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And whether you find them to be in poor taste or not, it is the scenes involving Charles and Diana that are, inevitably, the most compelling. A two-episode arc covering the shockingly unethical methods used by Bashir to book his interview with Diana (the true depths of Bashir’s deceit were only fully uncovered last year, in an independent report commissioned by the BBC, lending it an extra frisson of topicality) makes for some of the most gripping television of the year. The interview itself, it turns out, took place on Bonfire Night—as you might imagine, Morgan doesn’t miss the opportunity to wring that metaphor dry—as all of the royals would be out of Kensington Palace. The bare-bones television crew enters under the guise of installing a hi-fi system, lending it all the nail-biting tension of a heist movie. A scene in which Diana goes to meet the queen at Buckingham Palace to give her advance warning of the interview shows Staunton’s more passive, out-of-touch queen regain some of her nerve, and the chemistry between her and Debicki is electric. Finally, a visit Charles pays to Diana in the penultimate episode, when they make scrambled eggs together, is both emotionally devastating and the final confirmation—if you needed it—of the couple’s fundamental incompatibility, realized with riveting gusto by both West and Debicki.Yes, we’ve seen plenty of explosive arguments between Charles and Diana on the show before, and when the queen intervenes in the romantic lives of her family once again to catastrophic ends, it’s easy for it to feel a little repetitive. But the royals really did make the same mistakes over and over again. You might flinch at the scenes in which a young Prince William seems embarrassed by his mother’s antics, but the two princes today remain locked in a double-edged battle with their public image and their portrayals in the media. The presentation of Charles as potentially offering a more broad-minded and enlightened future for the monarchy may rankle, given he’s still part of one of the world’s most archaic institutions. But with his recent accession to the throne in the present day, the show has a semi-accidental pertinency; even if the specifics aren’t strictly accurate, it offers an engrossing and deeply researched window into what makes Britain’s new monarch tick. Season 5 of The Crown may be controversial—but really, it’s only as messy, contradictory, and darkly fascinating as the family it depicts.
When, one weekday afternoon, Jordan E. Cooper and I connect over Zoom, I ask if I am finding him in New York or Atlanta. (Scrolling through the glamorous headshots and industry announcements on his Instagram, I’d gathered that he spends part of the year in Georgia shooting The Ms. Pat Show, the BET+ sitcom he created with stand-up comedian Patricia Williams.) “I’m in New York right now, Brooklyn,” he replies. “Listen, the only time I’m in Atlanta is when I gotta work.” It’s a funny distinction coming from someone so dizzyingly busy: Besides serving as showrunner on Ms. Pat and leading his own production company, Cookout Entertainment, Cooper is also preparing to appear on Broadway, as Ain’t No Mo’—the Obie Award-winning play that he wrote and stars in—opens at the Belasco Theatre this December. (Previews begin this week.)
A big hit during its 2019 run at the Public, when the New York Times’s Jesse Green called it “thrilling, bewildering, campy, shrewd, mortifying, scary, devastating and deep,” Ain’t No Mo’ satirizes contemporary Black culture through a series of vignettes, spanning the boisterously comic (see: the “reunion special” of a fictional reality show called Real Baby Mamas of the South Side) and the shatteringly dramatic (see: a moving scene set in the release wing of a women’s prison). Yet, as the wise-cracking airport agent Peaches—a pink-haired equivalent to the main character in George C. Wolfe’s 1987 play The Colored Museum, a primary text for Ain’t No Mo’—Cooper is the audience’s main interlocutor, drawing attention to the play’s central conceit. What would happen, it asks, if every Black person in America boarded a one-way flight to Africa?
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