The Crown dealt with one of most sensitive eras of the Royal Family – and I found it harrowing
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.
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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.
William, Charles and Harry in The Crown. Pic: Justin Downing/Netflix
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”.
Prince Harry and Prince William in The Crown Pic: Justin Downing/Netflix
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.
Dominic West as Prince Charles and Olivia Williams as Camilla. Pic: Justin Downing/Netflix
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.
Kate Middleton in The Crown Pic: Justin Downing/Netflix
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.”
The Oscars will be streamed live on YouTube from 2029 after being broadcast on the ABC network for decades.
It means the annual film awards will be available to the video-sharing platform’s two billion users for free around the world in four years.
The Academy of Motion Picture Arts and Sciences announced the deal with Google-owned YouTube on Wednesday, saying the streaming giant will have the exclusive global rights to the Hollywood awards from 2029 to 2033.
YouTube will effectively be the home to all things Oscars, including red-carpet coverage, the Governors Awards and the Oscar nominations announcement.
The Academy Awards ceremony has been broadcast by ABC for most of its history, but 2028 will be its last year showing the Oscars as they celebrate their 100th anniversary.
“The Oscars, including red carpet coverage, behind-the-scenes content, Governors Ball access, and more, will be available live and for free to over two billion viewers around the world on YouTube, and to YouTube TV subscribers in the United States,” an announcement on the Academy Awards’ website read.
“We are thrilled to enter into a multifaceted global partnership with YouTube to be the future home of the Oscars and our year-round academy programming,” said academy chief executive Bill Kramer and academy president Lynette Howell Taylor.
They said the new partnership with the platform “will allow us to expand access to the work of the academy to the largest worldwide audience possible”.
File pic: Reuters
‘Inspiring new generation of creativity and film lovers’
“The Oscars are one of our essential cultural institutions, honouring excellence in storytelling and artistry,” said YouTube chief executive Neal Mohan.
“Partnering with the academy to bring this celebration of art and entertainment to viewers all over the world will inspire a new generation of creativity and film lovers while staying true to the Oscars’ storied legacy.”
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The awards will be available with audio tracks in many languages, in addition to closed captioning.
Last year’s Academy Awards were watched by 19.7 million viewers on the Disney-owned ABC, a five-year high but far below the show’s biggest audience of 57 million in 1998.
The network has been the broadcast home to the Oscars for almost its entire history. NBC first televised the Oscars in 1953, but ABC picked up the rights in 1961.
Aside from a period between 1971 and 1975, when NBC again aired the show, the Oscars have been on ABC.
Rob Reiner’s son Nick made his first court appearance on Wednesday on two counts of first-degree murder in the killing of his parents.
Wearing a suicide prevention smock and shackles, the 32-year-old did not enter a plea as he appeared from behind the glass wall of a custody area.
His next court appearance will be on 7 January.
As it happened: Nick Reiner makes first court appearance
Nick Reiner makes his first court appearance on murder charges in this courtroom sketch. Pic: Reuters/Mona Edwards
Nick Reiner spoke only to say, “yes, your honour” to agree to the date.
He was charged Tuesday with killing the 78-year-old actor and director Rob Reiner and his wife, Michele Singer Reiner, Los Angeles County District Attorney Nathan Hochman announced at a news conference.
Nick Reiner is being held without bail and could face the death penalty.
Along with the two counts of first-degree murder, prosecutors added a special circumstance of multiple murders, as well as an allegation that he personally used a dangerous and deadly weapon, a knife.
Speaking outside the court, Nick Reiner’s lawyer, Alan Jackson, called on the public not to “rush to judgement”.
Mr Jackson pointed to “complex and serious issues that are associated with this case” that needed to be thoroughly and “very carefully dealt with and examined”.
He added that it was a “devastating tragedy that has befallen the Reiner family”.
Rob Reiner, Michele Singer Reiner, Romy Reiner, Nick Reiner, Maria Gilfillan and Jake Reiner. Pic: JanuaryImages/Shutterstock
‘Unimaginable pain’
Nick Reiner’s two siblings Jake and Romy have released a statement, saying “words cannot even begin to describe the unimaginable pain we are experiencing every moment of the day”.
“The horrific and devastating loss of our parents, Rob and Michele Reiner, is something that no one should ever experience,” they said.
“They weren’t just our parents; they were our best friends. We are grateful for the outpouring of condolences, kindness, and support we have received not only from family and friends but people from all walks of life.”
The two asked for “respect and privacy” and for speculation to be treated with “compassion and humanity”.
Authorities have not disclosed a motive for the killings.
Rob Reiner and Michele Singer Reiner were found dead from apparent stab wounds in their home in the upscale Brentwood neighbourhood of Los Angeles.
The area near Rob Reiner’s home. Pic: AP
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Nick Reiner did not resist when he was arrested hours later near the University of Southern California, about 14 miles (22.5 kilometres) from the crime scene, according to police.
Rob Reiner was a celebrated director, whose work included some of the most memorable films of the 1980s and 1990s, including This Is Spinal Tap, The Princess Bride, When Harry Met Sally and A Few Good Men.
He met Michele Singer, a photographer, movie producer and advocate for LGBTQ+ rights, in 1989, while directing When Harry Met Sally.
Warner Bros is reportedly set to reject a hostile $108bn (£81bn) takeover bid from Paramount, with one of the prospective buyer’s financing partners confirming it’s pulled out of the offer.
A spokesman for investment firm Affinity, owned by Donald Trump‘s son-in-law Jared Kushner, told Sky News’ US partner network NBC News “the dynamics of investment have changed significantly”.
It had backed Paramount’s bid, along with funds from Saudi Arabia and other Middle Eastern countries.
Bloomberg and The Wall Street Journal report the Warner Bros Discovery board are set to advise shareholders to reject Paramount‘s bid – paving the way for Netflix, which had struck a $72bn (£54bn) deal.
If the takeover goes through, it would give the streaming giant the rights to hit Warner franchises like Harry Potter, Batman, and Game Of Thrones, as well an extensive back catalogue of classic films.
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Pic: iStock
It is the latest twist in a takeover saga where the winner will acquire a huge advantage in the streaming wars.
In June, Warner announced its plan to split into two companies – one for its TV, film studios and HBO Max streaming services, and one for the Discovery element of the business, which primarily comprises legacy TV channels that show cartoons, news, and sports.
Netflix agreed a $27.75 per-share price with the firm, which equates to the $72bn purchase figure deal to secure its film and TV studios, with the deal giving the assets a total value of $82.7bn.
However, Paramount said its offer would pay $30 (£22.50) cash per share, representing $18bn (£13.5bn) more in cash than its rival offered. The offer was made directly to shareholders, asking them to reject Netflix’s deal, in what is known as a hostile takeover.
The Paramount deal would involve rival US news channels CBS and CNN being brought under the same parent company.
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The US government will have a big say on the final deal, with the winning company likely facing the Department of Justice’s (DOJ) Antitrust Division, a federal agency which scrutinises business deals to ensure fair competition.
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