The Crown

Season 1 – 90% – Given the pompousness, seriousness, and coldness that occasionally emanates from Buckingham Palace, I tried to be sober in my assessment, but faced with that magnitude, it's impossible not to be overcome. I don't understand how that impression of enormity was translated so perfectly, but thanks to the unparalleled production, I feel like I've never seen anything this grand (at least on Netflix). The smallest conversation in a closed corridor or office feels like the most epic thing in the world, and when the emotionally packed soundtrack starts playing and Jared Harris and John Lithgow give the performances of their lives, there is no other way to rate it. The last step towards five stars, however, is credited to Claire Foy, who was truly born to be Elizabeth. Season – 90% – Even more confident. Where the first season had to rely on relatively frequent returns to the main storyline, the second year allows for completely independent genre solos (Margaret, Charles/Philip), functional flashbacks, hints of almost scandalous theories, and even more polished acting performances. It falls just short of full marks due to the repetition of the pattern (more misunderstandings between spouses, a deeper divide between sisters), but the fifth star remains without hesitation. We must cherish such a tremendous annual event. Season 3 – 90% – I am incredibly entertained to be watching a plot where seemingly nothing happens for an entire hour, while under the surface, every emotion, every disappointment, and even every significant historical twist years in the making, is vividly simmering. And when it simmers with such an excellent cast (especially Elizabeth and Charles shining with every gaze), the third season becomes a little treasure. Maybe because some storylines settled separately (especially Moondust) raise doubts about whether they needed a whole episode, it's not a perfect score this time either, but it doesn't matter. The struggles of the Prince of Wales or the small and tragic catastrophes of the British people are so compelling to watching that any theoretical criticisms are only cosmetic flaws. Season 4 – 90% – In terms of details, this is the strongest season with the magnificent acting revelation of Emma Corrin. The entire decade focuses on the specific heroines Diana and Margaret, whose struggles easily fill ten episodes (although all the troubles sometimes become a bit cyclical, which is the only reason why I didn't rate it still higher). They fit perfectly into the gloomy Buckingham setting and, as always, provide a sense of confinement, anxiety, and at the same time, the most extravagant contemporary viewing experience – and I am constantly fascinated by this pleasantly prickly paradox. The episode The Land of No One is the television equivalent of the overwhelming Marriage Story. (15.10.2017)