy as a young Queen Elizabeth II, and receiving plaudits and awards all over the place. Season 2, therefore, needed to keep up the pace.

Peter Morgan, writer of all ten scripts, plays the second season—set roughly between the years 1957 and up to the assassination of JFK roughly in 1963—as very much the second act of an opening two-part, aka two-season story. The Crown of course, famously, is planned to have six seasons which will replace the entire cast with age appropriate actors every two seasons. Season 3, therefore, won’t have Foy as Elizabeth, or Matt Smith as Prince Philip etc… should it happen (as of yet Netflix haven’t greenlit a third run but the chances are very high). These first two seasons of The Crown, consequently, are the first chapter in the life of Elizabeth and Philip, and if Morgan’s second run makes anything abundantly clear, this is very much the story of them both. The story of a Royal marriage around which everything else pivots.

Many critics in reviewing Season 2 of The Crown have suggested there is too much Philip. It’s a double-edged complaint, in truth. Yes, Philip is given a *lot* of material this season, more than in the first, but given how Smith—previously best known, bear in mind, as a scatty incarnation of The Doctor in Doctor Who—breaks out in the first season as an irascible, arrogant and often difficult partner to the Queen, you can hardly blame Morgan for throwing him more to do. Equally, the very arc of the entire second season is concerned with the price of marriage, the cost of attempting to have a traditional relationship while being bound by honour, faith and duty. While the story may heavily develop Philip, there’s a sense developing Elizabeth would have been much harder without doing so.