'The tempest surrounding Charles and Diana saves a show that’s spent most of its run stuck in a holding pattern,' writes judyberman
. There are glimpses of all these Dianas in Debicki’s performance, a highlight of the season, but mostly she comes across as a sincere, kind-hearted, and lonely, if socially ambitious, woman who got married too young, to a man whose heart belonged to someone else, while cameras rolled and minders hovered and the people who isolated her from any remnant of her previous life expected her to pretend to be OK.
A maximalist actor with an imposing physical presence, West is miscast as the aloof Charles. But his predicament is compelling enough that, by mid-season, I started to believe him as, well, some fictional prince whose biography bears a stunning resemblance to that of Britain’s new King.
of Charles. That is, if anything, a bit too obvious in one episode that devolves into a commercial for his charity work with the Prince’s Trust.More than half of the season’s episodes center around Charles and Diana, which might sound like pandering if you preferin high-minded-historical-drama mode. Yet Morgan often uses them as a vehicle for doing what the show does best: braid together the lives of the Windsors with stories that take place far outside the palace walls.
’s father, Mohamed Al-Fayed , feels refreshing after a plodding start to the season, which follows up thesaga with an extended account of Prince Philip making a new friend. When Charles and Diana finally get divorced, the episode is peppered with exit interviews from regular couples who split in the same courtroom on the same day. Their everyday problems—money, growing apart, disagreements over whether to have kids—put the royals’ rarefied ones in perspective.
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