0:01

Those poor boys. Will

0:04

this subject never rest? I

0:07

suspect not while it continues to sell newspapers in

0:09

the numbers it does. Which

0:12

doesn't bode well for my upcoming Jubilee. The

0:16

Planning Committee came today with their latest

0:18

suggestions. Bigger than ever, my heart sank.

0:22

I keep telling them the timing is not right.

0:24

At this moment, people don't want to celebrate me.

0:26

They're sick of me, quite frankly. Better

0:29

not to provoke them with any grand displays,

0:31

but the list went on and on. Mummy?

0:51

Don't go, please. You

0:54

can't leave me alone with it all. Today

1:30

we'll be talking about episode 9 of

1:33

season 6, titled Hope

1:35

Street. In the

1:37

aftermath of Princess Margaret's death, Queen

1:40

Elizabeth approaches her golden Jubilee

1:42

with more trepidation than ever

1:44

before. To make matters

1:46

worse, a new investigation is launched into Diana

1:49

and Doherty's deaths, thanks

1:51

to a relentless public campaign by

1:54

Mohammed Al-Fayed, who believes

1:56

the royal family are to blame. When

1:59

the Queen Mother passed away, passes away, Elizabeth

2:01

hopes that Prince William might take a

2:03

central role in the Jubilee celebrations. But

2:06

between his blossoming romance with Kate and

2:09

the re-opened case surrounding his mother's death,

2:12

William wants to lead as normal a

2:14

life as possible, while he still can.

2:17

We'll cover specific events and scenes that

2:20

feature in this episode, so if

2:22

you haven't managed to watch Episode 9 yet,

2:25

I suggest you do that now, or very soon.

2:28

Coming up on this episode of The Crime,

2:31

the official podcast. We'll

2:33

say goodbye to the Queen Mother with Marsha

2:35

Warden. Everybody you spoke

2:37

to had known her, just her daughter.

2:40

But there was this steely thing

2:42

there as well. We'll hear about

2:45

the pivotal role of research in

2:47

recreating the pageant investigation. We

2:49

watched all the footage, we talked to experts, we

2:51

talked to a crash expert who talked us through

2:54

what would happen to Mercedes at speed and all

2:56

this kind of things, because the

2:58

incredible set-time provost, William, had to

3:00

reconstruct all these things for the evidence

3:02

room. And we'll meet the brand

3:04

new talent behind Prince Harry in the

3:06

series, Luther Ford. What was

3:09

interesting in researching is this idea of

3:11

a desire for normality on their part.

3:14

But there was something interesting about what

3:16

does normal mean to a prince. But

3:21

first, let's jump into Episode 9

3:23

with director Eddic Richter-Strand. There's

3:27

a lot going on here. We have a really

3:29

weighty kind of emotion, but then you also have

3:32

this lightness as well. Describe

3:34

to us what's happening in Episode 9, Hope

3:36

Street. It's unusually many

3:38

storylines. There are four storylines that

3:40

inform each other and develop

3:43

parallel and eventually converge. There's

3:46

the Queen's Golden Jubilee, which took place

3:48

in 2002. And then

3:50

there's the accusations and allegations

3:52

leveled by Muhammad al-Fayed about how

3:54

he feels there were conspiracies that

3:56

were behind the deaths of Diana and Dodie.

4:00

is the Queen Mother, who

4:02

becomes very ill and eventually dies in

4:04

the episode. And then there's William and

4:07

Kate and their relationship developing in St.

4:09

Andrews and how that sort of leads

4:11

us into a future that's

4:13

coming on later. And those four

4:16

storylines, the episode juxtaposes

4:19

and intercuts these storylines in a

4:21

way that is different than

4:24

the other episodes I worked on on the

4:26

show where there's more of, okay, this is

4:28

the story. We stick with that and

4:31

what happens next. Whereas this time, a lot of times you're

4:33

cut to a new scene and

4:35

it's a different storyline and that gives the episode

4:37

a different energy. One

4:40

thing that's been really important to Peter has been

4:43

the opportunity to tell Mohammed Al-Fayed's story and

4:45

to kind of really give him a voice

4:47

and humanise him. His storyline's obviously coming in

4:49

and out, but in this particular episode, it

4:53

kind of closes the Al-Fayed

4:55

storyline. And I

4:58

wanted to talk to you about where

5:00

we find him in this. He's a

5:03

father really dealing with grief and many

5:06

other things really. Yeah, he's

5:08

a man who

5:11

is not accustomed to not getting his wish and

5:16

he's a man who's also at

5:18

this point lost a bit of touch

5:20

with the reality in a sense. So

5:23

he's clinging to this idea, this

5:25

life lie, that what happened to

5:27

Doni and what happened to Diana

5:29

in Paris is a

5:32

vast conspiracy that goes into

5:34

the deepest underbelly

5:37

of the British establishment

5:39

and even into Prince Philip and

5:41

the royal family is very cool. And

5:44

he makes these accusations very

5:47

publicly and very strongly and he keeps

5:49

on repeating them and creating

5:51

this situation where he cannot any longer be

5:53

ignored and the press gets on board and

5:55

it becomes his momentum. Okay, what he's saying,

5:58

this thing that he's saying is crazy. we

6:00

need to actually look at it and see if there's

6:02

any truth to it at all. The

6:06

murder that beautiful innocent

6:08

girl and my doggy

6:10

with special military equipment

6:12

and flashing lights, I

6:15

have new evidence. Expert

6:18

witnesses and CCTV

6:21

tapes. And

6:23

I will have my jacks. It's

6:27

interesting because that's got obviously a kind

6:29

of almost a hark back to one

6:31

of the previous episodes that you worked

6:33

on, the Bashir, where he

6:35

was stoking Diana's fears and kind of

6:37

insecurities that she had in terms of

6:39

interest and further to be a seed

6:41

pranic back in that episode of conspiracy

6:44

theories and people's kind of

6:46

perception or misconception of situations. Yeah, that's

6:48

true. I mean, that storyline, Bashir

6:51

interview has really long tentacles and

6:53

it goes all the way into this episode.

6:55

Like the investigation brings all of that back,

6:57

not only for Charles, but also for William.

7:00

And that's something that Muhammad

7:02

in a way picks up the baton from

7:04

Diana and those beliefs that she's being set

7:06

up and people are out to get her.

7:08

And then after she's passed

7:11

away and died, Muhammad carries that torch

7:13

and really continues it on. Like

7:15

I said, he's not used to not getting his way.

