When Upstairs, Downstairs became an international hit, British television producers assumed that they could quickly come up with another dramatized exposé of country-house life. Wrong again. It took the BBC—in a joint-production venture with Netflix—four decades to create Downton Abbey, a series in which the butler and the cook were every bit as engaging as Lord and Lady Downton.
Now the Brits have another smash—but this one marks a significant departure from its predecessors. In The Crown, what happens below stairs stays below stairs. This drama is all about the current Queen Elizabeth, from the time of her childhood, through initiation into the roiled world of royal worldlings, to her difficult marriage, to her troubled middle age and ultimately, after she learns to connect with the British public, her serene senior years.
In Parts I and II, Elizabeth (deftly played by Claire Foy) watches her odious, Nazi-sympathizing uncle, King Edward VIII (Alex Jennings, in a tour de force performance), abdicate the throne to wed a commoner. Then she witnesses her stuttering, publicity-shy father (Jared Harris) take over (The King’s Speech built an epic drama on these shortcomings). Alas, before his elder daughter is ready to wear the crown, King George VI dies of lung cancer.
The new queen is so innocent that the staff, out of earshot, refer to her as Shirley Temple. The naivete is not to last. Elizabeth’s new husband Prince Philip (Matt Smith) assumes the responsibility of her sexual education. But the political and social schooling is led by Winston Churchill (John Lithgow), the lion at sunset. The prime minister is determined that this young lady absorb the basics of regal propriety, diplomatic lingo, and British back-bench maneuvering. She starts out abysmally ignorant of all three.
Sir Winston is a shrewd tutor, but he is also infirm. As Elizabeth grows, she learns to lean on her courtiers. Soon she finds a way to show nothing in her face, to express little in her speeches, and to exert control while seeming to be above the considerations of politics and the Great Game of a shrinking empire. But this mastery of form demands a mask of remoteness lacking human sympathy. Elizabeth alienates Prince Philip, turning him into a distant consort who would rather make merry than make tours. She refuses to allow her sister, Princess Margaret (Vanessa Kirby) to wed the man she loves because RAF hero Peter Townsend (Ben Miles) is divorced and therefore anathema to the Church of England, which Elizabeth nominally heads. Of greater significance, she takes an unseen hand in national policy, chews out the occasional prime minister, and makes sure to kick the ailing Anthony Eden (Jeremy Northam) when he’s down.