Emanuele Filiberto di Savoia is the protagonist of the Netflix series The Prince, which has caused a great deal of controversy over an oil spill involving the son of Vittorio Emanuele and Marina Doria, whom Juan Carlos from Spain suspects of an act. 56. The Savoyards were in exile in Portugal and Alfonso, brother of the future ruler Juan Carlos, died at the age of 15 from a shot from a revolver: the official version of the Spanish embassy spoke of the gun being in the hands of the same teenager who at was killed cleaning while many claimed the involuntary responsibility of Juan Carlos. “I was there, we went into the sea to shoot cans. “Juanito screwed it up … he didn’t shoot him directly but through a closet, he happened to be there, an accident,” are the words of Emanuele Filiberto at the outing. The Savoy scion then protested to Netflix about the dissemination of the comment, which he said should remain private.
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The director and producer Beatrice Borromeo responds to the allegations with an interview with Corriere della Sera. The series is about the assassination of Cavallo, the death of Dirk Hamer and the ending draws analogies to the events in Portugal. Borromeo said she was “amazing that in the first few days after its release nobody spoke about this recording, which is essential to really understand the story of Vittorio Emanuele. To a distracted observer, this scoop can only seem seemingly separate from the rest of the documentary: the fact that Savoia witnessed a similar accident that resulted in a death during his adolescence, during his years of learning everything about the world , which was immediately covered up, is the missing piece to truly understand Cavallo’s story”.
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The director continues: “Vittorio Emanuele repeated Juan Carlos’ story several times at the end of his interview, first to me and then to the other members of the crew. It was he himself who spontaneously connected the two events. I believe that.” “This is due to the deep similarity between them, both in terms of the dynamics of the accidents and the way they were dealt with afterwards.” The recording then ended up in docu-fiction after a reasoned review : “It was tricky material, but when Paolo Bernardelli, our executive producer, had the idea of queuing the recording, we immediately realized that it worked because it gave the key to reading, around the three To be able to read episodes again with a new awareness.” “The missing piece that Vittorio Emanuele wanted to share with us, it was right to share it with the public,” says Borromeo.