The answer lies within Chris Mullin’s excellent 1982 novel, A Very British Coup. Written in the dark days of early Thatcherism, Mullin envisaged a future (the late 1980s), in which Perkins, a working-class hero and onetime Sheffield steelworker leads the Labour Party to an unexpected General Election victory on a manifesto not dissimilar to the one Labour lost on in 1983. Perkins’ Labour Party is thoroughly socialist and the new government quickly embarks on fulfilling the radical agenda it has been elected on: dismantling Britain’s nuclear deterrent and leaving NATO, breaking up the newspaper monopolies, redistributing wealth and more.
Needless to say, the establishment: the civil service, the media and the security services are horrified. They immediately begin conspiring with the US (who, viewing things through a Cold War prism, see Britain as having “gone over to the other side”) in a bid to thwart the programme of the democratically elected government. It is a great read.
Mullin was writing at a very volatile political time. In 1980, the new Thatcher government was already proving to be such a complete disaster that it seemed hopelessly doomed. For much of 1981, the SDP, not Labour, seemed set to replace them. By the post-Falklands summer of 1982, the resurgent Tories again seemed unbeatable, as indeed, proved the case, the Iron Lady having staged her own very British coup in the South Atlantic. We are in very volatile times again now. The future in the Brexit era is very hard to foresee.
In this long-awaited sequel, Chris Mullin (now a former Labour MP himself) creates a convincing near future which cleverly not only seems sadly only too plausible but which also makes sense in the context of what has happened in the earlier book.
It is the 2020s. With Brexit having proven a miserable failure, serious consideration is being given to a humiliated Britain going crawling cap in hand and applying to rejoin the EU. Trump has left office, but has left the international situation thoroughly de-stablised. Today’s leaders have left the political stage. A King is on the throne, as he was in the earlier novel. Labour seemingly locked in perpetual opposition under an ineffectual woman leader seems poised for a takeover by the former aide of the recently deceased former Prime Minister, Harry Perkins, Fred Thompson (Mullin isn’t much of a one for glamorous character names). As so often happens, Perkins, the scourge of the status quo in life is now hailed by left and right alike as a great leader of the past, now he is safely dead. Thompson was played by Keith Allen in the acclaimed 1980s TV version of the book is still middle aged (Mullin admits to some authorial sleight of hand here: only ten years have passed since the events of the first book, not thirty or forty).
But can Fred Thompson succeed in leading Labour back to power and restoring Britain to it’s former glory? Will his family difficulties or a rising tide of violence threatening to engulf British politics get in the way?
The Daily Telegraph describes this book “preposterous.” Presumably, they mean “preposterous” in the sense that it doesn’t mindlessly back Brexit or shamelessly back Boris Johnson’s leadership bid as that newspaper did.
This is perhaps – like Thompson himself -not quite the equal of its illustrious predecessor. But it is a fine sequel and an excellent, short-ish read.
(Special awards for people who manage to stay alive long after you think they’ve died). 1. Olivia de Haviland (103). Actress. Star of Gone with the Wind (1939). Born before the Russian Revolution. To put things in perspective, the three other stars of Gone with the Wind died in 1960, 1967 and 1943. 2. Bill Tidy: Cartoonist. Used to be on TV a lot. A British, non-perverted Rolf Harris (85). I’m sure that’s how he’d want people to think of him. 3. Kirk Douglas (102). Born 13 years after the first aeroplane flew. “I’m Spartacus!” “I’m Spartacus!” “I’m…very old.” 4. Sirhan Sirhan (75). Assassinated Robert Kennedy in 1968. In prison ever since. 5. Lady Clarissa Eden, the Countess of Avon (99). Niece of Churchill. Widow of Sir Anthony Eden (1897-1977) who was Prime Minister (1955-1957) before Theresa May was born. She was the second wife of Eden, one of only three divorced men to become British Prime Minister. The third was Boris Johnson. 6. Former senator Bob Dole (96). Widely seen as too old when he ran for US president in 1996. Sample jokes from the time: “Dole was hit hard by his divorce…his first wife got to keep the cave.” “When Clinton sees a glass of water, he thinks: ‘oh dear. It’s half empty’. When Dole sees one he thinks, ‘oh great! Somewhere to keep my teeth!’” 7. Sidney Poitier. Actor (92). Huge in the 1950s and 1960s. 8. Rose West: murderer. Not that old (65). A bit surprised she’s still around though. 9. Frank Williams (88). The vicar in Dad’s Army. 10. Betty White (97). Last of the Golden Girls. 11. Jerry Lee Lewis (83) Musician. Great Balls of Fire. 12. Kim Novak (86). Star of Vertgo. 13. Tippi Hedren (89). Why do birds suddenly appear, every time she is near? 14. Dick Van Dyke (93). “I’m Dick van Dyke! I hope you are too” Google him and it comes up with ‘Dick Van Dyke causes of death’. But he isn’t dead. Diagnosis: Old.
