Cast of season 5 of the Crown.

Knowing when to leave is key to perfect timing. Elizabeth was a mean, grasping, manipulative – it is the hallmark of slave souls – vindictive operator. It is good that she has finally taken leave. Elizabeth acted as though the crown was hers to wear for at least a millennium.

Just look at HRH Prince Richard, Duke of Gloucester incredulously peer across at HM King Charles III with his beefy equerry sat directly behind him in the royal box; of course, there was no room for the Earl and Countess of Wessex as a result. There was sat the Duke of Gloucester who with a look telegraphed, “Well, will you look at that! He’s got his lover right here in the royal box for the world to see. What must cousin Lilibet, looking down from above, be thinking? Major Jonathan Thompson is not even in uniform but crossdressing in civilian suit. Just look at him, a mere senior footman standing in the royal box and clapping away as though he were a royal spouse… Also, pay keen attention to the Duchess of Gloucester as she keenly eyes Catherine, HRH Princess of Wales. That look betrays the tectonic state of the Waleses’ marriage. One would think that the Duchess of Gloucester is eyeing up Catherine as she cannot believe the woman would have the nerve to sit there after openly flirting with Sir Ben Ainslie and telegraphing to all the world that they are fucking their brains out.

Indeed! Though the Fleet Street abattoirs are ill-inclined to betray the ugly truths of House of Windsor, rest assured that the American media, especially American tabloid media, could not care less. Of course, they have a vested interested in the Windsor dynasty as a second American woman has recently wedded and been met with undiluted hatred and rejection. Although, that rejection is decidedly racist, nonetheless, all Americans are Americans and will defend another over any foreigner, especially so when America fought and won a war to depose that very dynasty.

Darlings I’ve simply got to start ordering teas by the hamper… The Second Carolean era just keeps on giving…

This actor did a phenomenal job of bringing forth the true fire that was HRH Princess Margaret, Countess Snowdon’s. God, it was delicious theatre, watching her rip into her mean-spirited sister and giving it to her good when she called her on the fact that Elizabeth deliberately interfered in her life and caused her pain and ruin whilst never having done any such thing to her slutty daughter, Anne. As the Crown depicted and passingly implied, Princess Anne could have fucked Tim Lawrence in the open on a farm and no one would have noticed or reported it in the media. Her performance brings to mind that every actor who ever portrays HRH Princess Margaret must study Elizabeth Taylor in the Mike Nichols classic, “Who’s Afraid of Virginia Woolf?” This is why in the earlier season of the Crown, the actor Helena Bonham Carter’s casting was wrong. She was stiff and hadn’t the passion or fire to convincingly project Margaret’s rage

The actor who played Queen Mary was perfectly placed. The scene was brief and a flashback that was of major import. Look at her, there she is dripping in pearls and finery as the Romanovs did. She gave the order for their murder and all because she waned the Romanov jewellery, coming to her. A truly vile character. Her inclusion beautifully sets up next season, which deals with Diana’s murder and this scene of Mary giving the order to have the Romanov’s murder, so she could get their jewels, establishes that no one should think otherwise when it comes to next season, Season 6, and Diana’s murder.

The producers and creative geniuses of The Crown Season 5 did their homework and boy did they execute masterfully, beautifully. This entire episode sets up what’s to come in Season 6, Diana, Princess of Wales’s death. By laying the groundwork and showing that because HM Queen Mary’s callous avariciousness, the Romanovs would be slaughtered just so that Queen Mary, who considered the Tsarina a rival, could get her hands on the Russian royals’ jewels. Queen Mary was a vile, ruthless Victorian misogynist who, of course, was Queen Elizabeth’s chief mentor. There can be no doubt that the late Queen Elizabeth viewed Diana, Princess of Wales as much a rival as Queen Mary viewed the Tsarina. For that, like Alexandra, the Tsarina, Diana had to be murdered for proving herself a damn threat. She ruined the fairy story by not playing along; most of all, she threatened the institution by preparing to start a rival dynasty with Mohamed Al-Fayed’s son, Dodi, a non-White Muslim.

Goodness me, whatever shall the little people think? Who damn well cares what they think? The royals do as they have always done!

