Time for another installment of our jewelry recaps of Netflix’s The Crown, everybody! In the second episode of the series, “Hyde Park Corner,” the production has things to say about jewelry, uniforms, and power. (As always, feel free to discuss this episode below, but avoid spoilers for future episodes!)

Last week, we left off at Sandringham at Christmas; we begin this time at the end of January 1952. Philip and Elizabeth are on a plane, ready to touch down in Nairobi for the first stop on their Commonwealth tour. Interestingly, the production did not choose to show the farewell between the couple and the rest of the royal family (and Churchill!) at the airport — which is an iconic scene. But instead, we start with Princess Elizabeth, who is getting ready to greet the people of Kenya.

This is the first of several scenes in the episode where the Queen’s pearls become a major focus. Her dresser is fastening them about her neck here as she practices her speech. She’s literally putting on the uniform of queenship, because she’s there representing her father, and the pearls (as we all know) are a central part of that uniform. And the real three-stranded pearl necklace that this one represents is even more clearly tied to monarchy: it was a gift from the Queen’s grandfather, King George V, to mark his silver jubilee in 1935.

The dress that Claire Foy wears in this scene is based on the real dress that Elizabeth wore when the royal party arrived in Kenya. The hat and jewels, though, are different — except for the pearls. (Here’s some British Pathe newsreel footage, which shows Elizabeth’s outfit and — importantly for what comes next — the attire of the people welcoming her.)

Elizabeth wears lots of ’50s-era earrings in this episode, including this pair. I think most of these are inspired by the era rather than the Queen’s real jewelry box.

The princess is visible nervous, but she makes it through her speech, and then it’s time to do a traditional military review. The Duke of Edinburgh is in full uniform here, too. And he and Elizabeth are faced with many local people in uniform — although Philip has trouble identifying their garb as being just as official and real as his naval uniform. We get our first big “Philip gaffe” in this episode, when he begins to enumerate the medals worn by a representative of the Kipsigis people, noting that he has them as well — and then joking about whether the man stole one of them.

For a shot that lasts for only a few seconds, the production was careful to make the medals symbolically significant. The man Philip speaks with is dressed in native attire, but his medals show that he has made major sacrifices for the Commonwealth and the Crown. Starting on the right, the man wears the War Medal 1939-1945, which means that the man served full-time in the armed forces for at least a month during World War II. (Philip has that one.) Next, the golden star on the yellow striped ribbon is the Africa Star, which means that he fought in the North African Campaign. (Philip has that one, too.) The other star is the 1939-1945 Star, which also honors his World War II service. (Philip has that one as well.)

But here’s the kicker: the medal that Philip jokingly accuses him of stealing — the one on the left, partially obscured by his shell necklace — is the Victoria Cross. The Ministry of Defence notes that the VC is awarded for “most conspicuous bravery, or some daring or pre-eminent act of valour or self-sacrifice, or extreme devotion to duty in the presence of the enemy.” It’s only been awarded 1358 times in British history. Philip most certainly does not have this one, and this man, who proudly wears it as he stands before the representative of the Crown, has clearly done something extraordinary to earn it. The look of disgust when Philip accuses him of stealing it is beyond warranted — because Philip is assuming that a Kenyan citizen of the Commonwealth could only have stolen this precious medal, not earned it. This series is trying to put together a rather nuanced portrayal of Prince Philip, and this very brief scene is startling in light of that.

While Philip has trouble recognizing that the Kenyan people wear uniforms that reflect both their own societies and the Commonwealth, Elizabeth is presented as being more aware. When Philip jokes again about the headdress that this Maasai elder wears, she quickly corrects him: it’s not a “hat,” it’s a crown. She’s been struggling to come to terms with the fact that she will soon take on the full uniform of power, and she knows one when she sees it. (If you’re keeping track, then, this is the second crown we’ve seen featured in the show, after last episode’s paper crown. Pay attention; the Maasai crown shows up again.)

After the arrival ceremony ends, the couple travels to Sagana Lodge, where they’ll be staying during their visit. Elizabeth has changed her dress and hat, but her pearl uniform is still firmly in place as she is welcomed, a bit awkwardly, by a child.

Back in Britain, Princess Margaret is also wearing pearls — but she’s secretly, brazenly canoodling with Peter Townsend, not worrying about monarchy. The royal family has decamped to Sandringham after the king’s doctor has given him the all clear. Bertie says he’s feeling better, and he’s having a whale of a time shooting and entertaining — even though Anthony Eden (played by Jeremy Northam) comes to try to convince the king that he should help convince the aging Churchill to step down. In a foreshadowing of what’s to come, the King informs Eden that although Albert Windsor and Churchill were friends, Albert Windsor “was murdered by his elder brother when he abdicated.” King George VI is the sovereign, and he can’t interfere.