Director Stanley Kubrick considered withdrawing the film soon after release in response to tabloid reports that groups of young men had been launching ‘copycat’ manned space expeditions to the planet Jupiter.
Conspiracy theorists have speculated that Kubrick made the film as part of a plot to fake the 1969 Apollo 11 moon landings. This is, of course, nonsense. He was already too busy faking the Vietnam War.
The final line of the film is “My God! It’s full of stars!” This claim is untrue: in fact, there are no Hollywood stars in it. Leonard Rossiter is literally the most famous person in the film and even he hadn’t been in ‘Rising Damp’ then.
The apes at the start of the film are speaking in genuine prehistoric dialect. Roughly translated, they are saying things like: “God, this is taking a while to get going isn’t it?” “Hey! Watch what happens when I throw this bone in the air!” and “Shit! Where did that big black thing come from? That wasn’t there just now…”
Ever the perfectionist, Kubrick made one extra throw the bone in the air 7,674 times, even before he switched his camera on.
The song ‘Daisy Bell’ was not Kubrick’s first choice for the famous HAL shutdown scene. He had originally planned to use the song, ‘Cinderella Rockerfella’ sung in duet with another computer voiced by Barbara Streisand. This didn’t happen only because Kubrick never thought of it.
Although authentic-looking, very few of the scenes were actually shot in space.
Stanley Kubrick originally planned to film the movie in real time, starting in the prehistoric era.
Some viewers reported finding the film overlong. Some even claimed it was longer than the actual year, 2001 itself, including those who had watched it during the year, 2001.
A pilot for a spin-off TV sitcom , ‘You Can Call Me HAL,’ in which the computer sang ‘Daisy Bell’ during the credits and occasionally killed people was made, but never aired as it was shit.
Some have noticed that if you move the letters of the name ‘HAL’ one letter back in the alphabet it spells out the initials: ‘GZK’.
Things which the film predicted correctly about the year 2001: there would be some were people around doing stuff with computers and space. Things it got wrong: manned space expeditions to Jupiter, computers don’t usually take that long to shut down, classical music wasn’t that popular.
Kubrick was reportedly disappointed that very few people really thought the flying bone had actually turned into a spaceship.
He also was surprised so many people guessed the ‘twist’ that the planet of the apes at the start was supposed to be Earth.
Alternative names for the film which were considered were: Million Dollar Space Baby, The Keir Dullea Movie, Monolithicent, Kubrick’s Pube and The Apes of Wrath.
Ten ways in which the world would really have been different without the Fab Four…
The hit Danny Boyle film, Yesterday envisages a world in which the biggest band of all time had never existed. But what if they really hadn’t? Consider…
First things first: the early series of Thomas The Tank Engine would not have been narrated by Ringo Starr. Someone else would have to have been found to do it instead, wasting considerable time and expense.
The career of the talented multimedia artist, Yoko Ono would have been allowed to continue without interruption, rather than being crudely sidetracked.
“Yellow matter custard dripping from a dead dog’s eye, crabalocker fishwife, pornographic priestess, man, you been a naughty girl, you let your knickers down, I am the eggman, we are the eggmen, I am the walrus, Goo goo g’joob”. Out of context, such lyrics would just sound like drug-induced nonsense. Imagine!
The career of fashion designer Stella McCartney would never have happened. This would obviously…er…have huge effects for everyone.
It is quite likely (although not certain) Linda McCartney’s vegetarian and vegan food range, would not have been launched. Julian Lennon would have not had a 1984 number 6 hit with ‘Too Late For Goodbyes’ either.
Pete Best would probably feel better about how his career has gone.
None of the Beatles’ post-Beatles careers would have occurred. Imagine no Mull of Kintyre. No Frog Chorus. So This Is Christmas. Imagine no…Imagine.
The film explicitly stated that the Beatles-influenced Oasis had never existed either, in which case, isn’t it a bit surprising Jack didn’t have a go at an Oasis track too? Although perhaps not Cigarettes and Alcohol, as cigarettes are another one of the things that don’t exist in this world. One wonders if Oasis would still have existed in some form anyway or how strongly they or other bands would have been affected by the Beatles’ absence. Would Madonna sound the same? Would Lady GaGa? Would Martin Amis have written in the same way? Ultimately, we will never know.
The Monty Python film, The Life of Brian would not exist as it owes its existence to George Harrison financially bailing the film out, as he wanted to see it himself. Eric Idle’s post-Python parody, The Rutles would also not exist.