Here, again, the casting of Netflix’s The Crown, season 5, is flawless. Nuanced and perfectly measured, both actors bring forth the appropriate amount of repugnant arrogance and conceited lack of awareness. Perfectly timed, as though murdered Diana’s revenge, Season 5 lays bare the adulterers’ vulgarity just as they accede the throne. King Charles III, the Tampax King with his two teddies – one inanimate from childhood, the other a virile, kilted, furry teddy that throbs and makes nights at Highgrove especially pleasurable whilst the failed future King Mother and Courtesan Queen languishes away at Ray Mill; one thing is plainly obvious, the Courtesan Queen does not crochet doilies at Ray Mill.

Having nicely set up the case for Diana, Princess of Wales having been murdered in the upcoming season 6 of the Crown, one other thing ought to be taken into account. In 1918, when Queen Elizabeth’s mentor, Queen Mary gave the order to have the Romanovs murdered, that would be signified by the planet Uranus – one dynasty overthrows or eliminates another. Uranus rules violent upheaval, revolutionary action and usually from one institution against another. As Diana, Princess of Wales was a most disruptive rebel, the only course of action left Queen Mary’s devout mentor, Queen Elizabeth II, was to eliminate the threat of Diana. Diana was about to marry a non-White Muslim and start a rival dynasty, which would have utterly eclipsed the Windsors not just at the Fleet Street abattoirs but world media.

Diana and Dodi died at Diana’s natal Pluto’s transit forming a square; that coupled with her fourth numerological signature of 7, meant very public and totally unexpected assassination. A Uranus return takes roughly 84 years, Queen Elizabeth reacted 79 years later as Queen Mary had to the threat of a rival dynasty, the Romanovs relocating to the United Kingdom – there is a five year window on either side for that Uranus return’s effect to be initialised. Closer to the exacting 84 years and Diana and Dodi would have had a wedding and begun a family that would simply have eclipsed Charles and Diana’s wedding as clearly Diana would finally have found true love. There is positively no way that the well-groomed Victorian misogynist, Queen Elizabeth II, would have tolerated any such affront to her dynasty, especially when Diana would have avenged herself by bearing step-siblings of the future supreme governor of the Church of England to a Muslim. The Windsor dynasty was violently preventing the eventualisation of a rival dynasty begun by Diana, Princess of Wales and one of an opposing faith.

Imelda Staunton as Queen Elizabeth II was sublime casting. She is pitch perfect and gets every nuanced idiosyncrasy right. As Elizabeth II is a mature slave soul, a sage soul in passion mode with emotional centring would be disastrous. Imelda may well be a slave soul herself.

Though a departure from season 5, I do feel that there needs be some commentary on the actors who played the major roles across the five seasons. Claire Foy was a major reason for the Crown’s initial success and gave The Crown the legs to become the seminal British royal family drama that it has become. She is diffident, economical and sublime. The complete opposite can be said for Olivia Colman, who is Olivia in every role she plays. She is crass, common and as conspicuously frightful and self-conscious as a damn ostrich.

As Princess Margaret’s casting is concerned, Vanessa Kirby was ravishing to look at; she had depth, emotional rawness when required and was utterly captivating to watch. Hers was a brilliant performance. Helena Bonham Carter was simply a toft playing a toft and Princess Margaret was never a toft; she was royal to the core. Clearly, Lesley Manville captures the essence of Margaret’s inner rage. Helena was supposed to have captured Margaret’s passion, debauchery and her creative brilliance and that never materialised.

As there is only one Diana, there is only one actor who has singularly, successfully captured the essence of Diana, Princess of Wales and not until Elizabeth Debicki in Season 5 of The Crown has this been achieved. Spot on, this actor’s portrayal is note perfect and as close to channelling Diana, as it were, as you can possibly hope for. Singularly focussed, she gives an award-worthy performance of rare brilliance.

Just look at this artist step aside and allow the very essence of discarnate Diana, Princess of Wales to move in and prosecute her case. This is a most brilliant performance, in a season teeming with stellar performances. There has never been a more successfully cast group of actors for any one season of this fantastic series.

I’ve a little Diana, Princess of Wales anecdote. The night of the preceding photograph in October, 1991, I was across King Street West at Simcoe Street at Roy Thomson Hall for an Emmanuel Ax recital. As I had seasons tickets to the Toronto Symphony Orchestra, I managed with plans for a hook up after the concert to attend. God only knows, I could never abide Emmanuel Ax’s too-short arms and legs as he bobs around the stool, trying to make keys and pedals. I have only ever had two favourite pianists whom I have seen live, Vladimir Horowitz and the scholarly high priest himself, Alfred Brendel (his Michael Overleaves will conclude this blog). Of course, for having met and loved Merlin, Glenn Gould has become a favourite, forming the perfect troika of inspiring classical pianists.

