Netflix’s critically acclaimed series, The Crown, has captivated audiences and garnered prestigious awards, including a Golden Globe for Best Drama TV Series. The show delves into the personal life of Queen Elizabeth II, beginning just before her coronation and chronicling the early years of her reign. For horse enthusiasts and followers of racing, Queen Elizabeth II’s lifelong passion for equines makes the series particularly intriguing. While the drama offers a fictionalized glimpse into royal life, its portrayal of horses and racing scenes warrants a closer look.
The series generally demonstrates a commitment to accurate horse representation, a quality seen in other Netflix productions like Marco Polo. However, The Crown incorporates a healthy dose of artistic license, especially concerning the equestrian elements. While there are scenes featuring Queen Elizabeth’s sister Margaret and the Queen Mother enjoying rides, dedicated scenes of Queen Elizabeth herself in the saddle are scarce, often limited to mere suggestions of her preparation or return from a ride.
A significant portion of the equestrian narrative unfolds in Episode 9, focusing on the Queen’s celebrated racehorse, Aureole. The episode introduces “Porchey” (Lord Porchester), identified as a horse breeder, and alludes to a potential emotional connection between him and the young Queen. The dialogue reveals Elizabeth’s deep involvement in Aureole’s racing strategy, expressing concern that the plan aligns with Aureole’s strengths and his tendency to act up at the start. Aureole was indeed known for his spirited nature, often delaying races with his behavior, a trait shared by many offspring of his sire, Hyperion.
The episode recounts Aureole’s victory in the King George VI and Queen Elizabeth Stakes, often referred to as “the King George.” Despite a slow start, Aureole fought his way to the front, ultimately winning by three-quarters of a length. The on-screen depiction includes footage of the race, followed by scenes of the royal party celebrating Aureole’s triumph. Upon returning to the stables, Aureole is presented to Elizabeth and Porchey. While the scene where Elizabeth affectionately strokes Aureole’s face is emotionally resonant, historical accounts suggest Aureole was not particularly cuddly and might have even nipped. Nevertheless, this moment highlights the show’s effort to create a touching narrative.
The casting of the equine actor playing Aureole is commendable. The horse chosen possesses the distinctive large white blaze characteristic of the real Aureole. During training track scenes, the horse actor effectively portrays the fiery and restless temperament attributed to the actual Aureole, resisting the bit and tossing its head. This attention to detail, using a horse that closely resembled Aureole rather than a generic bay, is a notable strength of the production.
The dialogue between Elizabeth and Porchey touches upon Aureole’s lineage – by Hyperion out of Angelola – and the early belief that his elder brother would be the star. While records of a specific “elder brother” being a prominent figure are scarce, Hyperion was a highly successful sire. The mention of King George VI’s early belief in Aureole, despite his death before the colt’s race debut, adds a layer of historical poignancy, possibly serving as a metaphor for King George VI’s own ascension to the throne after his older brother’s abdication.
The equestrian scenes, though visually appealing, primarily serve to underscore the tensions within Queen Elizabeth’s marriage to Prince Philip. Princess Margaret astutely observes that horses represent a passion for Elizabeth, one her husband does not share, highlighting a core conflict in their relationship amidst the pressures of the crown.
This marital strain is further emphasized in a conversation about retiring Aureole to stud, where Philip’s crude interpretation of the industry term “cover” contrasts sharply with Elizabeth’s more reserved explanation. The episode culminates in a particularly awkward depiction of Aureole’s first cover, accompanied by Philip’s crass jokes, underscoring his discomfort and Elizabeth’s patient, albeit perhaps scientifically condensed, explanation.
The episode accurately portrays key historical facts: Lord Porchester served as the Queen’s racing manager, and rumors of a romantic relationship between them, though denied, were prevalent. Aureole, a son of Hyperion out of Angelola, did indeed win the King George before retiring to stud. The production’s meticulous attention to detail in these equestrian aspects elevates the narrative beyond simple metaphors, creating a visually rich and thematically relevant portrayal. While horses may not be the central focus of The Crown, the series ensures that their depiction is both accurate and integral to the unfolding royal drama.