7:17

He's not used to getting a no. And then he's

7:19

made this situation where if he can no longer believe

7:23

what he believes so strongly, which is

7:25

the conspiracy theory, then he loses in

7:27

a way his purpose in life. How

7:30

is it working with Salim? It was

7:32

lovely. Salim is such an intuitive emotional

7:36

actor and he

7:39

has very strong ideas and gives it

7:41

his all. And he's gone on a

7:43

long journey with this character from episode

7:46

five or three and throughout the last

7:48

season and then this season

7:51

coming up till the six or nine. So for me,

7:53

it was a real joy to be able to work

7:55

with him. And all this comes

7:57

at a time when the Queens had a real low in

7:59

terms of confidence. I mean she's really struggling

8:01

in a way that we haven't seen before.

8:04

Tell me a little bit about working with Imelda on

8:06

this episode to show I guess a

8:08

more vulnerable Queen Elizabeth. Imelda

8:11

in this episode 9 portrays

8:13

a vulnerability and an

8:16

almost fragility

8:18

that we haven't seen so much with

8:21

the Queen in

8:23

previous episodes. So it's about

8:25

finding the right tenor of

8:28

that and finding the right level

8:30

of anxiety and quivering

8:33

lips and hands to shake and the

8:36

tone of her breath and all that. But in

8:38

those close-ups, it can easily tip over and be

8:40

too much. And she's of course very sensitive to

8:42

that. So we have to find exactly

8:45

what is right and what is still feel

8:47

like the Queen. Particularly in

8:49

the scene with the

8:51

Queen mother passing and Imelda

8:54

and Marcia both kind of navigating

8:58

that. And like you say, it's not

9:01

like we can see the Queen,

9:03

Imelda's Queen burst into tears and react

9:06

as we all would if our mother

9:08

passed away. It's a fine line. But

9:10

there needs to be cracks. We still

9:13

need to see something, don't

9:15

we? We do. And we

9:17

decided to do that quite still. There is

9:20

no dialogue and we just sort of decided

9:22

also to go in just after she

9:25

died. Like in the second after in

9:27

a way. So there's no long prolonged

9:29

death rattle and that

9:31

sort of thing. We just stripped everything

9:34

out, kept it very still and just focused

9:36

on capturing Imelda's performance

9:38

at the moment where it sinks

9:40

in. That now I've lost

9:43

connection to that generation, my parents

9:45

generation. The only woman who's

9:47

gone before me who I could talk about what it was

9:49

like to be more or less in the role

9:51

that I'm in now. That

9:54

tie is now severed and I'm more alone than I

9:56

ever was. And

10:07

as we say goodbye to the Queen Mother in this

10:09

episode, I spoke to actor Marsha

10:11

Warren who plays her in seasons

10:13

five and six to look back at

10:15

her experience on the show. I

10:18

feel like I should be curtsying the singer

10:21

present, Marsha, to be honest, to give your

10:23

majesty. It's so

10:25

great to chat to you and congratulations on your

10:28

performance in The Crown. I

10:30

was very kind of you. It was the best job in

10:32

the world, I suppose. How

10:35

did you come to this role in The Crown? The

10:37

telephone went. My agent said, they want you to go

10:39

up for The Queen Mother and I roared with laughter.

10:42

I said, she's 91. She's a bit

10:44

stout. She's

10:47

got a very pretty round face.

10:50

And the only thing I've got that's like

10:52

her is her bad teeth and hips. But

10:56

still, I went up for it. Who

10:59

wouldn't? Who wouldn't? And it was with

11:01

this wretched Zoom

11:04

audition. Anyway, I read

11:06

a biography. I put the blue

11:08

blouse on her favorite color,

11:11

lots of beads of pearls,

11:13

of course, and

11:15

it became very calm and stently.

11:19

And the Zoom didn't work and they couldn't hear

11:21

a word I said. So

11:24

I thought, this roller's gone out the window.

11:27

So they mimed after

11:30

10 minutes, get your phone.

11:33

So I went to my phone,

11:35

battery critically low. So

11:38

the Queen Mother was seen crawling,

11:40

all on camera, crawling over

11:42

the floor with extension leads

11:44

trying to renew the battery.

11:46

It was dreadful, but eventually

11:49

we finished it and they

11:51

recalled me. God knows why.

11:53

God knows why. And

11:56

I went to see them, but it was

11:58

terrifying because it was so... important

12:00

and such a responsibility. Once you

12:02

got the role then, did you

12:04

kind of dive into to

12:07

research and obviously Peter's scripts

12:09

are kind of rich with

12:12

information and relationships. Yes,

12:14

I mean I read everything

12:16

going, I'm mastermind on the Queen

12:18

Mother, but there is very

12:21

little to go on voice

12:23

wise. That's the trouble. She

12:26

gave an interview when she was young to

12:28

the press and George V who was then

12:30

on the throne was

12:32

furious with her. He said

12:34

you do not show your feelings, you just

12:37

don't talk like this. So she

12:39

never gave another interview. So we

12:41

don't know really what

12:43

her private voice was like.

12:47

Because if you give a speech that's

12:49

not your voice is it? You

12:51

know you're saying it louder into

12:53

a lot of people. But

12:55

I've found a tiny little film

12:58

The Queen Mother's Horses. And

13:00

because she was talking about

13:02

things she loved and

13:05

was talking about carrots and

13:07

that's really where I took the

13:09

voice from. There's a lot of orphs. She

13:11

really did say orph. That

13:13

was quite hard really. But

13:15

I read a book by her Aquaree

13:18

as we have to call it, I'm still getting

13:20

used to it, who was with her for two years.

13:22

And that was the most interesting

13:24

because it was so personal.

13:27

And that was a very good book to read

13:29

and a lot of marvellous stories. We've

13:31

been lucky enough to come on set, Marsha, and

13:33

watch a few things being done which is just

13:37

such a wonderful luxury for

13:39

you coming into the

13:41

crown and the same with every

13:45

period of seasons when it's new casts that

13:47

come in. This is a well

13:49

or old machine now. What

13:51

was your expectation on what the set

13:54

was going to be like versus

13:56

what the reality of it

13:58

was? I couldn't believe. those

14:00

production values. I have never seen

14:02

anything like it in my life. The

14:05

care and the

14:08

research and the detail

14:10

was extraordinary. The

14:12

very first shot I did, I had

14:15

a blue hat and

14:17

it was her favorite and it was old

14:19

and wonky and she loved walking about

14:21

in it. And I put this hat

14:23

on and it

14:26

wasn't right at all. It was specially made,

14:28

it just wasn't right. And darling Amy

14:30

Roberts, the costume designer came

14:33

in and she said, oh. So

14:36

she took the hat off, stamped

14:38

on it and put it back

14:40

on my head, no. Then

14:42

she took it off, she took the hat

14:44

band out of it, plunked it on that,

14:46

no. Then she took the

14:49

whole lining out, stamped on it several

14:51

times and pushed it down onto my

14:53

head. That was right. That

14:56

was right. But they'd move a

14:58

brooch a centimeter to get it

15:00

right studying the picture, you know.

