The Crown dealt with one of most sensitive eras of the Royal Family – and I found it harrowing

Published

2 years ago

December 17, 2023

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Love it or hate it, Netflix has given viewers an early Christmas present this weekend.

For fans there are six more new episodes of The Crown to binge-watch, featuring all your favourite characters: Charles, Philip, Wills, Anne, Diana, Margaret, The Queen and more.

Those who denounce the series as a deplorable and inaccurate intrusion into the private lives of the British Royal Family can celebrate that this is the finale. After six series and a total of 60 episodes beginning in November 2016, it’s over.

It seemed appropriate that this cheeky exercise in lese majeste made its first appearance shortly after the Brexit referendum which overturned so many establishment norms, allegedly shared by the nation’s elite.

The seeds which germinated into The Crown were actually planted earlier in 1997, with two events which also transformed Britain’s view of itself and the world’s view of us, both of which also drive the narrative of series six: the election of Tony Blair’s New Labour government and the death of Princess Diana.

The Crown has been one of the major television events of the past decade.

The quality of its scripts, acting and production have made it superbly entertaining, while perhaps a guilty pleasure for British audiences, His or Her Majesty’s subjects.

Inevitably The Crown is remoulding how the public views the monarchy, to the fury of its critics who insist that it is made-up fiction even though it is about real people and actual events, all within the lived experience of many of its viewers.

Stephen Frears, probably Britain’s greatest living director, takes the credit or blame for kicking off the trend in reality drama.

Peter Morgan, The Crown’s creator, wrote the script for The Deal, Frears’ 2003 TV movie about the so-called Granita pact between Tony Blair and Gordon Brown over the Labour leadership.

Morgan and Frears then made the film, The Queen, about the aftermath of Diana’s death, with Helen Mirren winning an Oscar in the title role and Michael Sheen continuing as Blair. One of the challenges for Morgan, who initially expressed doubts about going ahead with the current series six, has been going over the same events concerning Dodi Fayed and Diana for a second time.

Morgan specialises in making drama out of the challenges faced by real people of influence including David Frost, President Nixon, Bill Clinton, Freddie Mercury and the anti-porn campaigner Lord Longford.

After The Queen, his successful stage play The Audience, was effectively a dry run for The Crown, imagining Elizabeth II’s weekly private encounters with numerous prime ministers during her long reign.

Reviewing the Crown finale, The Guardian’s critic Jack Seale identified “the overriding theme… that has underpinned Peter Morgan’s scripts all along: a life of public service, we are told, is a burden that demands great personal sacrifice, with the main loss being one’s happiness”.

This certainly colours the portrayal of the main male members of the Royal Family.

Charles, the late Duke of Edinburgh, and William are treated with more sympathy and understanding of their dilemmas than is commonplace in commentary about them.

“You do sort of fight for your guy,” Dominic West who plays Charles told Kate McCann and I on Times Radio, adding: “You give your character the benefit of the doubt”.

Sir Jonathan Pryce, who takes the role of Prince Philip, agreed: “I talked to the carriage driving people I trained with and they all absolutely loved him.”

As a viewer I found the interactions between the three men in the months after William’s loss of his mother, depicted in episode five, harrowing to watch. One of Dominic West’s sons played the role of William in the last series but, he told us: “I was glad my son wasn’t playing in this season just because of the very heavy nature.”

There has already been much comment about Morgan’s decision to bring back Diana and Dodi Fayed from the dead to speak briefly to other characters as ghosts in the early episodes of this final series.

In my opinion this was done tastefully and helped with the exposition of the narrative. Perhaps I am being indulgent because of my own small part in what The Guardian identifies as “the riskiest moment in the new episodes, a dream sequence in which the Queen imagines her reign being ended by the new king, Tony Blair”.

At the coronation, choristers sing an eerie a cappella version of Things Can Only Get Better.

Her Majesty’s nightmare is shown as a news bulletin item – voiced by me.

Other broadcasters are heard in the series often reporting events which really happened. My few lines in The Crown are fantasy to a purpose. I have also played versions of my broadcast persona on Spooks and in several other TV series and on screen in a touring theatrical production.

