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Similarly, The Godfather trilogy gets much of its narrative tension from the many external forces attempting to curtail the rise of the mafia or specifically challenge the Corleones. Both on-screen tales qualify as wealth porn in one form or another.Ĭrown episodes like “Marionettes” (Season 2), “Aberfan” (Season 3), “Moondust” (Season 3), and “Fagan” (Season 4) represent the growing disdain for the monarchy from those outside the royal family. The love of money and power amid systemic oppression in The Godfather is a driving motivation, and the love of country and position in The Crown is a central gravitational force.
#Is the godfather 2 on netflix tv#
The cultural cachet of outlaws, gangsters, royalty and celebrities depends on your perspective, but is undeniable-and it’s exactly what popular movies and TV shows lean into. Figures like John Dillinger, Frank Sinatra and Al Capone blurred the lines between the two worlds while still occupying similar space in the American consciousness that the British monarchy occupies in the U.K. Pop-culture figureheads like celebrities and gangsters have embodied a certain flavor of the American Dream in the 20th century. It is moving, alive… divine.” -King George VI
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Here, unencumbered by mainstream prejudice and discrimination, they create their own cultural and monetary ecosystem with its own distinct hierarchy. White America has capped the station of minorities and put a ceiling on how far they can rise, forcing Italians and Italian Americans to turn to the alternate economy available to them: organized crime.
#Is the godfather 2 on netflix series#
The Godfather series largely embodies the American Dream, following marginalized people clawing their way to the proverbial top of a capitalist food chain. They are also both family-centric stories that emphasize bloodlines and the positions such relations guarantee, creating insular power structures within both projects. Yet for all of their surface-level differences, both The Godfather and The Crown are sweeping sagas that span generations yet revolve around a single family as they navigate wealth, power and conformity in rarefied air. Though The Crown is steeped in stylish revisionist history, there’s (presumably) never going to be an episode where Queen Elizabeth assassinates an assortment of world leaders Michael Corleone–style. The Crown and The Godfather both live in the decadence of family wealth and power That the two scenes share both a visual language and an overarching message is just one element that demonstrates how Morgan hasn’t just delivered a definitive entry in the tail-end of the Peak TV era, or a deliriously entertaining take on the British royalty, but a 40-hour cinematic reimagining of The Godfather. The result is the same: deep pain and violence rippling outward like stones dropped into a pond. The culmination of tension, sound and action bleed into each successive shot. The mob heads spread across several locations as Michael holds vigil at the center of a new power dynamic the royal family is individually informed of Mountbatten’s murder across different sites and countries. In both works, the death and its fallout are fragmented.
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The Crown showrunner Peter Morgan aims for a similar sentiment, utilizing the same family-oriented foundation to build tension as Lord Mountbatten (Charles Dance) is murdered. Michael Corleone (Al Pacino) methodically dispatches the heads of the other crime families in a gorgeous and terrifyingly orchestrated montage that cuts between new life and violent death. Religious iconography and natural beauty starkly contrast with the moral decay to immediately follow.
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Both the baptism scene in Francis Ford Coppola’s The Godfather and scenes of The Crown’s fourth season premiere are meant to evoke purity, symbols of incorruptible strength and stability.