Her – Her Royal Highness – is the most refreshing moral counterpoint of all.
In the first two episodes, Mr. Daldry achieves something unusual: He tells the story of Elizabeth II through the prism of being unprepared.
The real triumph of the first two episodes of “The Crown” is the unerring emotional focus of Mr. Daldry, the director.
Photo When the young queen, far away with Philip in Kenya on the royal tour at the idyllic wildlife retreat Treetops, is brought the news that the king has died, Mr. Daldry does not give us her reaction.
Instead Mr. Daldry shows a household suddenly in motion as the news sweeps through Sandringham – first the shock, then the running, running through the corridors, the queen mother still in her nightdress, everyone running toward the death chamber except the queen’s younger sister, Princess Margaret, who stands in a stricken eddy of silence, her grief double-edged: not only for the loss of her father, the king, but for fear she will also have to say goodbye to his closest aide, the married group captain Peter Townsend, with whom she has fallen hopelessly in love.
It’s family history, and it’s a love story – more precisely, a series of overlapping love stories: between a father and a daughter, between a princess headed for greatness and her dashing prince, between another princess headed for heartbreak and her forbidden swain, and between a royal household and an adoring public.
If all goes as intended, these two enthralling episodes will be the opening chapters of an epic that promises to occupy viewers into the 2020s.
“The Crown” has already been approved for two seasons of 10 episodes each.