When the recital concluded, I made my way north along Simcoe Street to King Street West where I planned to go in search of some stimulating companionship. The placed was packed and I hadn’t a clue what was up. Finally, someone said that Princess Diana was at the Royal Alexandra Theatre, which was going to be letting out soon. Making my way west along the south side of King Street West, I stood opposite the theatre’s entrance and realised that it was no place to be. Gingerly, I made my way west along the street, made it across the intersection and began doubling back due east along the north side of King Street West. Charmingly, I bobbed and dodged my way until I was second row deep behind a diminutive Filipina, who stood behind he barricade in front of which was a conga line of persons in wheelchairs. Obviously, as this was the early 90s, cell phones were as yet ubiquitous and why I would have a camera for going to the symphony would be a gauche notion at the time. The sturdy-looking limousine pulled up and to my left, though I could not see, the doors to the theatre opened and impresario Ed Mirvish emerged with the world’s most photographed woman.

Never had I witnessed such a massive explosion of klieg fabulousness as that moment as Diana, Princess of Wales stepped away from her hosts and stepped into the marquee lights. She was tall, commanding and arrestingly beautiful. Eventually, when she made her way down the roster of wheelchair fans, she reached from time to time to the sheer pandemonium of squeals, cries, shrieks and outstretched trembling arms baring frantic trembling fingers. As nothing she said could be heard, I managed to clasp her hand, said “we love you more” as she worked the crowd like a pro. What struck me about her in that moment as the flashbulbs went off, like a million stars simultaneously going nova, was how steely, masculine, tall and warrior-like she was. In that moment, her striking blue eyes so focussed and direct, she with her statuesque singleness of devotion, was like a Maasai warrior aloft whilst dancing. Then my darlings, Diana, Princess of Wales, did the most phenomenal thing that left me teary eyed, she got to the limousine and as the passenger side rear door was opened, she got inside elongating her neck, whilst bracing her body on the car’s frame when swinging her knees together, feet together, pushing off from the metatarsals and swinging are rangy legs into the car in one of the most sublime port de bras witnessed. Well, you better believe that I was hooked to the core. Of course, to that point, she was merely the ultimate self-absorbed famous person whose motto seemed to be, “I’m a rich White girl, take my picture.”

Of course, four years later, Diana, Princess of Wales, now separated from the future, HM King Charles III, made it perfectly clear that she was in control and not the crazy wingnut that she and every artisan at some point or another will be dismissed as by the masses. Diana, Princess of Wales’s interview with Martin Bashir aired on the BBC on Guy Fawkes Night, November 5, 1995. That move will see her transcend history as someone who was infinitely more shrewd and astute than the mere mortals of her age were aware. Unlike Oliver Cromwell, Diana, Princess of Wales successfully prosecuted her case to the kingdom, the world and most importantly, history. Naturally, like Cromwell, her interview and the subsequent relationship with the Muslim Al-Fayed family would be deemed treasonous by the Victorian misogynist, Queen Elizabeth II, who just as ruthlessly and casually had her assassinated as her mentor Queen Mary had Tsarina Alexandra and her family a Uranus return earlier.

Mou Mou, the most gloriously well-written and acted episode of The Crown. At every turn, the actor who portrayed Mohamed Al-Fayed left me teary-eyed or smiling by his brilliant performance. He effortlessly captured every idiosyncrasy of the Mohamed we have come to know in the media. The actor deftly captured the essence of this endearing mensch with bravura and sublime impishness. It was the only episode that I immediately had to re-watch to both fall in love and get all the nuances that the teary fog of me had missed. Of course, there were many beautiful scenes but one which was rather telling is of The Queen sending her emissaries to have items of the Duke of Windsor’s removed from his French chateau. This shows the Victorian misogynist mentoring of Queen Elizabeth by Queen Mary – ever grasping and coveting all manner of material things. No care in the world for the Duke & Duchess of Windsor whilst he was living but the moment he passes, they are keen on the Duchess’s invitation to swoop in and claw at whatever they fancied… crass.