15:03

And the makeup, my favorite part of

15:05

the day, was about two

15:07

hours, tiny little

15:09

curls and they dyed my hair

15:12

white. I can't forgive them for that. And they,

15:17

because they create the character

15:20

really, the makeup and wardrobe

15:22

really, when it comes down to it. With

15:25

you? Yeah, I do that. With you though,

15:27

it's a team effort, isn't it? It's a

15:30

collaboration. Yes, but they're so, so,

15:32

so important. And as you say,

15:34

they've got all the baggage of having

15:37

done all those series, they know much

15:39

more than you do about it. It's

15:41

just a joy. You do all the

15:43

research and preparation and then you have Peter's

15:46

version of the Queen

15:49

Mother. How would you describe Peter's

15:51

version of the Queen

15:53

Mother who we all have an image of

15:55

or a thought

15:57

of or a memory of from the beginning?

16:00

seen her on TV or

16:02

however that may be. I

16:04

would describe Peter's view of the

16:06

Queen Mother as quiet because I

16:08

didn't have that many designs. But

16:11

he brought such humour to it. That

16:15

was a great blessing. That's

16:18

what people love about, one of the things that they love

16:20

about the Crown's version of the Queen

16:22

Mother is her comedy. She brings

16:24

this kind of real fun with

16:27

the scripts at certain moments and the sort

16:29

of light relief sometimes at

16:31

moments. Was that fun to play

16:33

with? She smiled all the

16:35

time, you know, in life. And

16:38

she was wonderful to her staff

16:41

and everybody who spoke to her

16:43

had known her, just a daughter.

16:46

But there was this steely thing there

16:48

as well. And protocol was

16:50

so important to her, you know,

16:52

this lone duty, of course. There's

16:55

this wonderful thing called directional talking.

16:57

And at dinners, the Queen had to

17:00

talk to somebody on her

17:02

left and after a

17:05

certain time turned and have a conversation

17:07

on her right. And everybody else had

17:09

to do that at the same time.

17:12

And you heard this voice say, I think

17:14

it's time for turning. Now

17:17

whether... But it's sensible, isn't it?

17:21

You're ignoring the other guests,

17:24

aren't you? I think all the

17:26

protocol things about the proper uniforms

17:28

and God knows what are

17:31

in the end, commonsensical

17:33

and sensible. It's

17:36

a beautiful episode

17:39

because we really feel

17:41

the power and the strength of the

17:43

bond between mother and

17:45

daughter with, you know, Elizabeth

17:47

and the Queen Mother. That

17:50

scene where you pass away is... It's

17:53

such a moving and beautiful

17:56

scene, you know, when she says, Mommy, don't go,

17:58

please, you can't leave me alone with it. or

18:00

a woman losing her

18:02

mother, aside that it's the Queen

18:04

and the Queen Mother. It's someone

18:07

losing her confidant, her friend, someone she

18:09

went to for advice. I just

18:12

was interested to get your take on

18:15

how you saw their relationship and what she

18:18

was and her. I mean, she must have felt

18:21

so awful for her to

18:24

have been given this, I know

18:26

it's a wonderful thing to be Queen, but it's

18:28

a terrible burden. And it's

18:30

sort of a life of small

18:32

talk in a way. You're

18:34

meeting people for five minutes who

18:36

you'll never see again. It's

18:38

a real sacrifice. And

18:41

she must have felt that for her daughter. Now

18:46

that it's coming to an end, what will

18:48

you take away from this experience of being

18:50

part of the Crown? There's

18:52

the brilliance of the crew and

18:55

the directors and Peter's amazing scripts,

18:57

the wonderful actors, there's so much

18:59

cud to chew. And you

19:02

have to trash your scripts, you

19:04

know, when it comes to an end. So I

19:06

use them in my compost bin. So

19:09

my flower, the Crown

19:11

Fritillaria, will actually be

19:14

fed by the palace. Now

19:16

how about that? And it is an

19:19

epic show. You

19:22

can learn about history, you

19:24

can see ravishing beauty, the

19:26

most wonderful acting and

19:28

all the details in care. What

19:31

a memory to take away, Marsha. And I

19:33

love that you're continuing the life of the

19:35

Crown by feeding it to the growth

19:39

of new life, basically. Wonderful.

19:45

Coming up later in this episode of the

19:48

Crown the Official podcast, we'll

19:50

meet another cast member who, unlike

19:52

Marsha, of course, is brand new

19:55

to acting. Get ready for Luther

19:57

Ford, who plays Prince Harry. Before

20:00

that though, it's time to hear from

20:02

the research team on the events that

20:04

underpin this episode. The

20:07

Royal Park of the Jubilee

20:09

contrasted with the painstaking analysis

20:11

of Operation Paget. This

20:13

is my favourite time of recording the

20:16

podcast for the Crown is when I

20:18

get to chat to Annie's first time

20:20

going to the Crown. Now,

20:22

when we've had you on the podcast many

20:25

times, you've always been in space about

20:27

the team that you work with and

20:29

you've brought a friend. Yes,

20:32

tell us who you've brought with you

20:34

today. Anna Vista,

20:37

who has been working, I

20:39

think it's 2017 with us

20:41

on the research team. Anna

20:45

has really taken control,

20:47

I think, in a wonderful way of

20:49

a lot of the production research. So

20:51

she's on set a lot, working with

20:53

directors a lot. Actors always

20:55

know she's there. If we have a big

20:58

set piece or something complicated, which I'll talk

21:00

about, it's really useful to have Anna on

21:02

set. She also manages the visual documents that

21:04

we started back in season two, which

21:07

translate the scripts into a

21:09

visual Bible that every department can then use.

21:11

So Anna has been by my side for

21:13

a very, very long time and I'm thrilled that you're

21:15

going to hear from her. Hi, Anna. Hi.

21:17

How are you? What an intro. Shall

21:21

we dive into episode nine? Yeah. I'm

21:23

curious, Anna, in other parts of the world, can you explain

21:25

what the Jubilee is and

21:28

what Jubilee is? Yeah,

21:30

of course. Yeah. So it's a celebration

21:32

of an anniversary of a monarch's reign.

21:34

This is 2002 will be the Golden

21:36

Jubilee. So that's 50 years. Last

21:39

time we saw a Jubilee was the episode

21:41

10 of season three, which was

21:44

1977, Silver Jubilee. So 25 years, a

21:46

lot has happened. It's a very different

21:48

Britain than is celebrating. A very different

21:50

royal family. It's a whole

21:53

year of events. There's tours, you know, the

21:55

Queen goes to every part of the UK.