On the evening of February 1, the royal family is hosting a dinner party at Sandringham, and the King and Margaret are entertaining their guests with a song. Their selection: “Bewitched, Bothered, and Bewildered” from Pal Joey.

Margaret wears a sparkling necklace and earrings as she plays and sings. The song’s about the way that love can surprise even the most jaded sophisticate — an interesting choice, given Margaret’s secret romance with a married man.

And Margaret is surprised here. As her father weakly sings, a single tear trickles down her cheek. Just as Princess Elizabeth and Queen Mary were struck by the King’s mortality during last week’s song, this scene shows Margaret having a similar emotional reaction. It’s unclear precisely what she feels — fear about her father’s health? relief at his recovery? — but she’s moved to tears.

The King gets an enthusiastic ovation from his guests (and from staff gathered outside). And then he watches newsreel footage of Elizabeth’s arrival in Kenya, and then he goes to bed.

(A description of this real-life evening from the Shawcross biography of the Queen Mum: “They had an enjoyable dinner with Princess Margaret; the King was cheerful and his wife was delighted.” In The Young Elizabeth, Kate Williams quotes Princess Margaret, who says they had “jolly jokes” that night. No specific mention of show tunes, but these three — Bertie, Elizabeth, and Margaret — were party-loving people, after all.)

Back in Kenya, Philip and Elizabeth are having a swell time. They’ve been staying overnight at Treetops, where they have a thrilling and terrifying encounter with an elephant. They’re getting along so well, in fact, that Elizabeth sits down to write to her father to ask if they can go back to Malta when the tour is over. On a jewelry note, we get a clear look at Elizabeth’s engagement ring here — and it’s disappointingly nothing like the real one.

If you’re a student of history, though, you know that Elizabeth’s letter is much too late. While she and Philip were at Treetops, the King unexpectedly died in his sleep. Churchill is notified: it’s “Hyde Park Corner,” the government’s code for the king’s death. For the rest of the episode, Churchill struggles with grief — and then triumphs in a remarkable radio address, putting Eden’s plans on the backburner.

We see immediate reactions from three royal women. The Queen Mother is hysterical. Queen Mary is told over her breakfast. It’s so interesting to see these women, who wear such familiar royal uniforms in public, dealing with their grief in their pajamas.

Margaret is paralyzed, listening to the rush through the halls of Sandringham House as the news breaks.

She seeks comfort with Townsend, who promises that he won’t leave her — a tall order, since he was the her father’s equerry. Townsend ends up taking a position with the Queen Mother’s household, over the objections of Tommy Lascelles, a decision that will echo throughout many episodes to come. Lascelles knows what’s up, and even though he basically threatens Townsend, Peter defiantly chooses to remain with the royal family instead of with his own family.

And Princess Elizabeth finally hears the news, too. Philip tells her privately, and then they meet with Martin Charteris to discuss logistics, including her regnal name. Note what’s missing here: Elizabeth is wearing small, era-appropriate earrings, but her pearls are gone. She’s the queen now, but she’s not wearing her uniform yet, because she’s also still just a grieving daughter. She set the pearls aside during her private Treetops holiday, and she has yet to put the uniform back on.

But that’s all about to change. As the car drives Philip and Elizabeth away from Sagana Lodge, a group of Maasai people emerge to watch them go. The camera lingers on one in particular: the elder and his elaborate crown. He watches the new queen go, and the look on his face suggests that he understands better than anyone else what she’s going through.

After she boards the plane that will take her back to London, Elizabeth is still wearing just small ’50s-style earrings (little stylized bows this time) but not her pearls.

But someone else is already back in uniform. Queen Mary writes a compassionate but forthright letter to her granddaughter, giving her advice about her new role and her responsibilities. Mary has clearly gone digging in her jewelry box, because she’s wearing the kind of jet jewelry that was popular during the endless, faddish public mourning of the Victorian era. Nobody really wore jet much in public after the Victoria’s reign ended, but Mary never was a woman to carelessly discard a piece of jewelry.

Her earrings, though, are also set with tiny seed pearls. Pearls are appropriate in numerous situations: with daytime attire, for mourning, and for the regal dress required of a queen.

