Controversy Surrounds ‘The Crown’ Season 6 as Arab Characters Are Portrayed as Villains
The highly anticipated final season of the renowned series, The Crown, has started airing, drawing attention for its depiction of the crucial moment in British royal history—the tragic death of Princess Diana, portrayed by actress Elizabeth Debicki. However, the show has once again found itself in the midst of controversy due to its portrayal of Arab characters as villains.
Known for blending fact and fiction to create compelling narratives about the royal family, The Crown has previously faced criticism for sensationalism. Season 6, which is divided into two parts, succumbs to the unfortunate Hollywood trope of casting Arab characters as the bad guys.
In the first four episodes released on Thursday, the storyline introduces fictional elements to portray Mohamed Al-Fayed, played by Salim Daw, as a power-hungry social climber. Al-Fayed is depicted as orchestrating his son’s relationship with Diana, hoping to fulfill his lifelong desire to ascend British society’s heights and secure citizenship.
One troubling aspect of this stereotypical depiction is the portrayal of the Egyptian billionaire as a misogynist. In one scene, he claims to have offered Diana to his son, Dodi, portrayed by Khalid Abdalla, on a plate during their holiday on a mega-yacht in St. Tropez. Furthermore, the narrative suggests that Al-Fayed tipped off paparazzi about Diana and Dodi’s whereabouts.
The character of Al-Fayed is also shown exploiting the tragedy of Diana and Dodi’s death in an attempt to forge a bond with the royal family. On the other hand, Dodi is relegated to a passive figure easily influenced by his father’s ambitions, engaging with Diana solely to fulfill those aims.
In the fourth episode, an intriguing but short-lived plot development occurs when Al-Fayed realizes that even in his son’s death, Queen Elizabeth, portrayed by Imelda Staunton, remains repelled by him. While Al-Fayed receives overwhelming support from the Arab region, British tabloids largely overlook Dodi’s death.
There is a missed opportunity for the script to engage in a more meaningful reflection on post-colonial Western attitudes toward the Arab and Muslim world. In a poignant scene, a distressed Al-Fayed converses with the ghost of his late son, questioning why the royals hate him. This scene could have sparked a thought-provoking discussion, but instead, Dodi’s character offers little insight into his father’s anguish other than suggesting not to have high expectations of the West.
The portrayal of the show’s only significant Arab characters as insufferably unlikable raises concerns about The Crown’s approach to diversity and representation. This may leave viewers, particularly from the region, less enthusiastic about the upcoming second part of the season, scheduled to be released on December 14.
Critics argue that by perpetuating stereotypes and sidelining Arab characters, the series fails to present a balanced view and reinforce positive representation. It remains to be seen how The Crown addresses this controversy and whether it can navigate future seasons with more sensitivity and inclusivity.
In a time when diversity and representation are crucial, it is essential for popular television shows like The Crown to take responsibility in their storytelling and ensure that diverse characters are portrayed in a fair and nuanced manner, avoiding harmful stereotypes and promoting a more inclusive narrative.