21:58

She does Commonwealth tours. was

24:00

a celebration of her. So they made

24:02

it personal. You don't have to

24:04

like the monarchy necessarily, but we wanna

24:06

thank this woman for 50 or 60

24:08

years in stable, consistent service. And

24:10

I think coming in the same, you

24:13

know, off the heels of the Queen Mother's death, where you could

24:15

say, you didn't need to like

24:17

her, but she was stable and dutiful, and she

24:19

did what, you know, she was in this country,

24:22

working with this country her entire life. I

24:24

think that was the sense that you got. So by the end,

24:26

it was a real surprise to her that

24:28

people turned up and people celebrated her. Yeah.

24:31

While it had not been my destiny at

24:33

birth to assume the throne, fate

24:36

decreed otherwise. I

24:39

was fortunate to have some remarkable role models

24:42

to look up to. My

24:45

father and mother, my

24:48

grandparents, George the Fifth and

24:50

Queen Mary. They

24:53

instilled in me one

24:56

of my most enduring beliefs. That

25:00

a life lived in service is

25:02

not a sacrifice, but

25:05

an honor. Another

25:11

big part of this episode is

25:13

what was called Operation Paget or

25:15

Paget. Now tell me about this because

25:18

was the investigation, did

25:20

the investigation happen because of Mohammed

25:23

El-Fayed's request

25:26

or questioning about

25:29

what happened that night in Paris? Yeah,

25:32

it's a bit of a messy one.

25:34

So straight after the crash, the French

25:36

police obviously mount investigation. They

25:38

do really rigorous fact finding

25:41

about it that it's standard practice if

25:43

an accident like that happens. And,

25:45

you know, a few years later they publish their report.

25:48

It's not made public, but Fayed

25:50

hears about these claims. I mean, the

25:52

report basically summarizes that the

25:54

accident happened because Henri Paul was under the

25:56

influence of Al Cole and antidepressants.

26:00

And Fayed didn't agree with this

26:02

at all. He started mounting legal

26:05

challenges against that conclusion. All

26:08

at the same time in the UK, the royal

26:10

coroner, against standard practice,

26:12

he was going to open an inquest into

26:14

the death. That happens naturally in British law

26:16

when someone dies in another country and has

26:18

to be brought back. He decides

26:20

to stall

26:22

the inquest until he's

26:25

sure that Fayed's legal

26:27

challenges won't overall the French's

26:30

investigation. But he also

26:32

decides because there's so much speculation about the

26:34

death that it's best

26:36

to get a Met police team

26:38

to look into it first before

26:40

the inquest starts. So that's why

26:42

Commissioner John Stevens, who's often called

26:44

Top Cop in Britain this time,

26:46

he's brought in and he creates

26:49

task force that will look into this death and

26:51

make sure that there's no foul

26:53

play and so it can just go through a

26:55

normal inquest system. Where did the speculation come from?

26:58

It is largely- Media? Largely

27:01

media. I think Fayed is the

27:03

mouthpiece of conspiracy theories around this.

27:05

Although that being said, when the crash

27:07

happens, this is 1997, it's early internet

27:10

and it's the dawn

27:13

of forums and chat rooms. And

27:15

that's a hotbed for conspiracy theories. You know, people

27:18

are talking about all the

27:20

suspicions on there. But Fayed really

27:22

is the mouthpiece of them and he mounted

27:25

a big campaign to lambast

27:27

the conclusions that the police

27:29

were finding about it not

27:31

being an inside job. And

27:33

was part of his thing as well the fact that

27:36

it was an employee of his that

27:38

had- Well, exactly. Making that much

27:40

noise in the court of public

27:42

opinion distracted people from his culpability in

27:44

it. You know, as John Stevens says at the

27:46

end of his speech in this episode, it

27:49

was a fired car. It was a fired security man

27:51

who shouldn't be driving the car. They were driving from

27:53

a fired property to another fired property. There

27:56

is an element of him distracting

27:59

from- Yeah, his own partner. Mr.

28:03

Al Farratt has repeatedly insisted

28:05

that the responsibility for the

28:07

princess's death lies with the

28:09

British establishment, and

28:11

has amassed a vast legal team

28:14

to attempt to prove as much. But

28:17

this reaction must be viewed

28:19

in the light of the immense

28:21

personal heartbreak and trauma involved in the

28:23

loss of the sun. Yet

28:27

the facts remain. So

28:30

imagine then when within the show, when

28:32

you're having to depict that

28:35

investigation as part of this

28:37

episode, as

28:39

research team and production research,

28:43

how important it is to get it right, is to

28:45

get it on the money in terms of what

28:47

went into the investigation, what they investigated, all that

28:50

kind of stuff. Yeah, it's

28:52

interesting because we have multiple realities that we have

28:54

to deal with. We sort of have the reality

28:56

of the crown and what we show. We've

28:59

got the reality of the pageant report, and

29:01

then we've got all this subsequent information from

29:03

the inquest, and then we've got what we

29:05

know today. And so a lot

29:07

of it is sort of amalgamating all

29:09

this and deciding what we want our

29:11

story to be at this time, because

29:13

we're blending time zones

29:15

here to have an episode

29:17

where different events can speak to each other. Even

29:21

though they might not necessarily have happened at the same time.

29:23

But to have such an extensive report like

29:26

this, the pageant report was 964 pages or

29:28

something like that. So

29:30

it's this wealth of information

29:32

that we want to try

29:34

and distill, but also find

29:37

elements of it that speak to us most. And

29:40

I think the way we went about it

29:42

was very much similar to how Commissioner

29:45

Stevens went about researching it. By

29:48

depicting the last weeks of Diana and Dodie's

29:50

life, we were reenacting their last days. That's

29:52

what Stevens did when he went to Paris.

29:55

We watched all the footage. We talked to experts. We

29:57

talked to a crash expert who talked to the police.

30:00

talked us through, me and the Set Deck team talked

30:02

us through what would happen to Mercedes at that speed

30:05

and all this kind of thing. Because the

30:07

incredible Set Deck and graphics department had

30:10

to reconstruct all these things for the

30:13

evidence room. They reconstructed a

30:15

Mercedes, they reconstructed all of this

30:17

printed off evidence. They've got 3D

30:19

models, they've got Conchita models.

30:22

And so it was

30:25

a big endeavor. I mean, it testaments

30:27

those extraordinary teams that they created

30:29

this. But yeah, it was

30:31

a big subject to try and tackle

30:33

in an episode that isn't just about

30:35

this. This is a plot,

30:37

but it's not the main plot. Yeah.

30:42

Within that as well, in the episode we see Charles

30:44

and William both give statements in different

30:46

ways. There's almost a sense

30:48

of relief from William when it's over and away.

