Fashion You Only Left Your Picture Lyrics
It was slammed by critics and ridiculed by viewers. At present Netflix's Princess Diana musical is tipped for yet some other embarrassment: being named the worst motion-picture show of the twelvemonth.
Diana: The Musical, which centres effectually the love triangle betwixt the princess, Charles and Camilla, has been nominated for ix Razzie Awards, which recognise the biggest film flops of the year, including worst picture, actress and histrion.
British bookmakers William Hill has released odds putting the musical as the heavy favourite to win worst picture, beating other nominees Space Jam: A New Legacy, Karen, Infinite and The Woman in the Window.
Diana: The Musical was due to premiere on Broadway in 2020 just was delayed due to Covid. Last week a filmed version of the production premiered on Netflix, alee of the show finally opening in New York afterward this year. Pictured, Jeanna de Waal equally Diana
Star Jeanna de Waal, 30, was criticised for her functioning, with Variety's Peter Debruge remarking on its lack of nuance. Pictured, with Roe Hartrampf as Prince Charles
Diana is also nominated for worst manager (Christopher Ashley), actor (Roe Hartrampf), actress (Jeanna de Waal), supporting role player (Gareth Keegan), supporting actress (Erin Davie and Judy Kaye), screen couple ('any klutzy cast fellow member and any lamely lyricized (or choreographed) musical number') and screenplay (script by Joe DiPietro, music and lyrics by DiPietro and David Bryan).
The Razzie winners will exist announced on March 26, the solar day earlier the Oscars.
Diana: The Musical premiered on Broadway in Nov 2021, later being delayed past eighteen months due to Covid. A filmed version premiered on Netflix in October.
It was met with scathing reviews and social media verdicts on both sides of the Atlantic.
The Evening Standard, The Times and the Chicago Tribune gave Diana: The Musical damning one-star reviews, while viewers have mocked the ridiculous songs - including a number where paparazzi sing 'meliorate than a Guinness, better than a w**yard/snap a few pics, it's coin in the bank' - on social media.
Commentators have called on Prince Harry, who has an estimated $100million deal with Netflix, to cutting ties with the streaming giant over the 'degrading' and 'exploitative' depiction of his female parent and the royal family unit.
MailOnline'south Dan Wooton wrote: 'If he fails to speak out confronting such a horrendous depiction of his female parent, then he is tacitly endorsing it.'
Star Jeanna de Waal, 30, was criticised for her operation, with Variety'south Peter Debruge remarking on its lack of nuance, while others, including MailOnline's Dan Wootton, blasted the lack of accuracy. Pictured, Jeanna as Diana with Judy Kaye equally the Queen
The evidence, created by Joe DiPietro and David Bryan (Bon Jovi'south keyboardist), stars Jeanna de Waal, every bit Princess Diana, Roe Hartrampf as Prince Charles, Judy Kaye as the Queen, and Erin Davie who 'turns Camilla Parker Bowles into the Wicked Witch of the W'.
At one point Diana sings how she 'wishes Charles was Elton John' before adding: 'Alright, I'chiliad no intellect/only maybe at that place's a discotheque/where the prince could hear Prince and nosotros'd all get Funkadellic'.
Later, she sings to her infant son: 'Harry my ginger-haired son / You'll always be second to none.'
One of the virtually heavily quoted lyrics comes from a scene in which Diana crashes one of Camilla'due south parties and scandalised guests sing about a 'Thrilla in Manilla with Diana and Camilla'.
Equally Vanity Fair's Richard Lawson notes, the lyrics are not 'meant to be airheaded and campy', despite how they might read on newspaper. 'They are just the stilted, embarrassingly serious ramblings of a prove that has no involvement in real humanity.'
de Waal, who has said it is a 'huge privilege' to play the princess, was criticised for the 'lack of nuance' within her performance, with several comparing it to Kristen Stewart'south powerhouse accept on the princess in upcoming film, Spencer.
Blunt: The show ends abruptly with Diana's car crash, but 1 scene after her divorce
Viewers accept taken to Twitter to mock and criticise the musical, with several blasting the lyrics
Others have questioned the accuracy and tone of the musical, with Wootton writing:'Diana: The Musical is the most offensive and degrading portrayal of the tardily Princess of Wales in fiction since her death in 1997 – and in terms of accuracy it makes that other historically-derided Netflix series The Crown look like a royal encyclopaedia of truth.
'The lies about Di'southward life are egregious – from suggesting she used HIV patients for publicity to attacking Margaret Thatcher for her politics.'
The criticism was echoed by viewers on Twitter.
Ane tweeted: 'I merely watched the beginning 20 minutes of Diana the musical to air current down after preview two and I am and then tired I call up I am hallucinating. Can people please ostend this is actually a affair because it is similar a fever dream.'
Another posted: 'All you need to know about the Diana musical on Netflix is that it has a song that contains the lyrics "information technology's a thrilla in Manila with Diana and Camilla".'
A third added merely: 'Whoever decided to create "Diana the Musical" on Netflix made a HORRIBLE mistake Grimacing face up #DianaTheMusical.'
The musical, directed by Tony award-winner Christopher Ashley, also features characters including purple butler Paul Burrell and biographer Andrew Morton, while James Hewitt is depicted as a 'blank-chested sex god'.
Here, FEMAIL offers a snapshot of what the critics had to say...
THE EVENING STANDARD
Rating: 
Jessie Thompson writes: 'The whole thing feels like the consequence of someone who read Tina Brown'south The Diana Chronicles on a sunlounger, semi-p****d on margaritas while listening to Aerosmith. Actually, no, that makes it audio quite practiced...
