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The creators of Netflix's The Crown explain why sometimes its necessary to forsake accuracy, but never truth, in a drama based on real events
The lavish ten-part Netflix series became another outstanding triumph for writer Peter Morgan and a distinguished team . Critics noted a “startling attention to detail in everything from costumes to sets” and thought it hard to see how it could be better.
The show set out to tell the inside story of the most famous addresses in the world, Buckingham Palace and 10 Downing Street, and it did just that, exploring the intrigues, love lives and machinations of post-war Britain.
The eight-part drama, the name of which translates as Duty/Shame, is set across London and Tokyo, traversing multiple timeframes, and brings together a stellar cast of Japanese talent and British TV and film actors.
Alfred Hitchcock was the first filmmaker to widely use them, making cameo appearances in 39 of his films.
Over the years Easter eggs have become more complex and are almost a trademark for some series such as the Marvel Cinematic Universe. On the small screen they remain prolific in shows where the writers wish to give something back to their audience.
Whether it’s secret messages, inside jokes or obscure references, we’ve got a rundown of ten of the best Easter eggs from British TV.
Seven years after the world has become a frozen wilderness, Snowpiercer centres on the last remnants of humanity, who inhabit a gigantic, perpetually-moving train that circles the planet.
The series is based on the 2013 movie of the same name which starred Hollywood heavyweight Chris Evans and beloved Brits John Hurt and Jamie Bell. Through the train’s hierarchical system of occupancy the series explores the issues of social injustice, class warfare and the politics of survival - the rich ride up front in luxury, while the poor struggle in the desolate tail-end.
However it ends, the battle royal for the right to own most of the assets of 21st Century Fox, and all of Sky, reflects deep and significant trends in global media. The resolution (in favour of suitors Disney, Comcast or both) may end up being less important than what the outcome tells us about market dynamics.
This battle is about the response of legacy media to accelerating shifts in consumer behaviour and to the threats posed by the big digital disruptors. In a market where content and distribution are increasingly intermingled and global, size unlocks the prize.
Monday: Channel 4, 10pm
Our reaction to a major change of any kind usually goes in phases…
Avoidance (“I’m not going to look”)
Denial (“I’ve looked but I don’t believe it”)
Fear (“We’re doomed”)
Panic (“I just need to do something”)
Response (“Ok – maybe there is something practical I can do”)
Acceptance (“Well that wasn’t so bad”)
British TV has been fairly consistent in following this pattern when it has faced transformative change in the sector in the past.
“I think everyone can relate to that [feeling]” comments the 34-year-old. “When you’re 16 and you think everything’s conspiring against you.”
The award-winning drama garnered a cult following almost overnight earlier this year when it debuted on Channel 4 and shortly followed globally on Netflix.