30:51

What do we know about the Royal's reaction,

30:53

interaction with Operation Pageant?

30:56

Yeah. So as we depict

30:58

the Stevens and his associate

31:00

DCS Douglas did go and

31:02

interview Charles. They had

31:04

this letter that Paul Burrell,

31:07

Diana Butler had found on

31:10

Diana's desk, which was from a

31:12

time where Diana's very paranoid and

31:15

she had written to someone saying, I think

31:17

that Charles is going to try and kill me. I think,

31:20

you know, she had paranoid about this

31:22

before with a previous lover. Yeah.

31:25

Her first affair was with Barry Mannequi who

31:27

was her PPO from Boys and he died

31:29

on his motorcycle. So she had

31:32

fears, like, you know, she had paranoid

31:34

around this. And so they put

31:36

this to Charles and said, you know, anything about this,

31:38

you know, as is founded in

31:40

anything. He hadn't heard

31:42

about that at all before. They really

31:44

seriously interviewed him. You know, one of the guys who

31:46

did it remembers it all very clearly and he was

31:49

very seriously, he took it very seriously, but it

31:51

was standard practice. They have to see him. And

31:53

with William, you know, obviously incredibly traumatic for him

31:56

to have to think about this, you know, take

31:58

all this up. But from here. him,

32:00

they sort of wanted to ascertain Diana's

32:03

state of mind at the time because he was the last

32:05

member of the Royal Family to talk to her. And

32:08

so just in case that might help with

32:10

dispelling theories, because they were asking lots

32:12

of friends whether she had mentioned that

32:14

she was engaged to Dodie or pregnant.

32:16

And so they had to ask William

32:18

because he was first hand, you know,

32:20

source on it. It must have

32:22

been so frustrating for them because they just wanted to

32:25

let it be put to rest. And they

32:27

released a statement after the

32:30

Pajé report was published saying,

32:32

you know, we hope this

32:35

is an end to speculation and that we

32:38

don't need to talk about other stuff

32:40

anymore. It

32:46

seems to do nothing but go to Fuego's and his family.

32:48

Tell me about it. Fuego

32:52

was supposed to have laid things to rest. Now I hear

32:55

they're dredging up Mummy's accident again, all

32:57

because of Alpha Head's crazy place. I

33:01

know. In this time that you want to

33:03

interview me. What for?

33:07

To determine Mummy's state of mind. And

33:10

why are you? Probably

33:13

because I was older than you at the time and

33:15

were able to understand what was going on. What I'm

33:17

all is actually going through what she went through on

33:19

a daily basis. He just picked

33:21

on and slagged off in the press. I know better

33:23

than you what it feels like. Don't

33:26

ever do that. What? Compare yourself

33:28

to her. It's not remotely the same.

33:31

Isn't it? What

33:34

she went through was far worse. And I

33:36

get it. It's not easy having no responsibility

33:38

and too much freedom. And you think I'd

33:40

enjoy the freedom sometimes of not having to

33:42

be the sensible one. The

33:44

reliable one. And welcome the opportunity to be the

33:46

likeable road. No chance of that. Why is that?

33:48

To be the likeable road. You first need to

33:51

be the likeable. It's

34:00

been wonderful to sit down with so

34:02

many legendary actors across the seasons of this

34:05

podcast, but it's particularly special to

34:07

get to meet the new generation.

34:10

The Crown has a habit of listing

34:12

up brand new talent as well as

34:14

epic and stunning actors from Vanessa Kirby

34:16

to Emma Corrin. So I

34:18

was excited to meet the Crown's

34:20

own Prince Harry, Luther Ford, on

34:22

set at L Street Studios. Luther,

34:27

I feel very honoured if

34:29

I'm going to be honest because this is the

34:31

first chat I've had

34:33

for the Crown. It's

34:36

the first chat I've ever had.

34:38

This is the first interview I've

34:40

ever had. Wow! I

34:42

genuinely feel honoured, so thank you. This

34:45

is so exciting. Do you mind if we go

34:47

back to before the camera

34:49

started rolling and how

34:51

it went for you being cast in the

34:54

Crown as Harry? Yeah. Where

34:56

did that journey start for you? So

34:59

it started in September.

35:02

So I'm at university. I'm in

35:04

my third year studying film, so

35:06

study film production. Never

35:09

had an intention to be an actor. Done

35:11

acting though? Never acted before. No

35:14

way. Never acted before. So

35:17

my brother's

35:19

girlfriend sends me this open casting

35:21

call, which I'd seen maybe on

35:24

like Facebook or Twitter, it was

35:26

all over the place. And

35:28

she sends it to me on a group

35:30

chat, sort of under the guise of like,

35:32

you're Ginger, give it a go. Get

35:35

involved. Get involved, Ginger. Yeah.

35:38

So I kind of like, I

35:41

thought maybe I'll do

35:43

it. I'll do it as

35:45

a joke for the anecdote that I

35:48

auditioned. That would be funny.

35:50

And the first thing was like, send a

35:52

video of yourself and just talk about yourself

35:54

for like 30 seconds. So

35:57

I did that and then I got back like

35:59

a recall. to do like and this is

36:01

all self tapes like a recall to do

36:03

it's like a dummy scene so I've seen

36:05

not from the series and

36:09

so like I have a couple of days to the

36:11

deadline I do it and

36:13

then like an hour later it's like another one

36:15

we would like you to tape again and

36:19

I'm not really thinking anything of it and

36:22

I'm completely like this

36:24

never happens

36:27

these kind of things like open casting calls

36:30

which I hadn't done one before but I was just like

36:32

it's not you know it's not gonna go anywhere still thing

36:34

you see in the movie but I'll follow

36:36

like the you know follow

36:38

on and so I

36:40

do another one and then I get a call from

36:43

one of the I think

36:45

she's a casting assistant Sarah Council who

36:49

was working with Robert Stern and K-Bone

36:53

and she said we're

36:55

really excited about what you're doing we'd like

36:59

you to come and do a chemistry test

37:01

with Ed McVay who's been cast as William

37:04

and then now I'm like oh

37:06

no like this is this

37:09

was a joke and I go

37:11

and I don't know I feel like I was operating

37:13

out of just like naivety and just like no pressure

37:15

on me because it was just the whole thing was

37:18

hilarious like I was going into it I was like

37:20

I don't know what I'm doing so I'll just go

37:22

and do it I'll just go and do something and

37:25

then I got another recall and

37:27

me and Ed just gone it was just

37:29

nice like I wasn't too nervous it was

37:31

just fire it was just good and then

37:33

I got the fuck and it was just

37:35

like the biggest escalation and it

37:37

was all in like three weeks and I was

37:40

just about to start my year at university like

37:42

I now know that

37:45

you like never know what's going to happen.