Elizabeth and Philip’s plane lands, but because her dresser did not pack a black dress, they have to wait for appropriate clothing — the appropriate uniform — to be brought on board before they can walk down the stairs to greet her people. The episode lingers over the process of Elizabeth’s transformation from princess to queen here, showing her undressing and then putting on her mourning attire with the help of her dresser. Here, the camera focuses on the pearls resting in their jewelry box.

And, in an echo of the first scene of the episode, the dresser places them around Elizabeth’s neck — except this time Elizabeth is the monarch, not his representative. It’s not a costume anymore. “The Crown must win,” Queen Mary declares in a voiceover as the pearls are fastened.

For us, of course, it is a costume. The design team has replicated one of the Queen’s most famous outfits here, down to the jewelry. They’ve replicated the shape of the Flame Lily Brooch rather well, but unfortunately, they’ve made it much too big. Here’s a look at the Queen’s real-life ensemble.

Just before Elizabeth deplanes, she’s startled when Tommy Lascelles asks Philip to wait so that “the Crown” can go first. Here, we get our third “crown” of the series: the paper crown, the Maasai headdress, and now Elizabeth herself. She isn’t a just a person anymore; she is the human embodiment of all of the symbols of monarchy now. Albert Windsor was murdered by his brother; Elizabeth Mountbatten died when her father did, a fact that Queen Mary reminds her of in her letter.

We get a better look at the replica Flame Lily Brooch as Elizabeth and Philip travel to Sandringham.

And, of course, when they get there, everything is heartbreaking. The king’s body is laid out on his bed (in uniform, of course). Elizabeth is so overcome when she enters the room that she can’t even make herself look for a few moments.

When she emerges, the other Windsor women have their royal jewelry uniform firmly in place, and they begin to observe the traditional rules and regulations of monarchy. The Queen Mother curtseys first…

…and then Princess Margaret, still struggling with the changes, does too.

But the most startling curtsey of all comes from Queen Mary, who is an arresting, spectral, Victorian figure in her black gown, jet jewels, and black veil.

Everyone freezes, silently, as the eighty-four-year-old queen sinks slowly in a perfect curtsey.

Elizabeth’s shock and fear is plain on her face.

But Queen Mary just levels her with a serious gaze. These two understand each other, and they know the rules of the game, just as they know what uniforms they must wear to play it. Queen Mary has watched monarchies fall and family members die; she knows strength when she sees it. It should come as no surprise that, in a year’s time, Mary will bequeath an enormous cache of jewelry to her granddaughter. They both know that perception is everything.

I know many of us have been waiting on tenterhooks for the debut of Netflix’s The Crown, a fictional retelling of the early years of the reign of Queen Elizabeth II. Today, we’re discussing the jewels and the drama of episode one of the series, “Wolferton Splash.” Feel free to chat in the comments below, but please restrict yourself to the first episode — no spoilers (non-historical ones, that is) for those who haven’t seen subsequent episodes.

We begin in Buckingham Palace in 1947. King George VI is ill, and Princess Elizabeth is just about to marry Prince Philip of Greece and Denmark, a naval officer with one too many German connections for everyone to feel particularly good about the match. If you’re a veteran of royal films, you’ll recognize Claire Foy, the actress who plays Elizabeth, from her role as Anne Boleyn in the recent adaptation of Wolf Hall.

But he’s not Prince Philip of Greece and Denmark for long: he renounces his titles, becomes Lieutenant Philip Mountbatten, and is immediately given the Edinburgh dukedom by his soon-to-be father-in-law. He also gets a bit of new jewelry of his own, in the form of the insignia of the Order of the Garter.

Here’s a look at the production’s version of the Garter sash and badge.

Philip, played by Matt Smith of Doctor Who fame, mostly just wants a cigarette. (He famously gave up smoking in real life when he married Elizabeth.) The Garter sash looks a little weird here, but it’s because it was draped over his medals when he received it. The two of them banter a little about whether or not he can still back out of the wedding, and then they make out a little.

Elizabeth is adorably embarrassed by the whole thing. The costume designers have chosen to replicate one of the Queen’s real ensembles for this scene: the dress and jewels that she wore for some of her engagement photos at Buckingham Palace. Note the distinctive bows at the neck of the dress.

Next up: the royal wedding. We get some overhead shots of Westminster Abbey that resemble the camera angles from the real-life wedding of the Duke and Duchess of Cambridge, down to the positioning of the bride and groom. Time for my first (but not last!) historical nitpick: the Cosmati pavement, the mosaic floor of the Abbey, was covered with a carpet during this wedding.

