Her life is often remembered as tragic: an unhappy marriage to Prince Charles, a complex private life hounded by paparazzi, a shocking death in a car crash at the age of 36.
This complexity has inspired countless television and film adaptations of her life.
This is a soapy rendering of Diana’s marriage, but the plot generally sticks to the story that “The Crown” later explored with more nuance, and the differences between the couple are evident from the start.
Her portrayal of the princess is sympathetic and she frequently reacts to Charles’s mistreatment, screaming at him after she finds a photograph of Camilla on their honeymoon and throwing herself down the stairs while pregnant with her first child.
“Diana: The Musical,” written by Joe DiPietro and Bon Jovi’s David Bryan, had its Broadway run swiftly shuttered because of the pandemic.
The ghost of Diana sparked a British tabloid storm, particularly when it was set to be broadcast soon after Prince Harry spoke about the impact losing his mother had on his mental health.
“I feel so happy to have done the arc of her life that I did, but for me it feels like a very closed chapter.
The film focuses on Diana’s charity work and desire to live a “normal” life, but she is depicted to be increasingly isolated, upset that Khan does not want to make their relationship public.
In the years since Diana’s death, the British tabloid press has speculated wildly about the official account of the traffic accident that killed her, fueling conspiracy theories.
The short, which was shown at the Venice Biennale, shows Diana embraced by the local community after helping to improve their living conditions and teaching them yoga.
After the media discovers her whereabouts, a local is interviewed about what life was like before Diana arrived in the neighborhood: “No one, no cops, no ambulances.