The whirlwind of anticipation and gossip (with keynote figures like Dame Judi Dench calling it "cruelly unjust") cloaked this season in a similar level of scandal to that which it disclosed throughout its 10 episodes, tainting the royal gold Morgan had waiting in the wings for the 9 November release.
Almost immediately viewers are plunged into a seemingly decrepit royal life, as Episode One: 'Queen Victoria Syndrome' witnesses Charles, Prince of Wales spearheading and embracing a modern monarchy while simultaneously rejecting his own marriage.
A rotten core is the lynchpin of this season. As redundancy, collapse and irrelevancy are central and repeated themes, from Princess Diana's marriage devastation and crippled mental health to lack of public confidence in Queen Elizabeth's old-age rule.
The Crown is embellished with as much first-class acting and exceptional cinematography, as it is polluted with over-dramatisations and awkward dialogue.
The dedication of an entire episode (Episode 4) to the Queen's self-proclaimed 'annus horribilis' epitomises this. The episode explores the fire in Windsor Castle, two of her children's divorces (Princess Anne and Prince Andrew) and the scandalous release of Diana's biography all in the space of 53 minutes.
Viewers could see this same ruin in some of the series's dialogue and over-emphatic dramatisation, as the main issue with the series certainly did live up to expectation, just in a different way than it was rumoured to.
Audiences had taken issue with how blurred the line of fabrication and reality would be in the show, and what harm that could potentially cause for viewers who'd buy into the cutting-edge graphics and realistic costumes of these rehearsed royals. Yet it was these same exaggerations that brought about a the complete opposite problem: a lack of believability.
Hyperbolic behaviour and speech are littered throughout the show. From Diana telling literally anyone who even comes near her about her failed marriage and intimate insecurities, to her over-exaggerated lust at her romantic interests surgeon Dr Hasnat Khan and film producer Dodi Al Fayed, to drawn-out tensions between the Queen and Prince Philip, Duke of Edinburgh over his newfound love of horses.
These moments came off as awkward at best, and created a juxtaposing clunkiness against the series usual seamlessness of English rolling hills, royal engagements and afternoon tea.
Yet despite some poor scripting, the acting was stunning. Elizabeth Debecki (Diana) was truly radiant in her role, stupefying audiences and cast members alike with her eloquent tone and lifelike Diana mannerisms. Her on-stage ex-husband Dominic West was just as outstanding, with behaviour that held an unsavoury mirror up to Charles's slimy and slippery cheating and maltreatment of his wife.
However, Episode 3 and 6 were outliers in this example of clumsy production as they capitalised on The Crown's signature flashback style.
This was brilliantly executed through the link between mogul Mohammed Al Fayed, and the birth of his son Dodi, to Diana's future lover and fellow car crash victim, alongside the 1881 assassination of Tsar Alexander to the renewed relationship between the Crown and the renewed Russian democratic government.
From beginning to end the series maintained its ever-beautiful cinematography, low key lighting, and true-to-life outfits even mirroring Diana's iconic revenge dress.
As always The Crown covered some serious ground, overseeing The Labour Party's historic besting of PM John Major in the general election and the progression of Diana's exposure of the Royal Family to the world.