Guests at the wedding include Winston and Clementine Churchill, played by John Lithgow and Dame Harriet Walter. (Again, if you’re a royal film vet, you’ll recognize Walter as Queen Adelaide in The Young Victoria.) Winston is hoping to reclaim the role of prime minister, and he basically uses their entrance at the wedding as a campaign appearance. Curious to hear what you all think of Lithgow’s casting — I don’t mind when actors don’t perfectly resemble the real-life figures they play, but I’m having trouble seeing Lithgow as the famous PM.

Production was fairly careful about reproducing the outfits worn by the Queen Mother (Victoria Hamilton, who played Queen Victoria in Victoria and Albert) and Queen Mary (Dame Eileen Atkins, who also played Queen Mary in Bertie and Elizabeth). Here’s a look at the two real-life women on the balcony after the wedding. (And for fun, here’s a very HQ version of the group photo.) The Queen Mum wears Queen Alexandra’s Wedding Necklace and Queen Victoria’s Diamond Jubilee Brooch. Queen Mary wears diamonds and pearls, most notably the Cullinan III and IV Brooch. Both wore the Garter on their left arms.

Here’s a closer look at the earrings chosen by the design team for the Queen Mum at the wedding. The production’s version of the earrings echo the pearl elements of the necklace — but the earrings that coordinate with Queen Alexandra’s necklace are simple buttons without drops (and were still owned by Queen Mary in 1947). On the wedding day, I believe the Queen Mother actually wore the Coronation Earrings.

And here’s a better look at Queen Mary’s diamonds and pearls.

The series was also extremely attentive to detail with Princess Elizabeth’s wedding jewels, attempting to faithfully reproduce Queen Mary’s Fringe Tiara, the Duchess of Gloucester’s Diamond and Pearl Earrings, and the Queen Anne and Queen Caroline Pearl Necklaces. (I have a whole post on the real jewels from the day — head over here!) Also: that’s Jared Harris on the right as King George VI. Among his many famous roles, he played King Henry VIII in the television adaptation of The Other Boleyn Girl.

Here’s a closer look. There are some issues with scale: the pearl necklaces are too small, and the earrings look a tad too big. The angle of the tiara is a little off, too. But overall, props for effort. It is extremely difficult to make these reproductions look real. (Also, the reproduction tiara is literally too well made — remember that the real thing broke on the morning of the wedding and was repaired hastily, leaving a weird space between two of the fringes.)

But one historical failure, which was clearly a deliberate decision, was the episode’s depiction of Princess Andrew of Greece and Denmark’s attire at the wedding. Philip’s mother did not wear her habit to the royal wedding; she wore it at Elizabeth’s coronation in 1953. Instead, Alice wore a gown, hat, and jewels that looked much like the ones worn by the other royal women present. (She’s standing next to Queen Mary in this photo.)

The series, though, is working to present a narrative of “Philip as outsider,” and putting Alice in the habit here is a visual shorthand for that. (The Queen Mum also sneeringly calls Alice “the hun nun” during the wedding photo session.) The other person in this photo: Lord Mountbatten, played by Greg Wise (AKA Mr. Emma Thompson). Several other family members, including Philip’s aunt (the Queen of Sweden!), were at the wedding but not depicted here, probably to simplify the storyline. I don’t love the “outsider narrative” for Philip for a million reasons, but we’ll see.

The show skips ahead several years in time, and we find Philip and Elizabeth living in Malta. This scene, which takes place at Lord Mountbatten’s Maltese villa, shows Philip’s promotion to lieutenant commander, which happened in real life in July 1950.

Elizabeth wears a necklace, bracelet, and earrings with her casual, Mediterranean-inspired party dress. I don’t think these are meant to be replicas of real pieces, just small, period-appropriate jewelry that might have been worn at a party in a more casual setting.

But the timeline’s a bit screwy here, because Prince Charles and Princess Anne are both present, and Anne wasn’t born until August 1950; instead, this scene has been moved forward to 1951 (and even then, Anne looks a little older than she would have been). Having both of the kids present is another narrative choice; along with the “Philip as outsider” storyline, the show is also developing a conflict between Elizabeth and Philip over their parenting choices, with Elizabeth depicted as being more detached and focused on duty, and Philip as a more hands-on parent.

