The Lady Review: Royal-Adjacent True Crime Drama Fails To Find Its Narrative Balance

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True crime and royal dramas consistently draw large audiences, so combining the two seemed like a smart idea. That’s likely why BritBox, ITV, and the team behind The Crown decided to fund The Lady, a four-part series telling the story of Jane Andrews. Andrews, played by Mia McKenna-Bruce, went from a seemingly fairytale life to being convicted of murdering her boyfriend, Thomas Cressman (Ed Speleers), in the early 2000s.

For almost a decade, Andrews, a woman from the working-class town of Grimsby in northern England, worked as a personal assistant and helped dress Sarah Ferguson, the former Duchess of York (played by Natalie Dormer of Game of Thrones). She got the job—which seemed glamorous—by answering a newspaper ad.

What seemed like a perfect opportunity turned out to be incredibly difficult for Andrews. She faced harsh criticism about where she came from, which led her to try and completely reinvent herself to fit into a wealthier lifestyle. She altered her speech, style, and friends, but instead of finding happiness, she encountered unhealthy relationships, both personally and at work. This put even more strain on her already delicate mental health and existing depression.

Cressman’s murder happened some time after Jane and the Duchess had a falling out, and Jane’s relationship with Ferguson wasn’t connected to it. This change forced The Lady to shift its focus from a story about social class and overcoming hardship to a psychological thriller, a police investigation, and a courtroom drama. That’s a lot to cover in just four episodes, particularly because the story deals with serious and sensitive issues, and involves real people still living today, requiring a careful approach.

This show is a well-made but ultimately pointless crime drama. It revisits a difficult case that likely wouldn’t have received so much attention if Jane Andrews hadn’t had a connection to the British royal family.

The Lady Is A Well-Produced But Frustrating Watch

Visually, The Lady is engaging, boasting vibrant costumes from the 80s and 90s, believable sets, and quick glimpses of beautiful coastal scenery in Greece and France. Combined with a nostalgic soundtrack, the show successfully captures the feel of a classic period drama, even though much of the story takes place in modern times.

Though not as lavish as shows like The Crown, The Lady doesn’t cut corners. It immerses you in the world of Jane Andrews, showcasing her passion for fashion and luxury, which helps explain her intense fascination with Sarah Ferguson and others in this dramatized retelling of events.

Mia McKenna-Bruce is quickly becoming a standout actress on British television, following her impressive performance in Agatha Christie’s Seven Dials. She skillfully portrays Jane’s complex emotions, moving between unpredictable outbursts and moments of quiet desperation. Meanwhile, Natalie Dormer delivers a captivating performance as the Duchess, portraying her as a flamboyant and unpredictable character. This effectively shows how Jane likely viewed her employer, though the Duchess’s strong personality sometimes dominates the scenes she’s in. Dormer previously donated her earnings from The Lady to charity following revelations about Harvey Weinstein’s involvement with Jeffrey Epstein.

From a technical standpoint, The Lady is well-made. It feels similar to other British crime shows – those who watch BritBox will likely recognize the style – but that isn’t its weakness. The main issue is the length: the four episodes, each under an hour, feel both rushed and drawn out at the same time.

The Lady Juggles Too Many Genres And Timelines In Its Four-Episode Run

Although The Lady features strong acting and attractive visuals, the way the story is told is somewhat confusing. The first three episodes jump between two different time periods: one focuses on the investigation following Cressman’s murder and Jane’s reaction, while the other shows how Jane started working at the Palace, her connection with Ferguson, losing her job, meeting Cressman, and the ups and downs of their relationship. These two storylines finally merge in the last episode, which depicts Jane’s trial and its outcome.

The story jumps back and forth between timelines without any signal, leaving the narrative fragmented and difficult to follow. We don’t get enough time to truly connect with Jane’s feelings or understand her declining health. Even her closest relationships, like those with Ferguson and Cressman – who appear the most throughout the story for very different reasons – feel rushed and lack depth.

The series rushes through nearly ten years of Jane’s life in the Royal family, presenting it as a quick montage of glamorous makeovers and shopping trips, complete with constant paparazzi attention. Her relationship with Cressman feels equally rushed, going from instant attraction to marital conflict with little development, and the details of their connection are surprisingly forgettable.

The detective work isn’t much stronger. Philip Glenister, who has played police officers before, delivers a surprisingly flat performance as DCI Jim Dickie. His partner, DS Smart (Stephanie Street), seems more engaged, but even their scenes suffer from weak dialogue. The central mystery feels pointless because Jane’s fate is obvious from the start, even if you don’t know the true story. The investigation mostly just serves as a way to move the plot forward, rather than adding anything meaningful.

The show uses the murder investigation, the trial, and a documentary being filmed within the series to give a voice to the victim’s family. This is done to offer balance, as the show largely focuses on the life of the person who committed the act and the events leading up to it. However, these elements feel underdeveloped within the broader narrative of The Lady. Ultimately, the show doesn’t offer much in the way of resolving the ethical questions surrounding true crime dramas and how they portray real people for entertainment purposes.

The Lady premieres on BritBox on March 18, with new episodes dropping weekly on Wednesdays.

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2026-03-17 18:02