Of my old colleagues, Bob Friend played a newscaster in Mission Impossible and Jeremy Thompson reported in Volcano and Shaun Of The Dead. I also seem to remember Andrew Marr popping up outside Downing Street in an episode of Doctor Who.

In each appearance we were lending what credibility we have as real-life journalists to make a fiction seem more realistic. This is of a piece with the criticisms of The Crown for turning the real Royal Family into TV drama.

Such moonlighting is fun but worth thinking about before you commit to doing it. For me, it all depends on the quality of the show. I admire The Crown and Peter Morgan’s work for its insight into issues of the day.

The series has also had very high production values throughout. I defy anyone not to be impressed by the magnificence and the wit of the Blair coronation scenes. I’m glad I lent my voice to them.

Through the six series the royals have been played by a succession of actors, not always to the taste of some Royalists.

When Olivia Coleman took over from Claire Foy as the Queen, Baron Charles Moore of Etchingham famously took to the pages of The Spectator to complain that she had a “left-wing face”.

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The surviving members of the real Royal Family have stuck to protocol wisely and not commented about the way The Crown has depicted them. Their fictional avatars have been shown characters sensitively in the round and have probably increased public understanding of them.

At a preview screening of some episodes, one member of the audience leant over to Sir Jonathan Pryce commenting: “That’s the Royal Family saved for another 50 years then.”

Having played Prince Philip – “a wonderful father and grandfather, apart from Charles” – Pryce is more measured: “If we are going to have a Royal Family, I think this one with Charles and William is a good one to have.”

Entertainment

Cara Delevingne reveals how Topshop inspired her fashion sense – as brand relaunches in London

Published

12 hours ago

August 16, 2025

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Fashion brand Topshop celebrated its relaunch with its first catwalk in seven years.

The company’s website promised everyone was invited as models strutted down a runway on Trafalgar Square in front of noughties fashion icons Cara Delevingne and Adwoa Aboah and the London Mayor Sir Sadiq Khan.

The label has been operating on the online fashion platform ASOS after ceasing to operate as a standalone business in 2020.

Its previous owner, Sir Philip Green’s Arcadia group, collapsed into administration and all of Topshop’s physical stores – including the Oxford Circus flagship in London’s West End – closed soon after.

Delevingne told Sky News she was “totally blown away” by the relaunch event.

“It was like nostalgia mixed with something eclectic but also something brand new,” she said.

“For me, it really brings back a time of exploration of my own fashion sense because I think for me at Topshop I got to discover so much.”

The model, who is working on a capsule collection for next year, has already unveiled a choice edit in this year’s show and said her relationship with Topshop precedes her fame.

She said: “I would go in and my friends would be like ‘you would look good in that’ and I would go ‘no, that’s not really me’, and then you’d try it on and be like ‘oh maybe I can explore more’.

“They really have everything for everyone, and I feel like they brought that back.”

The runway showcased highlights from its Autumn-Winter 2025 collection, as well as an early preview of pieces set to drop later this season, including showstopper gowns, the classic white tee, and an aloe vera-coloured faux fur coat that surely should not have been on display – to prevent just about everyone rushing to buy it.

Reclaiming the high street

But sharp tailoring and statement outerwear suggest the brand is ready to reclaim the high street.

Must-have denim pieces completed the womenswear line-up while the Topman collection screamed modern utility by blending refined formal wear with sharp new silhouettes.

Casual pieces are grounded by authentic denim in deep indigos, which stood out on Trafalgar Square’s magnificent stone steps.

Topshop’s relaunch comes as the high street continues to struggle and as the UK operation of Chinese fashion giant Shein announced pre-tax profits of £38.3m for the year, up some £14m from 2023.

‘Top end of the market’

Moses Rashid, global marketing director at Topshop/Topman said they are competing in a different space.

“We’re at the top end of the market. We’re about elevation. We pride ourselves on the quality of the product,” he said.

Those products are being designed in north London, and managing director Michelle Wilson said the aim is to stay that way.