Needless to say, the Beatles’ films, A Hard Day’s Night, Help! and Yellow Submarine would never have been made without The Beatles. Nor would any films inspired by them such as Backbeat, the little-seen Across The Universe. Or Yesterday.
The popular TV cartoon series, He-Man and the Masters of the
Universe ran from 1983 until 1985. Essentially designed to promote the Mattel
toy range of He-Man action figures, the series was based around Adam, a prince
on the planet Eternia and his ongoing struggle for control of Castle Greyskull
with his rival, the malevolent Skeletor. By declaring “By the power of
Greyskull!” Adam could transform into the all-powerful He-Man. There were a
whole host of other characters, plus a spin-off entitled She-Ra in 1985, aimed
Despite being set on a mythical world, He-Man would often end with
a straight to the camera moral message to the audience from some of the
characters. These were sometimes edited out of the British transmissions.
Here are just some of them:
no magic drugs (He-Man)
today’s story Ilena tried taking a magic potion which she thought would help
her. Well, she found out there aren’t any magic potions. And you know what?
There aren’t any magic drugs either. Anytime you take one from anybody but your
parents or your doctor, you’re taking a very big chance. Your gambling with
your health, maybe even your life. Drugs don’t make your problems go away, they
just create more.”
Skeletor would be especially well advised to stay off cocaine as he doesn’t
have a nose.
when doing practical jokes (Man-At-Arms)
“You’ve all seen how Orko’s magical tricks don’t
always go the way he planned. Sometimes they backfire on him. The same thing is
true of practical jokes. Sometimes they don’t go the way you planned, and you
or someone else can get hurt. So be sure and think twice before playing a joke
or a trick on anybody. It might not go the way you planned and someone could
wind up losing a finger or an arm, or maybe even an eye. And no joke is worth that
is it? See you again soon.”
Bloody hell! An arm or an eye? What sort of practical
jokes were they thinking of? One involving a chainsaw???
Respect Magna Carta (He-Man and Teela)
“A very long time ago a wonderful document came into being. It was called
the Magna Carta.”
“It was the first big step in recognizing that all people were created
equal. But even though more laws have been passed to guarantee that, there are
still those who try to keep others from being free.”
“Fortunately Queen Sumana realized in time that only by working together
could her city be saved. And that’s the way it should be. Together.
they had Magna Carta on Eternia too then? I didn’t know they even had it in the
ram things too much (Ram Man)
today’s story I sure was busy. Boy, did that hurt. Ramming things may look like
fun, but it really isn’t. Trying to use your head the way I do is not only
dangerous, it’s dumb. I mean you could get hurt badly. So listen to Rammy, play
safely and when you use your head, use it the way it was meant to be used, to
think. Until later, so long!”
that? If you’re ramming while reading this, please stop immediately. Ram Man
(not to be confused with ‘Rainman’) was a minor character. He’s wrong about
this though. Ramming is definitely fun. Ram Man, thank you man.
Sleep properly (Orko and Cringer)
“Hi, today we met some people who had slept for over two hundred years.
Well, we don’t need that much sleep, but it is important to get enough sleep.
So here’s some things to remember. Don’t eat a lot before going to bed, a glass
of milk or a piece of fruit makes a good bedtime snack. Try to go to bed at the
same time every night, and avoid any exercise or excitement before going to
bed. Well, goodnight. Oh, goodnight Cringer!”
eating fruit before bedtime really help you sleep? I’m not convinced.
all have a special magic (Sorceress)
“Today we saw people fighting over the Starchild, but in the end
her power brought these people together. It might surprise you to know that all
of us have a power like the Starchild’s. You can’t see it or touch it, but you
can feel it. It’s called love. When you care deeply about others and are kind
and gentle, then you’re using that power. And that’s very special magic indeed.
Until later, good-bye for now.”
was clearly to busy building a nest to read the first moral, Sorceress. Stay
off the magic drugs!
Your brain is stronger than
any muscle (Man-At-Arms)
“Being the most powerful man in the universe isn’t all that makes He-Man such a great hero. Being strong is fine, but there’s something even better. In today’s story He-Man used something even more powerful than his muscles to beat Skeletor. Do you know what it was? If you said, ‘his brain,’ you were right. And just like a muscle, your brain is something you can develop to give yourself great power.”
I’m not sure Man-At-Arms was
the best choice to put forward this argument, to be honest. He has “university
of life” written all over him.