During the celebration, a call comes from Buckingham Palace. Martin Charteris (played by Harry Hadden-Paton, AKA Downton Abbey‘s lovable marquess, Bertie Pelham) pulls Elizabeth aside. It’s bad news. Philip, Elizabeth, and the children return to London immediately. (Sidenote: Hadden-Paton is excellent casting for Charteris; the two look very much alike.)

Back in London, the king is in surgery. (In real life, this happened in September 1951.) Nobody in the family, even the king himself, realizes that he has cancer, but surgeons remove his lung in a makeshift operating room in the palace. For this tense scene, the production chose to put Elizabeth in a real-life piece of jewelry, and an important one, at that. It’s the Flower Basket Brooch, given to Elizabeth by her parents in 1948 after the birth of Prince Charles. It makes sense that Princess Elizabeth would choose a sentimental piece of jewelry from her parents for this particular moment, especially as the episode underscores the relationship between Elizabeth and her father.

The show also demonstrates the similarities between Elizabeth and her grandmother, often placing them together in frame. Mary, who has been a witness to the ups and downs of monarchy since the days of Queen Victoria, is depicted as a woman with a keen understanding of power — something her granddaughter is just coming to grips with. But she’s also a mother, and she needs a stiff drink when her son is in surgery. The moment gives us a good look at her pearls, too.

The king survives his surgery, and everyone is relieved. Two things of note here. First, Mary’s brooch, which isn’t a replica of a particular piece, but seems to be inspired by Mary’s real-life jewelry aesthetic. And second: look at the positioning of the women here. Queen Mary and Princess Elizabeth are placed on either side of the frame, both standing strongly and firmly as they’re given the news. Princess Margaret and the Queen Mother, both presented in this series so far as more emotionally vulnerable, are together in the middle, fading into the background. Strength is clearly the priority.

Speaking of Princess Margaret, here’s a look at the pearls she wears in one of the following scenes. (She’s played by Vanessa Kirby, whose previous royal role was as Queen Isabella in a production of Marlowe’s Edward II.) She wears a double-stranded pearl necklace and pearl earrings (clip-ons, it appears) at the lunch, where Princess Elizabeth realizes that her sister is in love with the king’s married equerry, Peter Townsend. Oops!

By the time the family travels to Sandringham for Christmas, Churchill has returned as prime minister, and the king has been told that he has cancer. But the rest of the family is (so far) blissfully unaware. Princess Elizabeth wears another “inspired by” diamond brooch, rather than a familiar reproduction from her real-life collection. In the background, Princess Margaret is also wearing a brooch, but it’s not clear enough to scrutinize properly.

But everything starts to unravel a bit when a group of local villagers stop by Sandringham House to sing a Christmas carol for the royal family.

The song they’re singing is Rossetti’s “In the Bleak Midwinter,” which depicts Christ arriving in the midst of a hard, frozen, lowly world. It also includes a lengthy meditation on what gifts are appropriate to give to the Messiah. The littlest caroler steps forward to offer the king a gift: a paper crown, which he finds amusing and immediately puts on. It’s worth noting that this is the only actual crown depicted in the first episode of The Crown — so pay attention to it.

The women of the family are charmed by the gift, and by the king’s decision to join the carolers to sing the end of the song. Although it’s evening — and Queen Mary famously wore a tiara to dinner every night — the ladies are wearing more casual evening clothes and jewels. Most of these don’t appear to be exact reproduction attempts, although the necklace worn by Princess Elizabeth slightly resembles her real-life diamond festoon necklace — which was, appropriately, given to her by her father.

The king finishes the song, wearing his paper crown, singing aloud the verse where he wonders what presents he, an unremarkable person, could possibly give that would be worthy of Christ. It’s all very King Lear — the king who once reigned over a victorious Britain, humbling himself while wearing a child’s facsimile of the greatest symbol of his power. And then, even more Lear-like, the king who has just learned that he is dying begins to cry.

And Queen Mary and Princess Elizabeth, two women who are sharply attuned to presentations of power and strength, immediately understand that something is very, very wrong.

Later, the king asks Elizabeth to come to his study. The paper crown is sitting on his desk, and Elizabeth picks it up and turns it over in her hands for a moment before setting it atop another important symbol of royal power: the red box. The pair converse a bit about what it’s like to be monarch, how to do the paperwork, etc. Bertie is clearly signaling to Elizabeth that she needs to be aware that she will be monarch sooner rather than later. He also asks her to take his place on the upcoming Commonwealth tour. She worries that she’s not ready (although in real life, she and Prince Philip had just returned from a month-long tour of Canada).