Indeed, in time, how could anyone possibly have expected HM The Queen, to have related to the Duke & Duchess of Sussex otherwise. She was groomed by the monstrous Victorian misogynist, HM Queen Mary to be shrewdly calculating, murderous if necessary, defender of the saturnal aspects of what being Sovereign entails. She and the rest of he senior royals could have behaved no differently to the Sussexes. Most of all, The Queen did not care to countenance any talk of racism being in any way associated with the House of Windsor. Just suck it up and get on with it, despite, the hideous open racial harassment from HRH Princess Michael of Kent, sporting the blackamoor brooch. Trust me, if she were to emboldened to go public with the racially predatory lynching of Meghan, you can bet that there was unrelenting, unfathomable racism within the royal family and the institution towards the Sussexes.

Could there have been a better cast member for this season, 5, of The Crown. This actor performed his role immaculately to the letter. The fluidity and communion of spirits between him and Mohamed Al-Fayed was successfully captured by both actors’ nuanced and elegant performances, even when Mohamed was being inelegant.

This actor, though similar in look, did not capture the essence of whom Penelope Knatchbull, Countess Mountbatten of Burma is. Above all else, with a energy body of 7, the late Prince Philip’s lover at her very core is a courtesan and would not only damn well do as she pleases but not give a damn who noticed. With a first number of 7, Penelope is almost mannish in her domineering energy body and would prove vastly intimidating for the late Queen Elizabeth II, who already had a secondary chief feature of self-deprecation which means that she would have serious self-esteem issues. Energy body of 7 and born in the year of the snake, the late Queen Elizabeth II was no match for this woman.

The role would have been better served if the actor, Gillian Anderson, who capably showed her mettle were to have been cast as Penelope. Ms. Anderson ensouled the very essence of the persona of Baroness Thatcher. A snake female, Penelope, with an energy body of 7, is the kind of customer who would take a riding crop and beat to death a mere mortal and get away with it; she would also not ever once think about the incident thereafter. All snake women possessed of an energy body of 7 are true courtesans; they are supremely amoral. Gillian would have the right steely comportment to deftly portrait the real Penelope, which may have positively nothing to do with the persona the public sees; and isn’t this almost always the case for famous persons?

Well, hold on tightly duckies, there is lots more to come. Season 6 of the Crown promises Diana’s murder. More than that, it should have flashbacks to the marriage of the Duke & Duchess of York as in penultimate seasons 7 & 8, the fallout of paedophilia allegations for associating with Jeffrey Epstein will see his cancer-stricken mother come undone. Of course, HM The Queen died aged 96; more importantly, she died 25 years after Diana, Princess of Wales’s murder. It takes 24 years for a grand Solar cycle to unfold and all self-karma, created when a karmic debt is initiated as in Diana’s murder, leads to the debtor’s self-immolation. Philip and Elizabeth slowly immolated as the avenging of Diana’s murder took its toll, Philip at exactly 24 years and Elizabeth II a year later. There are no coincidences and Time reveals all truth.

There can be no mistaking the fact that the structural racism, the case for which was made by HRH Princess Michael of Kent’s blackamoor brooch incident and Prince Harry’s memoir SPARE, nicely serve as ample source material for seasons 7 & 8. By then, all the tea with regards Catherine and Ben Ainslie, William’s Tampax moment, which has left him #PrinceofPegging to say nothing of Charles and his teddies one 70 plus years old and other other a virile furry equerry. Let’s also not forget Rose and her come-back pussy, which resulted in the then Cambridges being banished to Adelaide Cottage from Anmer Hall. Also, Camilla’s obvious racism should be highlighted by her need for a parapluie when touring the amongst the ‘darkies’ so that she doesn’t have to shake their hands, which explains why she did not go to the night time declaration of statehood in Barbados and her recent touching a Black girl’s sleeve rather than hold her hand. Then, too, there is the banishment and exodus of the Sussexes to America to successfully escape the hideous spitefulness of the next generation Waleses.

Brendel, Alfred 5/1/1931 Czech Republic

Michael: This fragment is a first level old scholar – second life thereat.  Alfred is in the perseverance mode with a goal of dominance.  A pragmatist, he is in the moving part of intellectual centre. 

Body type is Lunar/Mars /Mercury. 

Alfred’s primary chief feature is self-deprecation and the secondary stubbornness. 

The fragment Alfred is fourth-cast in first cadence, he is a member of greater cadence two.  Alfred’s entity is two, cadre five, greater cadre 6, pod 208. 

Alfred’s essence twin is a scholar and his warrior task companion is known to him. 

Alfred’s three primary needs are: exchange, communion and security. 

There are 6 past-life associations with Arvin and 4 with Merlin. 

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As ever, Life is like a flying dream; if you look down, you’re fucked. Enjoy the ride and fear no one!

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