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In the cultural consciousness, the memory of Diana, the virgin, and Diana, the estranged rebel princess, gradually gives way to Diana, the universal mother.
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In the 2017 documentary Diana, Our Mother: Her Life and Legacy, they share photographs from Diana’s personal albums and recount their favorite childhood memories of “Mummy.” No doubt, these are genuine remembrances of a loved one, but they also work strategically to humanize the royal family. Offscreen, the KFC trips, the school drop-offs, and her general hands-on parenting style have been used to gloss over Diana’s “rebel princess” image-and the royal family’s complicity in furthering that image-in favor of the more domesticated label of devoted mother.” In their media appearances, both William and Harry frequently share snippets of information about Diana’s parenting and humanitarian work.
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In the film, this is a moment of rebellion, the point when Diana decides to break free from Charles and the royal family. One of the final scenes in Larraín’s Spencer reproduces her trips to KFC with William and Harry. The moment of her death, according to media and cultural studies scholar Raka Shome, was used to organize “a national myth…around the body of a white upper-class heterosexual woman whose every aspect was being linked to ‘the people,’ both in the United Kingdom and beyond, and who came to signify a new (white) postcolonial British identity.”Īn equally potent archetype has been built around Diana’s motherhood.
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…Diana who was flesh and blood, the English woman who died in the tunnel in Paris had already become a myth and more than that…” (emphasis mine).
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Dateline NBC correspondent Keith Morrison may have been on to something when he said this about Diana’s funeral: “All around the world a strange thing happened. For such one-sided bonds to persist more than two decades after a person’s death, something more must be at play. This phenomenon, known as a parasocial relationship, can only partly explain the obsession with Diana. What explains this fascination? Why the abiding worldwide emotional investment in a white, upper-class, heterosexual British woman most of the world’s population did not know? Media studies scholars tell us that people often form intimate but one-sided bonds with celebrities or public figures, mediated by television or the internet through repeated exposure. Most recently, the wide release of Pablo Larraín’s biopic Spencer, which chronicles the Christmas at Sandringham House in 1991 when Diana decided to leave Charles, is a testimony to the power that Diana-but more specifically, the image of Diana-still exerts over popular imagination.
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Her life has been retold through countless films and documentaries, multiple television series and biographies, and even a Broadway musical. An entire online industry is now dedicated to collecting and selling Diana artifacts. Investing in Diana memorabilia remains a thriving business. Each year, the anniversary of her death is marked by mandatory reminiscing about the intimate details of her private life, recounting of conspiracy theories about the car crash that killed her, and inclusion in listicles of “where were you when…” moments. The story of the young kindergarten teacher who married the heir apparent to the British throne, found herself in an unhappy marriage, struggled with debilitating mental health issues, and died tragically young is burned into Western public consciousness.
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See the W3C color names for a full list of color names or look for (W3C) in the table below.More than two decades later, that fascination with her is alive and well. For example, in HTML tags and CSS that use color codes, you could use "red" instead of "#FF0000". With these colors, you can also use the color name.
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For example, in the color red, the color code is #FF0000, which is '255' red, '0' green, and '0' blue. HTML color codes are hexadecimal triplets representing the colors red, green, and blue (#RRGGBB).