The Crown remains, by far, the best soap opera on television.

It’s exceptional television that takes full advantage of the narrative structure and scope the medium provides. ... Colman’s performance is a season-long exercise in extraordinary restraint that provides a profound payoff.

More uneven than its two predecessors, but also more daring and surprising. When it works, it’s incredibly compelling, once again solidifying itself as one of the best shows of the year; when it doesn’t, it’s merely one of the best acting ensembles anywhere, moving about in a series that’s as richly designed, expertly directed, and satisfyingly paced as anything else in television.

It is all beautifully done and tastefully told. Every penny spent is up on screen. It is immaculate. It will leave you either longing for the monarchy to be decapitated for its endless, parasitical privilege (great scenes arise from Philip complaining about being asked to cut back on his yacht consumption, for example) or abolished for the Windsors’ own good.

Elizabeth is no longer the most interesting figure in her own story. Colman is conspicuously absent through much of the season, which focuses more heavily on Phillip, Margaret and Charles, and her role in her family members' stories is nominal at best. Despite the marquee position of Colman in the opening credits, "Crown" doesn't feel like her show. ... The series remains fully capable of making the family a little less mysterious and a little more entertaining.

Colman intuits that Elizabeth, at the height of her powers and in the middle of a calm stretch, is content. The performance is both believable and emotionally astute: Elizabeth would be settled and comfortable. But this, along with the equilibrium in her marriage, snuffs out some of the little tension there used to be. ... That the show remains appealing through this relatively slow going is largely thanks to the more high-strung characters surrounding Elizabeth.

Colman, by contrast, brilliantly inhabits the Elizabeth we all know and take for granted. There’s something dazzlingly banal about her. ... Tobias Menzies is less convincing. ... Three seasons in, the formula to which The Crown bends the knee is as plain as a huge gem-encrusted headpiece.

Such great writing! Dialogue and story. The kind of dialogue that makes you exclaim even though everyone in the seen is calm and poised.

Colman é brilhante. A mudança de elenco parecia ruim na ideia, mas o novo elenco é mais talentoso, mais experiente, e se encaixa melhor na nova fase dos personagens, com crises de meia idade e dramas pessoais mais adultos que os da primeira e segunda fases. Colman, Menzies e Bonham-Carter tem tudo para vencer cada prêmio possível.

I have enjoyed this season however I do not think it is as good as the first. Some of the cast were not as good as the last 2 seasons.

I found this season a touch boring. The acting is great, especially Colman, but I didn't think they did justice to the period. No mention of the Beatles or music at all, England's World Cup victory, not even the troubles in Northern Ireland. Too inward looking for my liking.

The firm is what elizabeth 2 calls this dynasty of sax coburg /windsors both Coleman and Carter are professional , shame its nostalgic overview just dulls the edge of what could be better character examination .its very dull as its recent history with people of the nation clamouring to wave at the red carpet plodding tiara , this isn't a rock star carnival and i guess thats the appeal to the tea drinking blue rinse brigade of loyal British subjects . its as dull as a wet football match. however here the rub with glossy tee vee no one wants too pry under the tiara of the present regime ,not enough flesh too much costume.