“We are a British brand, we want to be a positive force for fashion. We want to bring London to the world. It’s fundamental to who we are as a brand, our style is very much London-driven.”

The majority Danish-owned company has suggested it will slow fashion down by opening physical stores where customers can touch the products, browse collections and try things on, though the flagship on Oxford Circus is unlikely to return because a Swedish fast furniture brand has since occupied the space.

Designer Wayne Hemingway has previously collaborated with Topshop and said the relaunch must be more than nostalgia.

“They can’t rely on their old customers because their old customers have now got kids of their own to spend their money on, and they’ve got mortgages and all of those things of what being an adult means.

“They’ve got to have designers, marketeers, people who understand – who are on the pulse – who understood, number one, what was a success back then, and also a young generation of people who are there saying, ‘this is what our generation needs’, and who are bright and can help deliver that. They can’t rely on the past.”

Entertainment

Comedian Milton Jones reveals he’s cancer free

Published

2 days ago

August 15, 2025

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Comedian Milton Jones reveals he's cancer free

Comedian Milton Jones has revealed he is cancer free after being treated for prostate cancer.

In April, the 61-year-old, who is known for his appearances on Mock The Week, announced he was cancelling a number of UK tour dates to undergo surgery.

Jones said in a statement: “A few months ago, I had to stop my tour HA!MILTON because I needed treatment for prostate cancer. I’m glad to say I’ve had that treatment and am now cancer-free!

“So, many thanks to all the doctors and nurses who helped me get better – I couldn’t do their job (I tried, but apparently you have to be qualified).”

Thanking his family, friends and fans, he went on to joke: “I have to admit there were a few dark moments when I wondered if anyone would ever see me again, but then I realised that I was leaning against the light switch.

“Thankfully, I’m now in a completely different place, and if you look at my website, you’ll see that very soon I’ll be in lots of other different places on tour too”.

Jones picks up his tour on 15 September in Stafford, touring until the end of November 2025.

The show, whose name is a play on the title of the hit musical Hamilton, promises laughter and unforgettable comedy moments, as well as jokes about giraffes and tomatoes.

The Richmond-born comedian has been hailed as the king of the one-liner, basing his jokes on clever wordplay and surreal humour.

He has performed on Live At The Apollo, Lee Mack’s All Star Cast, and Michael McIntyre’s Comedy Roadshow.

Entertainment

Taylor Swift reveals release date for new album

Published

3 days ago

August 14, 2025

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Taylor Swift reveals release date for new album

Taylor Swift has revealed the release date for her new album, The Life Of A Showgirl.

The pop megastar announced her 12th studio album earlier this week but didn’t give many details.

Now, in social media posts and an appearance on boyfriend Travis Kelce’s sports podcast, Swift revealed just what fans can expect from the new album.

The Life of Showgirl, written during the European leg of her record-breaking Eras tour, will be released on 3 October.

It consists of 12 songs, including the title track that features pop star Sabrina Carpenter.

The full track list is:

1. The Fate Of Ophelia
2. Elizabeth Taylor
3. Opalite
4. Father Figure
5. Eldest Daughter
6. Ruin The Friendship
7. Actually Romantic
8. Wi$h Li$t
9. Wood
10. Cancelled!
11. Honey
12. The Life Of A Showgirl (featuring Sabrina Carpenter)

Long-time collaborators Max Martin and Shellback, two Swedish producers who worked with Swift on some of her biggest hits, joined the pop star for this album.

Within four hours of posting the full podcast episode on YouTube, it had already gathered 4.7m views.

‘The hardest-working star in pop’

The album follows last year’s The Tortured Poets Department, which was released during the Eras tour.

That tour, with shows on five continents and in 51 cities, raked in more than $2.2bn (£1.62bn) and was the highest-grossing tour of all time.

“This album is about what was going on behind the scenes in my inner life during this tour, which was so exuberant and electric and vibrant,” Swift said during her podcast appearance.

Sky News culture and entertainment reporter Gemma Peplow said after her globe-trotting tour and a swathe of re-releases over recent years, the new album cemented Swift’s reputation “as the hardest-working star in pop”.