The Crown: The secrets behind multi-million pound Netflix production

Published

2 years ago

December 1, 2023

admin

The second instalment of the sixth series of The Crown is set for release on 14 December.

Seven years on from its initial release, the programme has been a smash hit for Netflix and has seen some of the UK’s greatest acting talent – including the three queens Claire Foy, Olivia Colman and Imelda Staunton – take on the challenge of portraying some of the most recognisable people in the world.

Behind the glitzy multimillion-pound production is a vast production team working on the finest of details to capture each decade of the Royal Family precisely.

Martin Childs, a production designer, and Alison Harvey, a set decorator, have worked on all six seasons of the show and produced almost 2,500 sets in that time.

The pair say the “luxury of time and money and people” that the Netflix production affords allows the detailed and spectacular sets we see on our screens.

“We did go through the schedule quite quickly,” Harvey said.

“We did have people devoted to certain things like drapes. [I’m] on a job at the moment – we’ve got no people and no money and no time. So we’re very lucky to have those facilities available to us on such a great well-received project.”

The abundance of resources allows Childs and Harvey to capture not just the familiar castles and regal settings – they were excited to capture the royals’ private interiors as well.

“It’s a kind of a slightly imagined film version,” Harvey said.

“We research and research and research until the research runs out,” Childs said.

“I think it might be Peter Morgan who coined this phrase ‘informed imagination’ – and it’s one I like very much because it helps describe what we finish up having to do,” he added.

The first four episodes of the sixth season were released on 16 November and captured the last eight weeks of Princess Diana’s life.

While many of the scenes from the 1997 crash and its aftermath are seared into the public’s imagination, Childs was averse to recreating many of them.

“My consideration [for] all the scenes that led up to [the crash] was not to have any prior knowledge of it, because the audience does. So I didn’t want to load it with 20-20 hindsight.

“People know what happened. People are familiar with the footage so we didn’t really want to recreate much of that.”

Portraying Diana faithfully was also a major consideration for hair and makeup artists Cate Hall and Emilie Yong. It took around 30 hours to transform Elizabeth Debicki into the late princess.

“It starts with this very archaic wrapping of their head in clingfilm and sellotape and marking the headline with a sharpie. The wig maker we work with is very, very detailed in terms of hairlines, crowns,” Hall said.

“The hair is all knotted hair by hair, we will go through thousands of different colours to find the four or five colours we’re going to use in a wig. Then once the wig is made, we start cutting.

“Then the wig comes off the head and is set and dried, put back on again, cut, highlighted, roots shaded in. And then the makeup fittings start.”

Like the production designers, the pair said they “live and die by” getting the details right.

“Otherwise what you get is something that feels sort of generally in the region of [the decade] but not necessarily robust.

“The whole point when you’re recreating period television is trying to create this world that the viewer can watch and really immerse themselves in. The last thing you want to do is bring them out of that.

“So for me, if I’m watching a TV show and the textures are really modern and chemically sophisticated and illuminated, things like that immediately take me out of the show. So it’s those kinds of details.

“One way of saying we’re in the 1960s [is] about the textures and what was available to the people at the time. Glitter was not. We have every foundation colour under the sun now. But in 1960 you were probably dealing with four different shades if you’re lucky. It’s about sophistication that helps you tell the story,” Hall said.

So the actors have undergone their transformations into their characters and the stage is set but something’s missing.

Click to subscribe to Backstage wherever you get your podcasts

Alongside a historical research team, the actors spend a significant amount of time preparing with movement coach Polly Bennett to prepare for filming.

“When you meet new actors playing the characters, it becomes about actually trying to throw all of that information [from past seasons] away and starting again.

“The best thing about working with the team this time around was that we’d already done season five, so they kind of lived in their bodies,” she said.

“I think the biggest thing physically that I had to consider was that they had been around being famous. Being famous was a new idea.

“The sort of thing that Diana was experiencing is a very particular physical change in her body. So that was the major preoccupation I had.”

A huge body of research, like the production designers and hair and make-up artists, informs Bennetts’s work.

