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

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2 years ago

December 1, 2023

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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.

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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

Gregg Wallace speaks out after MasterChef sacking

Published

2 days ago

July 26, 2025

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Gregg Wallace speaks out after MasterChef sacking

Gregg Wallace has spoken about his sacking from MasterChef after inappropriate behaviour while working for the BBC – but insisted he is “not a groper, a sex pest or a flasher”.

Wallace, 60, has apologised after a report, commissioned by the cooking show’s production company Banijay UK, found 45 out of 83 allegations were substantiated.

In an interview with The Sun, he said: “I know I have said things that offended people… I understand that now – and to anyone I have hurt, I am so sorry.

“I don’t expect anyone to have any sympathy with me but I don’t think I am a wrong ‘un.”

MasterChef co-host John Torode also had an allegation that he used an “extremely offensive racist term” upheld, as part of the same investigation.

Torode, who insisted he had “absolutely no recollection” of the alleged incident, has not had his contract for the show renewed.

Wallace has now defended Torode, saying: “I’ve known John for 30 years and he is not a racist.

“There is no way that man is a racist. No way. And my sympathies go out to John because I don’t want anybody to go through what I’ve been through.”

At one point, Wallace became tearful during the interview when describing the impact of the investigation on his family.

“I have seen myself written about in the same sentence as Jimmy Savile and Huw Edwards, paedophiles and sex offenders. That is just so, so horrific.”

In respect to the specific allegation of unwanted touching, Wallace denied groping a woman and said that, while he was attempting to flirt with her, he did believe the contact it was consensual.

“She gave me her phone number. I considered that to be intimacy. It was 15 years ago. Me, drunk, at a party, with my hand on a girl’s bum,” he said.

He also accepted he had briefly appeared with a sock on his private parts in front of four colleagues in MasterChef studio. But he said his is not a flasher, and people were either “amused or bemused” but not distressed.

On the broader allegations about using inappropriate language, Wallace accepted the criticism and suggested that some of his conduct could be explained by his autism and his background.

“I know I am odd. I know I struggle to read people. I know people find me weird. Autism is a… registered disability. Just because you can’t see it doesn’t mean it’s not real.”

He also blamed his former career: “I’m a greengrocer from Peckham. I thrived in Covent Garden’s fruit and veg market. In that environment that is jovial and crude. It is learned behaviour.”

Wallace told the newspaper he is now scared to appear in public: “I go out now in a disguise – a baseball cap and sunglasses, I don’t want people to see me. I’m scared.”

On Wednesday, the BBC confirmed a series of MasterChef filmed last year, before allegations against presenters Gregg Wallace and John Torode were upheld, will still be broadcast.

Entertainment

Company at heart of Coldplay viral video releases tongue-in-cheek clip – with a big twist

Published

2 days ago

July 26, 2025

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Company at heart of Coldplay viral video releases tongue-in-cheek clip - with a big twist

The company at the centre of a viral video at a Coldplay concert has released a tongue-in-cheek clip on social media – featuring Gwyneth Paltrow as a “temporary spokesperson”.

Astronomer was thrust into the spotlight after two of the tech firm’s senior executives were filmed embracing on a kiss cam during a gig in Boston.

Andy Byron subsequently resigned as chief executive officer – while the woman in the video, Kristin Cabot, stepped down as chief people officer a few days later.

Paltrow, who used to be married to Coldplay frontman Chris Martin, is seen sitting at a desk in the new video uploaded to X – and begins by thanking the public for their interest in Astronomer.

She adds: “I’ve been hired on a very temporary basis to speak on behalf of the 300-plus employees at Astronomer.

“Astronomer has gotten a lot of questions over the last few days – and they wanted me to answer the most common ones.”

A question is then typed out on the screen that reads: “OMG, what the actual…”

Before the final word appears, the video cuts back to Paltrow, who goes on to promote some of the services Astronomer offers.

In a subtle nod to the countless column inches the company has attracted, Paltrow adds: “We’ve been thrilled so many people have a newfound interest in data workflow automation.”

Another question then pops up on screen, which begins to type out: “How is your social media team holding up?”

But before the sentence fully appears, Paltrow abruptly interrupts by declaring that Astronomer has spaces at an upcoming conference in September.

“We’ll now be returning to what we do best: delivering game-changing results for our customers,” she adds at the end of the video.

The marketing stunt is a sign that Astronomer is trying to put a positive spin on the scandal, which sparked feverish speculation online.

After Mr Byron resigned, the company had said in a statement: “Astronomer is committed to the values and culture that have guided us since our founding.

“Our leaders are expected to set the standard in both conduct and accountability, and recently, that standard was not met.”

Pete DeJoy, who has taken over as interim CEO, admitted on Monday that the company has faced an “unusual and surreal” amount of attention in recent days.

On LinkedIn, he wrote: “While I would never have wished for it to happen like this, Astronomer is now a household name.”

Entertainment

Top Boy actor Micheal Ward charged with two counts of rape

Published

2 days ago

July 25, 2025

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Top Boy actor Micheal Ward charged with two counts of rape

Top Boy actor Micheal Ward has been charged with two counts of rape and is due to appear in court next month.

Ward, 27, has also been charged with two counts of assault by penetration and one count of sexual assault.

The offences relate to one woman and are reported to have taken place in January 2023.

“Our specialist officers continue to support the woman who has come forward – we know investigations of this nature can have a significant impact on those who make reports,” said Detective Superintendent Scott Ware, whose team is leading the Met Police’s investigation.

Ward, of Cheshunt, Hertfordshire, is due to appear at Thames Magistrates’ Court on 28 August, the Crown Prosecution Service said.

Ward said he denies the charges of rape and sexual assault, adding in a statement: “I recognise that proceedings are now ongoing, and I have full faith that they will lead to my name being cleared.”

In a statement, Catherine Baccas, deputy chief crown prosecutor for CPS London South, said: “We remind all concerned that proceedings against the suspect are active and he has a right to a fair trial.

“It is vital that there should be no reporting, commentary or sharing of information online which could in anyway prejudice these proceedings.”

Ward starred in the popular Netflix series Top Boy as Jamie. He also appeared in films like Blue Story, The Old Guard and Empire of Light.

In 2020, the Jamaican-born actor was awarded the Bafta Rising Star honour in 2020.

He was nominated for Best Supporting Actor Bafta in 2021 for his role as Franklyn in the BBC series Small Axe, and 2022 for his performance as Stephen in Empire of Light.

Ward is also in the upcoming American film Eddington alongside Joaquin Phoenix and Pedro Pascal, which is set to be released in the UK next month.