We can say almost certainly that Netflix wanted to make it clear again and again that season 4 of ‘ The Crown ‘ would have two main axes the government of Margaret Thatcher and the marriage of the Prince of Wales and Lady Di . The period drama leaves the 70s and takes us into the tumultuous 80. The good has come.
These events have starred in each and every one of the trailers and promotional posters of this new cycle of the series created by Peter Morgan . Thus, the season begins directly by introducing these two main dishes in some episodes that continue to show that we are facing the best of the platform.
As soon as the first episode begins, Elizabeth II (Olivia Colman) orders Margaret Thatcher (Gillian Anderson) to create a government for Great Britain in her name; miles away, the chance encounter between Carlos (Josh O’Connor) and Diana (Emma Corrin) will take place. Two great events that will be a before and after for the country.
“Two Menopausal Women, A Path Of Roses”
I quote here the sarcastic husband of the Iron Lady (played by Stephen Boxer) because he makes clear the future of the relationship between politics and monarch . Two people with things as clear as they are opposite around the UK government and who will have their quarrels especially at a time of crisis, unemployment, social conflicts and inflation that will be aggravated.
Their exchanges and misunderstandings, especially those produced in the palace, are full of pearls and dialectical struggles. And even Morgan decides to explore how one and the other relate to their children. Already the previous season we had had a great exploration of Isabel’s relationship with Carlos and, thematically, it continues and expands .
The formation of a family by Carlos and Diana is the physical manifestation of their own understanding of the concept. The motherhood of Diana, Margaret and an Isabel much more interesting than in other years contrast.
If one of the themes of the series is always that superior league in which the royal house moves above the common people, in the second episode of this season 4 of ‘The Crown’ it becomes even more evident with the “proof of Balmoral “. Thatcher and Diana face the true elite , people who love the traditional and have hunting, fishing, horse riding and other hobbies as an intrinsic part of their lives.
It is, of course, very unsubtle in comparison . In the face blow that occurs, sooner or later, when entering the dynamics, protocols and other circumstances of the palaces of Windsor, Buckingham, Balmoral, or the one that corresponds to the summer stay on duty. Both one, like the other, who sees how that fairy tale is more of a gray prince than blue.
A More Intimate And Thoughtful Season
Beyond its usual time jumps – around episode per year – this season 4 is much more reflective, and intimate if possible, than the previous ones . It is noted that the queen and the rest of the main characters are already one age, they have been on the throne for four decades and there are many occasions when the royal family stands before the mirror to see their sins. Family secrets – like the one in the seventh episode – show a certain lack of humanity as the rank of aristocracy is higher.
This reflective, and even dark shade, permeates the production. The usual big pomps are more melancholic than festive , which is not to say that we do not have that humor, that irony and those usual touches of genius of the Peter Morgan script.
‘The Crown’ has fine-tuned its take on the palace period / historical drama so well it’s hard to fault it. What squeaks the most is his obsession with parallel montages , which are somewhat excessive (in duration) as well as obvious (in message). Which is quite manipulative at times.
Compared to other seasons, perhaps this is somewhat lower than the third. I do not know if it is a question that they found stability very early in the previous round or that some fatigue is noted in these episodes. But even so, the series is still the best that can be seen right now on television . A wonder to enjoy and devour your episodes.