Debicki’s Diana is neither the villain nor the disempowered victim of the piece, which comes at least close to the truth of what has made the real woman a figure that captivates the attention of even the generation born after her death.ĭiana has come to represent all the ways the royals fail to adequately support the British peopleĭiana is, and always has been, a cult figure.

Debicki’s interpretation is messy: the late Princess of Wales comes across as imperfect and wounded, but simultaneously savvy and with a capacity for emotional intelligence that verges on manipulative. Perhaps the seemingly endless calls for a fiction warning will finally simmer down, as critics realise Peter Morgan’s creation is actually a sympathetic and humanising portrayal of The Firm.ĭiana in particular receives a well-rounded portrait in Elizabeth Debicki’s performance that picks up from Emma Corrin’s critically acclaimed portrayal last season. As if anyone could forget the award-winning Netflix series is a drama not a documentary when, as the BBC put it, the show is essentially an “ upmarket soap”. Just this week, former PM John Major dismissed one storyline in the latest series as “malicious fiction”. Once again, the accuracy of the show has become a sticking point - particularly surprising for a season based largely on primary source material provided by Charles and Diana themselves through the various interviews and authorised biographies they willingly took part in. It’s been a long road filled with Judi Dench-shaped criticism, but we got here in the end and now we’re free to enjoy the heavy-handed metaphors and gilded drama of the series in peace.

The new season of The Crownhas finally arrived.

To Win Her Love by Mackenzie Crowne