The princess and the whore were just two girls

It all seems a bit parodic in season four of

Gillian Anderson's Margaret Thatcher, so extreme that it almost seems to be taken from

or from a Roald Dahl story, is not far from the real woman: that posture, that artificiality of the gestures, that two-way classism, that petrification ...

: it could seem worthy of the Morancos the scene in which her Diana Spencer is presented to the press along with Prince Charles, with that hysterical sequence of micro-pouts of her.

But it was so.

, zooming in on Diana's face.

The moments of the (best) Netflix series that tell stories not graphically documented are supported by those that are.

The system has

to support their musings (ie, his fiction) and callable recognizable prints from the archive has worked from the beginning.

Now also you have to do with more care, as

.

Another thing is that we have mythologized all those photos and videos so that they fit with a certain idea of ​​sanctity and perfection of that woman.

In any case, that would be our problem.

Diana's first media appearance, the one that

He meets them just a month before his media wedding.

His childish character and his unconsciousness when it comes to accepting a treatment that he does not even understand well are very well reflected in the series.

and Diana looking for the first time, innocently but also seductively, at the first camera that "attacks" her on the street is one of them.

Ten years later, already on the verge of being the look of a royal divorcee, that drop of eyes would be one of the most powerful weapons of media manipulation in history.

Peter Morgan knows it and uses it.

Diana was just a little girl who gave herself to be screwed up in exchange for a prize that seems best seen from the outside

.

And it became a threat.

She was not a saint, but neither was she a villain.

Like your mother-in-law.

She was also a child, or almost, Christine Keeler.

A teenager who thought she was smarter and older than she was.

They have told us her story a thousand times: the sexual triangle between her, a British minister and a Russian spy that turns into a political scandal of the first order.

Peter Morgan dedicated an episode of

;

Harkin and Welham, an entire miniseries.

One that recounts the scandal in detail, but above all

Keeler's biography is also public, but that doesn't detract from the series.

In fact he gives it to you.

The end of Diana we know very well.

It remains to be seen from what angle

looks at it

.

To close the adventures of Christine Keeler, the Cosmo miniseries proposes

Andrea Harkin and Leanne Welham invent a moment of a real character, but there is so much truth in the proposal played by Sophie Cookson that one take as unquestionable.

In a very bad taste (and yet cruelly accurate) joke that circulated after Lady Di's death

The germ of this behavior, which would later turn into superpower, is the one Peter Morgan shows in the fourth season of

.

I have not the slightest doubt that when the Netflix series has to tell the end of the princess, there will be as much intention in its gaze as in

After seeing it on

I went straight to YouTube to see the real scene.

In the differences between the two, and not in their similarities, is where the greatness of the series lies.

It's a shame that we don't have a record of what Christine Keeler did on the day she finally became one more girl in vibrant 1960s London. I don't really care, though: she

And period.

That happens.

That was so.

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