She describes working with 21-year-old Meg Bellamy who is playing a young Kate Middleton as she attends university with Prince William.

“A lot of our first sessions were just providing the space to go – who is this person? What has she been around? What has she grown up around? What clothes is she regularly wearing? What food does she eat? What are her relationships? Who has she seen growing up?

“We look at footage that we have, we look at photographs, and put it together in the kind of private investigator type way,” Bennett said.

“And suddenly when you start looking at different pictures, you notice little things that Kate does in her life, like she wears a handbag always on the same side of her body and she clutches it. Now, that’s something that then became an inpoint for Meg.

“The idea that they’ve got something very practical, but they’re keeping it close to them and then you can take that feeling into their whole life. Whether or not that’s actually what Kate Middleton is doing, that becomes gold dust as a practical idea for an actor to play.”

Entertainment

Bob Vylan on ‘death, death to the IDF’ chant: ‘I’d do it again tomorrow, twice on Sundays’

Published

5 hours ago

October 21, 2025

admin

Bob Vylan on 'death, death to the IDF' chant: 'I'd do it again tomorrow, twice on Sundays'

Bob Vylan’s frontman has said he does not regret chanting “death, death to the IDF” at Glastonbury – and would do it again.

The outspoken punk duo sparked controversy with their performance at the festival in June, with the broadcast also leading to fierce criticism of the BBC.

But speaking on The Louis Theroux podcast, Bobby Vylan said he stood by the chant, adding: “I’d do it again tomorrow, twice on Sundays.”

The US condemned the act’s “hateful tirade” and revoked their visas, with several festivals cancelling their upcoming appearances.

Vylan claimed this backlash is “minimal” compared with what the people of Palestine are going through – with many losing members of their family or forced to flee their homes.

He said: “If I have their support, they’re the people that I’m doing it for, they’re the people that I’m being vocal for, then what is there to regret. Oh, because I’ve upset some right-wing politician or some right-wing media?”

The musician revealed he was taken aback by the uproar caused by the chant, which was described by the prime minister as “appalling hate speech”.

Vylan added: “It wasn’t like we came off stage, and everybody was like (gasps). It’s just normal. We come off stage. It’s normal. Nobody thought anything. Nobody. Even staff at the BBC were like: ‘That was fantastic! We loved that!'”

A spokesperson at Mindhouse Productions – which was founded by Theroux and produces The Louis Theroux podcast – told Sky News: “Louis is a journalist with a long history of speaking to controversial figures who may divide opinion. We would suggest people watch or listen to the interview in its entirety to get the full context of the conversation.”

‘The response was disproportionate’

The BBC’s Executive Complaints Unit has since found that the broadcast of Bob Vylan’s set breached editorial standards related to harm and offence.

Theroux asked Vylan what he meant by chanting “death to the IDF” – with the musician replying: “It’s so unimportant, and the response to it was so disproportionate.

“What is important is the conditions that exist to allow that chant to even take place on that stage. And I mean, the conditions that exist in Palestine. Where the Palestinian people are being killed at an alarming rate.”

He said he wanted an end to the oppression that the Palestinian people are facing – but argued chanting “end, end the IDF” wouldn’t have caught on because it doesn’t rhyme.

“We are there to entertain, we are there to play music,” Vylan added. “I am a lyricist. ‘Death, death to IDF’ rhymes. Perfect chant.”

He went on to reject claims that their set had contributed to a spike in antisemitic incidents that were reported a couple of days later.

“I don’t think I have created an unsafe atmosphere for the Jewish community. If there were large numbers of people going out and going like ‘Bob Vylan made me do this’. I might go, ‘oof, I’ve had a negative impact here’.”

Vylan’s conversation with Theroux was recorded on 1 October – before the Manchester synagogue attack, and prior to the ceasefire in Gaza coming into effect.

