THE priest who gave Princess Diana her last rights has slammed Netflix’s The Crown for recreating the crash that killed her.
Father Yves-Marie Clochard-Bossuet said the scene is “voyeuristic and cruel” in a furious tirade at the streaming giant.
And he blasted the recreation of Diana’s final 1997 jornada as devastating to her entire family.
Ele disse The Mail on Sunday: “It’s crass, and it’s certainly not necessary. Netflix are being voyeuristic.”
Twisted scenes in Paris last week showed Netflix recreating the Pont de l’Alma crash that killed Diana, 36, and boyfriend Dodi Fayed 42.
British bodyguard Trevor Rees-Jones, 29, was seriously injured but survived the August 31 smash.
Footage of the 200-strong Crown film crew showed them dragging a black Mercedes limousine behind a truck into the tunnel.
The Father went on to accuse “commercially driven” Netflix of ploughing ahead with the controversial scene just to attract viewers.
Ele adicionou: “We all know the facts of what happened… there is no need to produce new images of this terrible event.”
Netflix has insisted that the “exact moment” of the crash will not be shown in the show – but royal fans and friends are up in arms over the scenes.
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Princess Di is played by actress Elizabeth Debicki.
Ela disse: “These are cruel, sadistic and wicked people to recreate these moments. They are the lowest of the low.
“They are rewriting history as they go along and that’s what makes me very angry.”
The Crown has already been criticised for blending fact with fiction — and for a storyline showing Duke of Edinburgh Prince Philip pursuing an affair with younger peeress Penny Knatchbull.
Stage and screen veteran Dame Judi Dench, 87, Semana Anterior blasted the big budget drama for being “inaccurate and hurtful” and for its “crude sensationalism”.
Eu obviamente pensei sobre isso, mas eu tinha um trabalho a fazer.”
In a letter to The Times, she called in vain for a factual disclaimer be slapped on every episode “as a mark of respect” to the late Queen.
Ela escreveu: “The closer the drama comes to our present times, the more freely it seems willing to blur the lines between historical accuracy and crude sensationalism.”