AMDG

If you are interested in how ancient institutions reform or renew themselves a fascinating case study is the British Monarchy. Currently the House of Windsor is being intriguingly interpreted in the Netflix series ‘ The Crown‘.  I have just enjoyed finishing the second series written as always by Benedictine-educated Peter Morgan. With each new series being released in December it seems to have become a Christmas tradition.  Just in case you don’t know, it follows the life of Elizabeth II, and how this unfolds alongside the history of the UK in the last century.  Written by one of the best screenplay writers in the business, beautifully shot including with some fine acting – it is fast becoming an annual treat.  Like all good drama, it touches on so many themes from our own lives, moral character, love, power, pride, hubris… etc – but essentially it shows the incredible capacity for this ancient institution to adapt to modern times, without giving too much ground (RC Church anyone?).  Morgan skillfully ensures that these explorations into the private lives of royalty never strays into sensationalism although he treads a very fine line at times.

As Santayana warns us about history repeating itself, the themes it deals with are surprisingly ‘contemporary’. In the first series, there is a fascinating programme that covers the Great Smog in London that killed thousands of people and led to the clean air act  …..  In the current series, Elizabeth’s uncle and former King, Edward,  is exposed as having a flirtation with Hitler and fascism that feels all too real in our volatile times.  Fascinatingly, this particular episode is inter-weaved with a story about Billy Grahams first visit to the UK.  The American evangelist is portrayed as making a big impression on the young Queen, his moral clarity giving her the strength to effectively banish her erstwhile uncle Edward.

Part of my conscience does sting a little bit when I think of a 91-year-old Elizabeth Alexandra Mary Windsor sitting at home surrounded by corgies in front of the TV,  whilst her life is being interpreted and distributed around the world.   In an age of self-promotion and carefully curated public images, it takes an impressive detachment from her, not to publically comment on these things, or resist the temptation to set the record right. However, I think it is essentially a compassionate portrayal of Elizabeth.  Morgan himself takes the line that the series is always accurate even if it is impossible to be ‘truthful’. His point is that no-one knows what was said between Elizabeth and Philip on this day at this time, but with his team of historical researchers, he believes they can produce an accurate representation. That leads to another moral discussion, certainly, the BBC would never be able to make a series like The Crown.

It is also interesting hearing Peter Morgan talk about how it is a golden-age for writers…. with companies like Netflix generously investing in such projects and not interfering too much with the creativity of the writers.  I suppose the streaming model is another example of a ‘disruptive technology’ getting rid of all the vested interests of producers, cinemas etc.  They might get booed by the old-guard at Cannes, but it means that for talent such as Morgan – the creative process seems to have become much cleaner.