Entertainment

Gavin Plumb: Man jailed for plotting to rape and murder Holly Willoughby loses appeal against life sentence

Published

5 hours ago

October 21, 2025

admin

Gavin Plumb: Man jailed for plotting to rape and murder Holly Willoughby loses appeal against life sentence

A security guard jailed for plotting to kidnap, rape and murder TV star Holly Willoughby has lost an appeal against his life sentence.

Gavin Plumb was sentenced to life with a minimum term of 16 years last year after being convicted of soliciting murder and encouraging or assisting others to rape and kidnap.

A trial at Chelmsford Crown Court heard that police found bottles of chloroform and an “abduction kit” with cable ties when officers raided the 38-year-old’s flat in Harlow, Essex.

Plumb’s kidnap plan involved attempting to “ambush” Willoughby at her family home, jurors heard.

Plumb argued in his defence that it was just online chat and fantasy.

He was caught after an undercover police officer in the US infiltrated an online group called Abduct Lovers.

He told the officer, who used the pseudonym David Nelson, that he was “definitely serious” about his plot to kidnap the former This Morning host, leaving him with the impression that there was an “imminent threat” to Willoughby.

Due to the officer’s concern over Plumb’s post, evidence was passed to the FBI, who then contacted police in the UK.

Willoughby, who asked for her victim personal statement to be private, waived her right to anonymity in connection with the charge against Plumb of assisting or encouraging rape.

This breaking news story is being updated and more details will be published shortly.

Please refresh the page for the latest version.

You can receive breaking news alerts on a smartphone or tablet via the Sky News app. You can also follow us on WhatsApp and subscribe to our YouTube channel to keep up with the latest news.

Entertainment

Sean ‘Diddy’ Combs files to appeal his conviction and sentence

Published

8 hours ago

October 21, 2025

admin

Sean 'Diddy' Combs files to appeal his conviction and sentence

Sean ‘Diddy’ Combs is appealing the conviction handed down to him earlier this year over prostitution charges relating to his former girlfriends and male sex workers.

The music mogul was given a 50-month sentence and a $500,000 fine for flying people around the US and abroad for sexual encounters, including his then-girlfriend and male sex workers, in violation of prostitution laws.

He was cleared of more serious charges of racketeering conspiracy and sex-trafficking that could have put him in jail for life.

The two-page formal notice of appeal, seen by Sky News, was filed in Manhattan federal court on Monday, confirming he will be challenging both his conviction and his sentence.

It lists Combs’s defence council as Alexandra A E Shapiro, and shows a $605 (£450) docketing fee was paid to lodge the formal notice.

More detailed filings are expected to follow.

On the day of sentencing in early October the rapper’s lawyers had signalled they intended to appeal.

Combs, 55, has been in custody since his arrest last year.

His seven-week trial earlier this year included four days of testimony from Cassie, now Cassie Ventura Fine, who told the court she was coerced and sometimes blackmailed into sexual encounters with male sex workers, referred to as “freak offs”.

Jurors were also shown video clips of Combs dragging and beating her in a Los Angeles hotel hallway after one of those sessions in 2016.

Ahead of the sentencing, Cassie also submitted a letter to the judge, calling Combs a “manipulator” and saying she would fear for her safety should he be immediately released.

Ahead of his sentencing, Combs told the court he admitted his past behaviour was “disgusting, shameful and sick”, and apologised personally to Cassie Ventura and “Jane”, another former girlfriend who testified anonymously during the trial.

He told the court he’d got “lost in my excess and lost in my ego”, but since his time in prison he has been “humbled and broken to my core,” adding “I hate myself right now… I am truly sorry for it all.”

Judge Arun Subramanian, who had rejected bail for the rapper several times before sentencing, told him that he would get through his time in prison and would still “have a life afterwards,” calling it “a chance for renewal and redemption”.

He was facing a maximum of 20 years in prison for the prostitution-related charges, so the sentence was towards the lower end of the scale.

Prosecutors had argued he should spend at least 11 years behind bars, while Combs’s lawyers had called for him to be freed almost immediately due to time already served since his arrest just over a year ago.

Sky News has contacted Combs’s lawyers for comment.