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 The Royal family can entice both loyalists and those who find the monarchy an outdated institution, so the fact it almost certainly garnered strong ratings alongside plenty of critical buzz, meant The Crown got off to a romping start, making an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.