Warning: Reviews of The Crown season 6 will contain spoilers.

Does The Crown need a villain? The early proceedings of each of these episodes in season 6 so far show that Peter Morgan is choosing to show Mohamed Fayed as the puppet master of Diana and Dodi’s fateful night in Paris. I said previously that I don’t necessarily have a problem with this, and generally like the Greek tragedy angle of the show in this regard, but I can’t deny the optics of the show’s only non-white characters being portrayed so negatively.

Even Dodi himself doesn’t appear to be the hero here, as he goads Diana into leaving her safe place on the sea and going into town. She only gets a precious few moments of private enjoyment before the paparazzi invade her privacy. It’s insane how quickly things have escalated since the events of Two Photographs, and how quickly the paparazzi have multiplied, even lurking on the horizon away from Dodi’s yacht. The noise is constant, even in the privacy of a fancy French restaurant, as the whispers and chirps of everyone around them forces Diana and Dodi to retreat once again into their hotel room.

The feeling of dread lingers over virtually every shot in the episode, even before it becomes clear that this will be Diana and Dodi’s final night. Debicki plays Diana’s exasperation and misery perfectly – all she wants is to retreat back home and be with William and Harry. She even goes so far as to reject Dodi’s marriage proposal, showing that she wasn’t just a lovesick puppy looking to marry on the rebound. Abdallah should pick up some serious awards consideration next year; his final scene in the hotel room is heartbreaking as he can’t muster the courage to stand up to his father.

Almost all of Dis-Moi Oui follows Diana and Dodi, with the exception of the brief scenes in Scotland, as Philip encourages William to go on his first solo hunting trip. In true Peter Morgan fashion, it’s an obvious metaphor, brief as it may be. William has become a man in the Crown’s eyes, but is forced to do so even more after the events of that night.

Like most of The Crown, Dis-Moi Oui may take some artistic liberties with the facts, but it remains riveting dramatic television regardless. The biggest question that fans of the show had on their minds going into this season was how Morgan would handle Diana’s death – not only practically speaking, but in the story. Now that we have the answer, I’d say it does a fine enough job of blending the facts as we know them and creating compelling character arcs. Does the emergence of Mohamed as the season’s villain change anyone’s perspective on the tragedy of Diana and Dodi? Probably not, but give Peter Morgan credit where credit is due: he’s made a depiction of a famous real-life event into something worth watching.