37:47

It's so great and not just the fact

37:50

that it's not kind of any old rule

37:52

that you're coming into you're coming

37:55

into playing a teenage Hari

37:57

Prince Hari which in itself

37:59

has kind of, I

38:03

mean, expectation, I guess, in

38:05

a way. Yes. The first

38:07

period was just me, like, I don't know, just like

38:09

off in the air, just be like, wow. And

38:12

then I remember I had a rehearsal with

38:15

Eric and Ed, and

38:17

then it was sort

38:19

of like, oh, God, like,

38:22

oh, my God, like, I'm, my

38:25

God, I'm gonna have to like act. Like, I'm

38:28

gonna have to act. And then so

38:30

then there was definitely like, it

38:32

was, it was very scary at that point, because then

38:34

I was just like, wait, hold on, I can't just

38:37

like, like, I need to like, I

38:39

can't cook here. What's going on? So I

38:43

just stayed at my parents house

38:45

for like three weeks, and basically

38:49

just kind of stayed inside and they

38:51

so they provide you with this, like,

38:53

very expensive research

38:55

package. Yeah. And just

38:58

kind of went through that. And

39:00

also was watching the crown, but then kind of

39:02

stopped watching the crown because I was like, it's

39:07

intimidatingly good. And they just

39:09

wasn't helpful in a way,

39:11

because I was just watching

39:13

it being like, you're not the

39:15

only one amount of thought and did the same

39:17

thing. She watched the first episode of season five,

39:20

as she was going into the start season section.

39:22

I can't do that. Yeah, yeah. I think as

39:24

well, the hard thing about getting

39:26

so much research is knowing when to

39:29

stop. Yeah. And

39:31

I think, at first,

39:33

I was, I overthought it started

39:36

to do an impression. And I

39:39

remember like, having a, I would have

39:41

dialect sessions with William Conaker. And

39:44

we got to a point where he was just like, I

39:46

think you you know, you're starting to you've kind

39:49

of taken certain things, maybe notes

39:51

to literally. And it

39:54

was just kind of, yeah, I just realized I had to go back to me

39:56

and realised

40:00

that, well hold on, they

40:03

didn't cast a non-actor with

40:06

the idea of what they were going to

40:08

become. It was probably something

40:10

was already there. Which is

40:12

hard to understand because you're like, boy, he's

40:14

a prince. So what's

40:16

that? But I kind of could understand

40:18

maybe like, he's a boy, he's a

40:20

boy and a kind of cheeky boy,

40:22

and this sort of mischievousness. And

40:25

that was what I felt like, okay,

40:27

I can tap into that. And I

40:29

think the main thing like from research

40:31

was Diana saying,

40:33

you can be as naughty as

40:36

you like, just don't get caught. And

40:38

that was, that was all I needed. Because I

40:40

was just like, yeah. And it was like the

40:43

whole experience was like, I am like,

40:45

I'm like, I remember my brother in law, he

40:48

just looked at me and said, the con

40:50

man is far behind enemy lines. And

40:52

that's what it felt like. It was like, I just

40:54

kind of got into this world. And

40:57

like, no one knew. No, no

41:02

clue. No clue what was going

41:04

on. That's such because, you know,

41:06

in terms of a, listen, this is

41:09

Peter Morgan's adaptation, based

41:12

on these real people. But in terms of a real

41:15

person having noise around them, hardly

41:17

may well be one of the

41:19

most noisy individuals in

41:21

terms of what's

41:23

been written about him, what's been

41:25

said about him, people's preconceptions,

41:30

all that about him was important

41:32

for you to try and kind of

41:34

just kind of almost sort of muffle that noise

41:36

out in a way. Yes. Yes.

41:39

Because it was ridiculous. I mean, like,

41:43

it is ridiculous, you know, two months into

41:45

moving cast, I think his, you know, the

41:47

documentary came out and then his book, I

41:50

just feel like, oh, Jesus, like, I'm in

41:52

the middle of like a kind of cultural

41:54

storm around this person that I'm going to

41:57

be playing. So no, I just had

41:59

to. Having said that, they

42:01

were amazing research tools, but I

42:03

just had to focus on what

42:06

was within the scripts, because like you say,

42:08

you know, it's Peter

42:10

Morgan's vision of these

42:12

people. And so you

42:14

focus on the relationships within it and the

42:16

angles that have been taken. And it was

42:19

very, I don't know, the kind

42:21

of brotherly relationship was very easy to slip

42:23

into with it. I think we, I don't

42:25

know, we just have a really nice

42:27

relationship. You can tell, I love the church

42:29

scene at the Queen Mother's

42:31

funeral. Oh, that was crazy. Everyone

42:34

was miming. So

42:38

the scene was us singing in, at

42:41

the Queen Mother's funeral, there's about

42:43

300 supporting artists and all

42:45

of the cast. We're seeing a

42:48

bit of dialogue, seeing a bit of

42:50

dialogue. And they

42:53

say to us, so everyone's going to mime

42:56

apart from you two. The you two are going to

42:58

be singing. And they're like, we're also

43:00

going to give you an earpiece so that

43:02

the music is just playing in your ear. So

43:05

there's no music. So we're singing acro-petta.

43:08

No, they were singing. They

43:12

were singing. Sorry,

43:16

that was dickish. Come

43:22

on, don't move across. It's

43:29

okay. I'll

43:31

be gone. What

43:34

prep or how much

43:36

did that inform your portrayal of?

43:39

Well, I think Diana sort of sits

43:42

at the heart of both

43:45

William and Harry. Yeah. And

43:48

I think

43:50

that sort of, yeah, her presence

43:53

or lack of presence kind of

43:55

dictates a lot

43:57

of how they view themselves. Yeah.

44:00

I think that me and Ed found really helpful

44:02

was this idea that William

44:05

understood Diana more, but

44:09

idolised her less, and Harry idolised

44:11

her more, but understood her less.

44:13

This idea that Harry didn't really...

44:16

I think that

44:18

it's quite important to Harry

44:21

for her to... For him

44:24

to be like her, because

44:26

that's sort of what he's left

44:28

with. And

44:30

there's almost like a competitiveness between the

44:32

two. I mean,

44:34

it's such a crazy because

44:37

they're bonded by this tragedy

44:39

and have been exposed to, you know, what

44:42

was it, like 2.5 billion people

44:44

watching her funeral and people expressing

44:47

more emotion than they were actually

44:49

feeling. Not just like, you know,

44:51

they were sort of drowned out by

44:54

what everyone else felt and never really

44:57

expressed. So they're, you

44:59

know, emerged and

45:02

are kind of living in this really,

45:04

really strange, soft, sustained

45:06

period of trauma they never really

45:08

dealt with. Yeah. It's

45:11

an interesting relationship, isn't it? The Harry and

45:13

Charles relationship. Yes. It

45:15

is, yeah. And the way that

45:18

Peter's written it. Yeah. I

45:21

do think that there's quite a lot of distance

45:23

between them. And

45:26

as he's seeing, you know, William's

45:28

role within the family emerge more,

45:30

he's also losing his brother, you know.

