CNN —
Matters of propriety about season five of The Crown, which premieres two months after the death of Queen Elizabeth II, are largely overshadowed by other issues as the Netflix series reloads with new prestige talent in key roles and old troubles throughout it feels disjointed rather than unusual. The result is an uneven campaign, fueling a sense that the Emmy-winning series is in danger of extending its reign too long.
This is some of the palace’s juiciest intrigue of the new season, as Prince Charles (Dominic West) resents his status as heir apparent and speaks openly about “Queen Victoria Syndrome,” a reference to his mother the Queen ( Imelda Staunton) too steeped in history and tradition to meet the changing demands of a modern monarchy.
Of course, the 1991 season begins, so there’s the tantalizing certainty that Elizabeth would retain that title for another three decades, and that Charles will severely damage his public image by the failure of his marriage to Diana (Elizabeth Debicki). which perfectly captures Diana’s thoughtful, slightly sad look. The character fares less well in terms of emotional insights, as this time she’s portrayed less sympathetically, at least in her naivety about the hell that speaking publicly about the royal family would trigger.
The uneasiness associated with these public flare-ups hits new Prime Minister John Major (Jonny Lee Miller), who sees the dynamics of what is happening better than the main players, which makes his role no less uncomfortable for him.
Writer/producer Peter Morgan once again ventures into all sorts of situations over the 10 episodes, including the unlikely friendship that develops between Prince Philip (who plays a major role, Jonathan Pryce) and Penny Knatchbull (Natascha McElhone), the much younger wife of , develops Philip’s godson, who begins by trying to comfort her over the tragic death of her daughter.
Philip also takes it upon himself to chide Diana for not understanding the institution she married into, reminding her that it “is not family. It’s a system.”
However, given the focus on Diana and Charles this decade, this season’s digressions seem more pronounced — and in some cases questionable — starting from the plight of Princess Margaret (now Lesley Manville), who hasn’t quite made peace with her past , to an in-depth detour into the backstory of Dodi and Mohamed al-Fayed (“The Kite Runner” Khalid Abdalla and Salim Daw respectively), Diana’s future boyfriend and his status-obsessed rich father, in whose eyes the younger man can never be enough reach.
Throw in an episode dedicated to Russia and the royals’ sordid history surrounding the revolution, and it occasionally feels like a bridge or two too far.
The upper lip remains incredibly stiff even in the most difficult conditions. As Charles privately tells his mother about Diana, “I did what you said Mommy. I tried to make it work,” she replies brusquely. “Being happily married is more of a preference than a requirement.”
The casting remains a gaudy flex at almost every level — Timothy Dalton even makes a small but significant cameo — and for those who can’t get enough royal gossip, Morgan once again makes the audience privy to his version of what’s behind closed doors, as Charles and Diana quietly conversing after their divorce is finalized.
“You were never young, not even when you were young,” she tells him.
The Crown was great, as confirmed by its Emmy haul for its fourth season, and it’s still pretty good. Given the highs delivered by the younger versions of these characters, watching the current season feels more like a liking than a requirement to borrow from the queen.
The Crown begins its fifth season on November 9th on Netflix.