'Camilla (Erin Davie) hangs effectually every scene similar a ghost at the banquet; the show's attitude to her and Charles is summed up in one hysterically unsubtle lyric - "he's a third charge per unit Henry VIII and she's Godzilla".
'Worse still are the shlocky lyrics, which made me feel like I was beingness bludgeoned over the caput past a commemorative crockery set up.
'They go from the pitiful - "Feel the groove, even royals need to move" - to the nonsensical - "Hearts curve, break, outburst and sever"... do they? Hearing the words "Jaaames Hewitttt" sung in the manner of Meatloaf made me honestly wonder if I was on acid.'
CHICAGO TRIBUNE
Rating:
Michael Phillips writes: 'Diana: The Musical is a hunk of Wensleydale cheese now streaming on Netflix, and in this instance the "r" in "streaming" is optional...
'Already "Diana: The Musical" has fatigued slack-jawed quality comparisons to the movie version of "Cats." But "Cats" was dissimilar — dubious material handled badly, a compilation of misjudgments and digital fur. This 1'due south a affair of shoddy material staged efficiently and fluidly by managing director Christopher Ashley, aided by a solid cast of pros swimming upstream, trying difficult not to mentally rewrite librettist and lyricist Joe DiPietro'southward words with every stroke...
'Information technology's tolerable, I suppose, if you don't have to listen to information technology. Unfortunately information technology'southward a musical so you have to listen to it.'
THE TIMES
Rating:
Clive Davis writes: '[It] actually does plumb new depths. DiPietro — whose new prove, What'southward New Pussycat, opens at Birmingham Rep this month — has said he did not aim to be "campy". Yet what else can you make of a venture that goes so absurdly over the elevation?
'Jeanna De Waal captures Diana'south shy glance, but there'southward not much else she can exercise with a paper-thin cut-out, while Judy Kaye's portrayal of the Queen seems to be channelling Hyacinth Bucket. Roe Hartrampf makes a simpering Charles; Erin Davie turns Camilla Parker Bowles into the Wicked Witch of the Westward.
'When she and a vengeful Diana come confront to face at a fancy dinner, you wouldn't exist at all surprised if DiPietro and Bryan staged a bout of mud-wrestling. That said, they practice give us James Hewitt as a bare-chested, jodphur-wearing sexual activity god.'
THE DAILY TELEGRAPH
Rating:
Marianka Fellow writes: '"A fairy tale born in Hell." That'southward the nuanced take on Princess Diana's marriage in this redundant soap opera-meets-rock opera, which would be in bad taste were it not so dull. Information technology seems a bizarre pick for Netflix, which is premiering a filmed version of this new musical ahead of its Broadway opening in November – unless the intent is to make The Crown look even better by comparison.
'Unlike that garlanded drama, Diana: The Musical sprints from courting to her death in nether two hours, like a hyperactive Wikipedia page.
'At that place's no time for thoughtful characterisation or dialogue; instead, everyone helpfully blurts out their current emotional state. Information technology'southward the mood band school of writing.'
THE GUARDIAN
Rating:
Stuart Heritage writes: 'What a genuinely bizarre work of fine art this is... You could stick a pin in nigh every song and pull out a line that makes the whole endeavour feel like information technology was specifically created every bit a berserk prank confronting the globe.
'My item favourite is the moment when Diana looks into a crib and tenderly sings: "Harry, my ginger-haired son / You'll ever be second to none."
'But others might prefer the part when the Queen belts out a song about Prince Charles's disability to continue it in his pants, or the song that appears to be called A Thriller in Manilla with Camilla.'
THE i
Rating: 
Andrzej Lukowski writes: 'Really, information technology's smashing at all. Ultimately the only thing I was left slightly struggling with was the verbal bespeak: DiPietro'southward central thesis is to portray Diana in a positive, uplifting low-cal as a woman who overcame arduousness to find and better herself: "I cull happiness, I cull a fresh new start" she sighs, radiantly, near the cease.
'But if you're somebody who struggles to find the British monarchy especially interesting, there's maybe a sense of consequentiality missing here.
'Conversely, if yous think her as well-short life was a bitter tragedy, you may exist taken aback by the largely upbeat mood. Even so, it'southward good-natured fun with a big heart, probably best enjoyed after a couple of white wine spritzers.'
VANITY Off-white
Richard Lawson writes: 'Diana is a shellacked lump of product born solely of cold, money-minded cynicism.
'The bear witness, from writer Joe DiPietro and musician David Bryan (of Bon Jovi fame), positions itself equally something revelatory, and is advertised equally a peek behind the pall to see what really happened when young Diana Spencer married Prince Charles. Information technology does nothing of the sort. Anyone who has watched Netflix'due south The Crown or, I don't know, briefly skimmed a Wikipedia article volition already know pretty much everything that's clumsily explicated in the musical...
'The musical claims to be telling this story so that we may better sympathise Diana, to encounter her equally a person, not merely an icon. But the production exists entirely to exploit her legacy, to crassly run us through a recitation of known events (and style moments) in lodge to extract more than money out of the whole distressing circus.'
Diversity
Peter Debruge writes: 'The ane-dimensionality of this portrayal reveals how footling nosotros truly understood nigh the adult female's inner earth. Gaps left by tabloids were filled in part by Andrew Morton's controversial biography, based largely on input from Diana herself — a procedure depicted hither in the show's catchiest song, "The Words Came Pouring Out."
'Simply so many secrets remain unrevealed, and the balance relies heavily on speculation. Diana's divorce was considerably more complicated than Bryan and DiPietro make it out to be, and she dies abruptly one song subsequently — not "Candle in the Wind," alas.
'Experiencing the musical on screen makes "Diana" feel all the more inadequate, since closeups call for a more than nuanced operation than de Waal is prepared to requite.'
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