As formidable marketing boss Sylvie Grateau in the Netflix drama Emily In Paris, Philippine Leroy-Beaulieu won rave reviews from critics.

And the actress's star continues to rise - as she reveals today that her next TV challenge will be in the new series of The Crown.

While the 58-year-old remains coy about who she will play in the forthcoming fifth series, which covers the 1990s, including the fire at Windsor Castle and the collapse of several Royal marriages, she admits: 'I was so, so happy to be in it.'

But The Mail on Sunday understands Philippine will play Monique Ritz, the widow of Charles Ritz, who sold the famous hotel in Paris to Mohamed Al Fayed in 1979.

Her scenes are part of a back-story that culminates with the death of Princess Diana and Mr Al Fayed's son Dodi in a crash in 1997 after they left the hotel.

In an exclusive interview with You magazine, Philippine reveals she turned down many roles similar to that of Madame Grateau, the no-nonsense Parisienne businesswoman in Emily In Paris, who clashes with young American marketing executive Emily Cooper, played by Lily Collins.

 'I have received a lot of offers but I have been lucky enough to be able to turn them down because they lacked imagination,' says Philippine, who also starred in the Netflix series Call My Agent.

If you cherished this write-up and you would like to obtain extra details regarding como empezar un xxx porn kindly visit our internet site. She adds: 'I don't want to be typecast. I've already been a French bitch and she is perfect. I don't need another one. So I will wait and trust that the right thing will come along.'

One of those 'right things' was Peter Morgan's controversial drama based on the life of the Queen. Philippine says: 'It was a very small thing but it was a lot of fun and I was so, so happy to be in it.
Every episode is like a little film on its own. It's crazily well written.' 

Like The Crown - which has been accused of historical inaccuracy - Emily In Paris has been criticised by some in France for stereotypes ranging from berets to baguettes.

Philippine says: 'Some liked it, others hated it.
But it's meant to be fun and not taken seriously.'

The frostiness between Emily and her French colleagues is a central theme and, says Philippine, had echoes off-screen too. 'The Americans on the show did come to Paris thinking the French didn't know how to make TV and movies,' she says.

'One of the directors even told me they didn't know if the French crew were going to work as well as the Americans.' She adds with a laugh: 'We did invent cinema, by the way…

'It's the same as with Lily's character Emily. She comes to the office and declares, 'You don't know how to work, I'm going to show you all how to.' She's a Miss Perfect, a know-it-all, which triggers Sylvie.
And it triggered us French when the Americans were like that, too.'

Emily In Paris' French costume designer tells how life mirrored art in creative clashes with US colleague

The culture clash between the worlds of French and American style provides some of Emily In Paris's richest entertainment.

And now the French designer behind its scene-stealing outfits has told how real life echoed the story lines when tensions built up between her and the show's veteran US costume consultant.

In a brutally frank appraisal of her relationship with Patricia Field - that would no doubt impress tough marketing chief Sylvie - Marylin Fitoussi says: 'I am the costume designer.

She's consulting, meaning that she approves or disapproves of the look. And when she doesn't approve my look, we fight. It's complicated - let's put it that way. She validates looks and sometimes I forget to ask her opinion!'

Ms Fitoussi tells how she even wrote to organisers at the Costume Designers Guild Awards to ask why Ms Field, 80, famous for her work on Sex And The City, had been nominated alongside her in the Excellence In Contemporary Television Award category, which the big sexy women xxx last month won jointly.

She adds wryly: 'It is the mystery of fame and the US.'

In an exclusive interview with You magazine, she tells how she became more forceful with Ms Field and the executive producer Darren Star for the second series, particularly with Sylvie's look.

She says: 'They have this American idea of the French elegance - a bodycon dress and high heels.

'In the beginning I didn't have the skills to say, 'No, this is not the French way.' So for season two we decided to go with a few more extreme looks for Sylvie - like her red trouser suit.'