45:32

It is sad. It

45:35

is sad, it is sad. And I do

45:37

think that, you know, there's something in

45:39

a way more heartbreaking about seeing

45:41

them getting on as brothers because

45:44

they love each other. That's what I think, I

45:47

hope comes across is that there's

45:49

so many shades to their relationship. And

45:52

you don't end on, it's not black

45:54

and white. They love each other, they

45:56

find each other really annoying. They're very

45:58

competitive. they resent each

46:00

other's, you know, the air's power and

46:02

the spares freedom. Yeah, it's really a

46:05

complicated relationship. And also because of the

46:07

age that they are as well, you

46:09

know, kind of the

46:11

emotions and the growing up that's going on

46:13

in young people at that

46:15

age. You know,

46:17

it's, there's so much change going on

46:20

internally, externally as well. And because of

46:22

the age difference that

46:24

they are, you know, there's, they're all

46:26

always at slightly different levels of, of

46:29

kind of where they are. And it's

46:31

just, there's so much expectation on that

46:33

relationship being what

46:36

everybody expects it to be. Yeah. Rather than what

46:38

the reality of what it is. Yeah. I think

46:40

we really see that in the show. That's

46:43

good. I think, yeah. And being born into, this

46:46

is sort of the first generation that are born into

46:48

a contract with

46:50

the press. They're in the public

46:52

eye. And so

46:55

they're dictated by that a lot. And

46:57

I think what was interesting with researching

46:59

is this idea of a desire for

47:01

normality on their part. But

47:04

there was something interesting about, you know, what

47:06

does normal mean to a prince? I

47:10

guess coming into this with this brilliant,

47:13

you know, attitude at

47:15

the start, what was the

47:17

reality of the experience of being in

47:19

the season of the crown versus what you

47:21

thought it would be? I

47:25

think, I think the

47:27

thing is, is that once you get to know

47:30

the cast and the crew, you forget

47:33

about what it is in

47:35

the wider context. There's

47:37

such a nice atmosphere. I think the thing

47:40

I was most shocked about at first was

47:42

just how relaxed it seems. They were amazing

47:44

at putting us, the younger actors,

47:46

for coming in at ease, I think. But

47:49

I mean, yeah, God, it's

47:51

been challenging in every sense.

47:54

Jesus Christ. Like, yeah, I've

47:56

gone through everything, really. Somehow,

47:59

I've just come to this. kind of rolled with the

48:01

punches. But

48:05

it was definitely, I mean like my first day, me

48:07

and Ed's first day, filming

48:10

at Lancaster House, which

48:12

is probably the most, it feels the

48:14

most kind of royal because you're literally

48:17

next to where the king lives. So

48:20

that was our first day there and

48:22

all the main cast was there. What

48:25

was the scene? The scene was Queen

48:27

Mother's funeral and arguments. And

48:29

again, everyone was

48:31

miming. Far from us. We

48:34

had to project a level above

48:37

the room. Because of the habil. Yeah.

48:40

It was a ridiculous place to start. But

48:42

it was really good in that it

48:45

was probably the hardest thing we could have started with.

48:47

And I remember then, a lunch,

48:50

if you like to say, yeah, you're just gonna go downstairs

48:52

to have some lunch. Go downstairs, walk

48:54

into this room. And

48:56

it's like, Dominic West and I was told

48:58

to join some friends. All

49:01

in full costume, just sitting down. Lunch.

49:05

And I just like sit at the end of the table and

49:08

just watch them. And I'm

49:10

just like, what is going on? What

49:13

is going on? No, it's

49:15

been really good. Like I don't think it

49:17

could have really been a

49:19

better experience. And of

49:21

course, the younger generation do

49:25

take a key role in episode nine as William and Kate finally get together and

49:29

a new future for the royals begins to take

49:31

shape. So let's go back

49:33

to director, Eddic Richterstrand. William

49:37

and Kate, everybody knows them. Everybody

49:40

thinks they know them. We've all

49:42

followed that relationship which

49:45

has been documented by the Royal. But

49:47

we have to find it in this untouched

49:50

place almost in a way. Do

49:52

you know what I mean? Where it's from

49:54

their perspective, not their perspective. I

50:00

was. Yeah, it

50:02

is. One of the first

50:04

scenes I filmed with Megan was the fashion show

50:06

in St. Andrew's. Oh wow, no way! That was

50:08

one of the very first scenes, if not the

50:11

first, that I filmed with her. I

50:13

guess that's quite good, get out of the

50:15

way. Get out of the way, yeah, it

50:17

was a great fun. Yeah. And she got

50:19

to work a lot with our movement coach

50:21

Polly Bennett. Yeah, great. Because she helps also

50:23

finding that level of confidence and strutting

50:26

down the catwalk is not easy for anyone. Yeah. And

50:29

to do that in a way where you also reveal that,

50:31

yeah, I'm just a student, I'm just a normal person,

50:34

I'm not a fashion model, and it's

50:36

all a bit naff and the music and

50:38

the people and the costumes, it's all meant

50:40

to be kind of student-y and fun. Yeah,

50:42

harsh lighting. That can't even feel just for

50:44

lighting kind of thing, isn't it? Yeah, exactly.

50:46

And at the same time trying to, in

50:48

such a heightened moment

50:50

and scene where everybody's watching her, trying

50:52

to do that while she's

50:55

wearing a see-through dress, while

50:57

not making it an exploitation of her,

50:59

and not making her body the focus of it, but

51:02

more that statement that

51:04

she's making by stepping out onto that stage

51:06

dressed like that for William, and

51:09

creating a bubble between the two of them and saying,

51:11

okay, it's actually just these two in this room right

51:13

now, even though it's filled with 200 people. Do

51:17

you like it? Life. Life. You

51:22

looked incredible. Aren't

51:26

they doing something drastic? No,

51:31

one way or another. What? If

51:37

you were interested. Do

51:41

you have conversations with Ed

51:43

and Meg about almost

51:45

kind of staying true to the show

51:47

and not being clouded by

51:50

the real people?

51:52

Because there are so many headlines and stories

51:54

around them as individuals, them

51:56

as a couple, and the Crown has

51:58

its story of... them as

52:01

characters to tell. My job in those

52:03

situations is to help them focus on

52:05

the moment. What is this moment about?

