The Crown

It’s obvious that Netflix has invested a lot of time and money in The Crown. From the very first episode, you will know that something much more is starting here than just an ordinary series from the world of the royal family and especially from the world of the current Queen Elizabeth. Soon, you will not only get used to all the characters, but start to relish their dialogues. In addition to featuring the top actors of today, the music has been composed by the musical genius that is Hans Zimmer. So get ready to get your emotions milked not just by the story, but also by music. Moreover, some episodes are bordering on genius, working as separate stories, often ending in some kind of postscript whose epicness will take your breath away. For me, the best character is definitely Winston Churchill; I’d never say that John Lithgow will provide us with such a divine performance. I’d say is the best role of his life. Until now, I thought of him in the lines of some sort of fairytale grandpa, and then I see him as an absolutely perfect Winston Churchill. I’m bowing down before him. Netflix has done a great job with this series, and I’m looking forward to more episodes where I can learn something about the world I’d never get to see even a glimpse of otherwise. (29.03.2020)

There came a moment around the time I turned 70, when it dawned on me that I was no longer a participant, rather a spectator. A significantly extended with some nice padding Audience. Really opulent (in terms of scenes, set design, costumes, music), which does not change the fact that the best and strongest moments are undoubtedly still those chamber "theatrical" moments of dialogs between two or three characters. After all, it is conceived in such a way that many episodes are separate one-act dramas, thanks to which it is more about individual scenes or episodes than the whole. In any case, the series is distinguished in the best sense of the word (not to be confused with the emotionally cold), despite the theme of never black and white (anti) monarchist, abounding in magnificent dialogs enhanced by the fact that Morgan is interested both in status and dynamics of royal family and PM, cabinet, officials and servants and, last but not least, the contemporary political and social situation of (un) noble people of all classes. Normal people. Those come first and all the time. The exception is the third season, where due to the haste coverage of too much time in a hurry, ordinary people, stories and politics are forgotten to the detriment of the anointed. Which is a shame, but the following season made it up more than enough. | S1: 4/5 | S2: 5/5 | S3: 3/5 | S4: 5/5 | (14.01.2017)

Season 1 – 90% – Given the pompousness, seriousness, and coldness that occasionally emanates from Buckingham Palace, I tried to be sober in my assessment, but faced with that magnitude, it's impossible not to be overcome. I don't understand how that impression of enormity was translated so perfectly, but thanks to the unparalleled production, I feel like I've never seen anything this grand (at least on Netflix). The smallest conversation in a closed corridor or office feels like the most epic thing in the world, and when the emotionally packed soundtrack starts playing and Jared Harris and John Lithgow give the performances of their lives, there is no other way to rate it. The last step towards five stars, however, is credited to Claire Foy, who was truly born to be Elizabeth. Season – 90% – Even more confident. Where the first season had to rely on relatively frequent returns to the main storyline, the second year allows for completely independent genre solos (Margaret, Charles/Philip), functional flashbacks, hints of almost scandalous theories, and even more polished acting performances. It falls just short of full marks due to the repetition of the pattern (more misunderstandings between spouses, a deeper divide between sisters), but the fifth star remains without hesitation. We must cherish such a tremendous annual event. Season 3 – 90% – I am incredibly entertained to be watching a plot where seemingly nothing happens for an entire hour, while under the surface, every emotion, every disappointment, and even every significant historical twist years in the making, is vividly simmering. And when it simmers with such an excellent cast (especially Elizabeth and Charles shining with every gaze), the third season becomes a little treasure. Maybe because some storylines settled separately (especially Moondust) raise doubts about whether they needed a whole episode, it's not a perfect score this time either, but it doesn't matter. The struggles of the Prince of Wales or the small and tragic catastrophes of the British people are so compelling to watching that any theoretical criticisms are only cosmetic flaws. Season 4 – 90% – In terms of details, this is the strongest season with the magnificent acting revelation of Emma Corrin. The entire decade focuses on the specific heroines Diana and Margaret, whose struggles easily fill ten episodes (although all the troubles sometimes become a bit cyclical, which is the only reason why I didn't rate it still higher). They fit perfectly into the gloomy Buckingham setting and, as always, provide a sense of confinement, anxiety, and at the same time, the most extravagant contemporary viewing experience – and I am constantly fascinated by this pleasantly prickly paradox. The episode The Land of No One is the television equivalent of the overwhelming Marriage Story. (15.10.2017)

My relationship with the British Royal Family could probably be described as neutral. I don't know their family relations perfectly, I don't buy the dresses Kate wears, I don't fly to London on the occasion of the royal wedding, yet I am fascinated by them in a way, I both respect and pity them. I didn't become interested in The Crown until sometime after the second series aired, and by the time I decided to start watching the series, the third season had been out for a while. I don't know if it's the perfect royal atmosphere, the sets, the costumes, the actors, the cinematography, the editing, the directing, or the music, but basically you could say I'm "properly cooked" by The Crown. I like the alternating emphasis on individual characters and members of the royal family and the ease and enthusiasm with which new characters burst onto the scene. And in the middle of it all stands the young Queen Elizabeth, whose portrayal by actress Claire Foy is absolutely breathtaking and authentic. (25.06.2020)

A piece of extremely well done work. For the creators, The Crown must have meant years of intense thinking and shaping of the overall concept, and getting it right on all sides and angles was certainly an exceedingly difficult task, which was accomplished to perfection. The mix of pop watchability, historical accuracy, richness of thought and at the same time absolute detachment of opinion is impressive and perfectly thought out. The pinnacle of Netflix's output. Claire Foy is the best. (13.03.2023)

I am unreservedly enthusiastic about the first season. Perfect casting of almost every role, especially Elizabeth, Philip, and Winston Churchill (literally and to the letter a brilliant transformation by John Lithgow), and the honest conversational script, which nonetheless does not feel theatrically stiff at all, but on the contrary is (like, say, The Queen) perfectly designed for such a riveting spectacle. On top of that, there's the spectacular set design, unadulterated (big) cinematicity in every second, and the believable feeling that we're watching "the way it really was", even though it's clear that many things could have been (and probably were) different. Truly amazing._____In the second season, everything is like the first one – again a great show in every aspect, you feel that you really get to know the royal family up close and experience everything directly with its members. It was a great challenge for the creators to keep the bar so high without Winston Churchill, who was key to the first season,yetthey pulled it off without a hitch. On the other hand, more space could have been given to Margaret, Phillip, and others._____The third season keeps the bar where it was – it doesn't move it higher or lower, it's just as great. I'd say that the cast changes are taking away from the ratings, especially for those who saw the third season right after the second, then you might be able to tell the difference. But I didn't notice it in hindsight, on the contrary I can't help but praise Olivia Colman, Tobias Menzies, Helena Bonham Carter... But what surprised me the most was the character of Prime Minister Wilson, played by Jason Watkins, whose performance and development fascinated me as much as Lithgow's Churchill in the first series. Of the episodes, I think Aberfan and Moondust stand out in terms of quality.______The fourth season of The Crown is based on a trio of strong female characters, Elizabeth – Thatcher – Diana, and it's a good thing. Not that their male counterparts have nothing to say, but it all revolves around those three and it's clearly right – they're all superbly written and acted, unforgettable. The actresses and actors I've grown to love will be missed in the next season, but I believe their successors will be just as good. (19.05.2019)