At the end of the episode, while Philip and the king are off hunting ducks, Elizabeth returns alone to the king’s study. The flimsy paper crown — the one given to the king directly by one of his subjects — sits beside the imposing red box, filled with papers related to his government.

Elizabeth slowly walks around the desk, and the framing of the scene gives us a moment when the crown and the box (two symbols of her role as monarch) are shown beside her engagement and wedding rings (two symbols of her role as wife) — clear foreshadowing of the tensions that will continue to develop over the course of the series.

And we finish with Elizabeth standing behind the desk, looking completely terrified as she stares down at the box and the crown — she’s beginning to know, just as we do, that big changes are on the horizon. (And a final jewelry note — I think this is also an “inspired by” brooch, not a repro.)

Claire Foy stars in Netflix’s upcoming The Crown (screencap)

Yesterday, Netflix released another trailer for The Crown, their upcoming series about the life of Queen Elizabeth II. Starring Claire Foy as Elizabeth and Matt Smith as Prince Philip, the ten-part series premieres on Netflix on November 4. Let’s have another look at some of the jewelry included in this new preview, shall we?

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Scenes from Elizabeth and Philip’s wedding are included in this new trailer, with two separate looks at her jewels from the day. Above, as she’s arriving at Westminster Abbey, we see her wearing the production’s versions of Queen Mary’s Fringe Tiara (which famously snapped during her pre-wedding preparations), the Queen Caroline and Queen Anne Pearl Necklaces, and the Duchess of Gloucester’s Pearl and Diamond Earrings.

For comparison’s sake: the Queen’s real jewels on her wedding day. Here’s the extensive post we did a few years ago on her wedding jewelry.

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And here’s one more look at the production’s version of the wedding jewels. General observation: it’s tough to make a fake tiara look real.

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We see Elizabeth in mourning (presumably for her father, King George VI), wearing her usual pearls-and-brooch combination. This doesn’t appear to be a facsimile of any of her real brooches, which I think is a smart move. (I also think it’s necessary, because I can’t recall seeing any photos that clearly show her brooch from the day.) Better to gently reference some of the jewels than to imitate them badly, perhaps?

Here’s the real Queen Elizabeth in mourning for her father at his funeral in February 1952.

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The new Queen tries on St. Edward’s Crown in this image. If it’s hard to make a faux tiara look real, it’s really hard, apparently, to make a fake crown look like a real one. The metal here is very plastic-y looking.

St. Edward’s Crown (Photo: JACK HILL/AFP/Getty Images)

Here’s the real crown, pictured at a 2013 service at Westminster Abbey marking the 60th anniversary of the Queen’s coronation. The crown is one of the oldest pieces of the crown jewel collection, and it’s basically only used to crown the monarch. (It otherwise remains in the Tower of London.)

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Elizabeth wears the production’s versions of some very familiar jewels — the George IV Diadem, the City of London Fringe Necklace, and the Greville Chandelier Earrings — in the final image from the trailer. If the entire look feels familiar, actually, there’s a reason why…

The reference is clearly this portrait, taken in 1953. The production has replaced the brooch with Elizabeth’s family orders (those of George V and George VI).

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Here’s a look at Dame Eileen Atkins as Queen Mary, who strides so forcefully down this corridor that her earrings are blurry.

The Queen wears the Kensington Bow Brooch at her mother’s funeral in 2002 (Photo: TOBY MELVILLE/AFP/Getty Images)

Dame Eileen’s version of Queen Mary is wearing a brooch that appears to share some features in common with the Kensington Bow Brooch, though it’s not an attempt at an exact copy.

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But here’s the biggest jewel puzzle of all from the new trailer: Princess Margaret (played by Vanessa Kirby) wearing a very, very familiar necklace…

The Queen wears Queen Victoria’s Golden Jubilee Necklace at the State Opening of Parliament in 2001 (Photo: ADRIAN DENNIS/AFP/Getty Images)

Yep, you’re right — that’s Queen Victoria’s Golden Jubilee Necklace on Margaret. If you’re confused, you’re in good company: the necklace is an heirloom of the crown, which means it is worn by queens regnant and queens consort, not princesses. Maybe we should give The Crown the benefit of the doubt: perhaps there’s a storyline about Margaret sneaking pieces out of her sister’s jewelry box? I assumed that her anger in the trailer was about the Townsend affair, as it usually is in films about Margaret, but maybe she’s just being defensive about her obvious jewel theft???

Here’s a look at the trailer. What are your thoughts on the jewels?