52:07

Because they've both read books and biographies

52:09

and done very easy research. Whereas

52:12

in a moment when it's about sitting down

52:14

and having a meal for the first time

52:16

in your new shared apartment with your friends,

52:18

that's all it is. And that would be

52:20

the same for anyone who's in love and

52:22

looking across the table. That's no different from

52:24

them than from anyone else. The same thing

52:26

in other scenes like

52:29

the fashion show. It is more heightened and everybody's

52:31

eyes are on them for that

52:33

reason. So it's

52:35

about helping them navigate

52:37

when it's personal and private and

52:40

when it's more public, especially

52:42

for someone like William and Ed who plays

52:44

William. He's always straddling

52:46

that line between being very aware of

52:49

being a public figure and being watched

52:51

and then at times allowing himself to

52:54

be private and just be himself. University

52:57

should be about having fun and growing

52:59

up. You can't have fun and

53:01

you've got photographers and police

53:04

officers with you wherever you go. You

53:06

certainly can't go on a date with a girl. Ah,

53:09

yes, I wanted to ask you about all

53:11

that. Or even be seen with one without

53:13

someone predicting wedding bells before long.

53:15

And there's

53:17

the other stuff. What

53:19

other stuff? Speculation about how the

53:22

monarchy, in order to stay

53:24

popular and relevant, should skip a generation in

53:27

favor of me. Well

53:29

that's just nonsense. Well I know

53:31

that. You know that. But

53:34

the people don't know that. They only know what

53:36

they read. And

53:38

it gets really confusing because

53:41

the more they believe the rubbish they read,

53:43

the more it affects the way they behave with me

53:45

and the more it ends up

53:47

becoming my reality sometimes. And

53:51

that is why you see that in the kind

53:53

of contrast between the Middleton world and the

53:55

Royal world, which are the two worlds that

53:57

he's straddling in terms of where

53:59

does Where does he fit in? And I

54:02

love that you, in this episode, you

54:04

take him into the Middleton household. It's

54:06

great, it's a great thing to watch. Was

54:09

it fun to film? It was fun. I mean, it's always

54:12

tricky to film locations because you think you've got more

54:14

space than you do and it ends up being quite cramped.

54:16

But it was good. There's this lovely

54:18

line in the episode where William talks to

54:21

the Queen and says, she

54:23

wants me to come and meet her family. I

54:26

love this. To hang out. And

54:29

she says, oh, isn't that a bit

54:31

early? And that idea of William just hanging

54:33

out and there are these great quotation marks

54:35

around the way he says it. Because

54:37

that idea, they're so foreign to him

54:40

to just hang out with someone in

54:42

their living room or their kitchen and

54:45

to be normal. We try

54:47

to then present Kate coming from a

54:49

normal background as a normal

54:51

family, upper middle class, but still quite

54:54

normal to

54:56

everybody, relatable. And then he comes into

54:58

that and suddenly, here's some pasta and he

55:00

can put it on a tray and he can sit in front of

55:02

the telly and we can talk. Well,

55:04

as she says, I'm able to cut the question.

55:06

She says something about doing they have a dining

55:08

room or something like that. Yeah, William says, apparently

55:11

they eat in the kitchen. Why?

55:14

Do they not have a dining room? I think

55:16

they do, they say they like to eat together. But

55:19

their relationship is so great.

55:21

I love the kind of

55:23

granny and grandson relationship. There's

55:27

a bond there, isn't there? There is, and I had a

55:29

lot of fun with that because for

55:31

me, that was seen started in episode seven

55:33

of season five, episode eight,

55:35

where William went to Eaton

55:38

and started having buttered scones and

55:40

tea with granny on Sundays.

55:43

And that is sort of the relationship that

55:45

now has continued and developed in these episodes

55:47

in episode nine. And he can

55:49

sense that there is a

55:51

confidentiality between them and there is a

55:53

sense of a shared destiny being

55:56

number one and not number two, knowing what's about

55:58

to come for him. And the question is, has

56:00

this lovely protective emotion

56:02

around William in this episode. She wants

56:05

to make sure that he

56:07

gets to experience a bit of normality

56:09

and experience courtship and finding himself and

56:12

growing up and learning things and being

56:14

alone and outside them,

56:16

you know, the privileges of

56:18

the royal family and all the rigor of the presentation

56:20

of the royal family, being outside of that for as

56:22

long as he can, which is what

56:25

she experienced with Philip at Malta at

56:27

Villa Guadamangi, which she brings up. And

56:29

that, I think, is a lovely sentiment and it

56:31

feels very true. I used to

56:34

go to the Grace, as you know, every day, with all the

56:36

other wives. I'd

56:38

held dinner parties and picnics. I

56:43

went to the local hairdresser, wrote

56:45

the spotlight, living a perfectly normal

56:47

life. I

56:49

want you to have that too, as

56:52

normal a life as possible, for

56:55

as long as possible. I'm

56:57

doing my best. Good. And

57:00

on that note, since you wanted to ask, I

57:04

think I might have a girlfriend. Oh. Well,

57:09

do you, or don't you? I

57:11

do. I think. It's generally

57:13

good if they don't feel you're in two minds. Well, I'm

57:16

not in two minds. She

57:18

might be in two minds. Have

57:21

you aimed high? I'm possibly

57:23

high. I'm

57:29

Edith Bowman and I'd like to

57:31

give special thanks to our guests

57:33

on this episode. Edic Richter Strand,

57:35

Marsha Warren, Annie Salzberger, Anna

57:37

Basista and Luther Ford. The

57:40

Crown, the official podcast is produced by

57:42

Netflix and Sony Music Entertainment in

57:45

association with Left End Pictures. Join

57:48

me next time for the final episode of the

57:51

season. And

57:53

the final episode of The Crown

57:56

ever. Titled, Sleep,

57:59

Diddy. sleep. Prince

58:02

Charles decides it's time to marry Camilla

58:04

but he can't do so without his

58:07

mother's permission. Before signing

58:09

off Queen Elizabeth must consult with

58:11

Church, State and her

58:13

grandson as she considers the

58:16

future of the monarchy and her

58:18

own legacy. I've

58:21

always taken comfort in the knowledge

58:23

that God retaineth not his anger

58:25

forever because he delight us in

58:28

mercy. Whatever

58:30

short-term risk the marriage may present

58:32

to the integrity of the Church

58:34

one has to imagine it would do

58:37

less damage than if I were to

58:39

die. Well it is going to happen

58:41

one day and my

58:44

heir acceded to the throne while

58:48

living in

58:50

sin. Subscribe

58:52

now wherever you get your podcasts.