Play it safe (He-Man and Battle Cat)
He-Man: “I’d like to talk to you for
just a moment about safety. When we go to the beach there are lifeguards there
to watch out for our safety. Crossing guards are in the street for the same
reason, to help protect us. Now things like that are fine, but we can’t count
on someone always being around to protect us. We should practice thinking of
safety all the time. So don’t take a chance. And that’s true whether you’re
crossing a street, or driving a car. Think safety.” Battle Cat: (Roaring)
The beach? ‘Crossing
guards’? Has He-Man been to Earth at some point? And what does “practice
thinking of safety” mean? Nice of Battle Cat to contribute here too. Much
Learn from experience (He-Man and
He-Man: “As we’ve just seen Skeletor went
back into the past to make evil things happen. In reality no one can go back
into the past, that’s only make-believe. But we can try to learn from the past,
from things that have happened to us, and try to apply them toward being better
people today. Remember, it’s today that counts. So make it the best day
possible. Until next time this is He-Man wishing you good health and good
Battle Cat: (Roaring)
Learn from he mistakes of
history. But also live for today: that’s all that matters. Make your mind up,
No job is unimportant (He-Man)
“Have you ever had a
job to do you thought was boring and unimportant. We all have. Opi did. But no
job is unimportant. Opi learned that if he’d done the little jobs his father
gave him, things would not have gone wrong. So remember, any job worth doing is
worth doing well. No matter how dull it may seem at the time. Bye for
Sadly, this one isn’t true.
Some jobs are both boring and unimportant. Writing the moral messages at the
end of children’s TV cartoons, for example.
Fighting is bad (Teela)
“Some people think the
only way to solve a difference is to fight. Skeletor for example, his answer to
every problem is fight. He doesn’t care who’s right or wrong. He thinks that
might makes right. Well, it doesn’t. He-Man knows that, even with all his
power, he always tries to avoid fighting. Fighting doesn’t solve problems.
Fighting only makes more problems. See you soon.”
Bloody hell! This is a bit
rich. He-Man spends half of every episode fighting.
Read a book (He-Man)
“I hope you enjoyed
today’s adventure. You know television is not the only way to be entertained by
an exciting story. There is another way; it’s called reading. And one of the wonderful
things about books is that they allow you to choose whatever kind of adventure
you like; a trip with an astronaut, an adventure with the great detective
Sherlock Holmes, a comedy, anything. You can find it in a book at your school
or neighbourhood library. Why I’ll bet there are even some good books right in
your own home just waiting to be read.”
In other words, in the immortal words of the 1980s UK kids’ show, ‘Why Don’t You?’ “switch off your TV set and go out and do something less boring instead.” Especially now this episode of He-Man has finished.
There is now not a single person on the entire planet who was alive at the same time as Queen Victoria.
She was born two hundred years ago in May 1819. It was a
different world then. Napoleon Bonaparte
and Beethoven were both still alive. The Peterloo massacre occurred in
Manchester that summer.
Victoria died in January 1901. By that time her funeral
procession was able to be filmed and thus seen by more people than any who had
witnessed the funerals of all previous English kings and queens combined. There
were 1.6 billion people alive on the Earth then. Every one of them has since
died, the last of which probably in 2017. 7.7 billion others have now replaced
Princess Alexandrina Victoria was born in the last year of
the reign of her grandfather, George III, who despite being incapacitated by
madness by that point, was the longest reigning king in English history.
Victoria would herself exceed his record of sixty years on the throne by the
end of the century. Some of her subjects such as the composer Arthur Sullivan
(of Gilbert and Sullivan), Treasure Island author Robert Louis Stephenson and the
playwright Oscar Wilde lived their lives entirely within her reign. In 1819,
however, her own succession looked uncertain.
With fourteen grown-up children, George III’s legacy should have been secure. But following the sudden death of his granddaughter, the Prince Regent’s daughter, Princess Charlotte in 1817, it became apparent not one of his children had produced a legitimate heir to succeed them. Victoria, the daughter of Edward, Duke of Kent, was the result of the subsequent “baby race.” She was fifth in line to the throne at the time of her birth, but by 1837, when her uncle William IV died, Victoria became Queen at the age of eighteen.
Perceptions of the Victorian era have changed steadily as society
has gradually transformed in the years since 1901. Arguably, little really changed until 1914, but the
trauma of the First World War did much to undermine the Empire and accelerate
social change. One day in January 1924, the King, George V wrote in his diary. “Today
23 years ago dear Grandmama died,” he wrote. “I wonder what she would have
thought of a Labour Government”. By the 1920s, women could vote, and motor cars
were becoming more prevalent. In 1926, the General Strike occurred. Old
traditions persisted, however. George V enjoyed a warm public response to his
Silver Jubilee in 1935, an event that doubtless evoked nostalgic memories of
Victoria’s Golden and Diamond Jubilee celebrations in anyone then older than
their forties or fifties and thus able to remember them. Victoria, herself, had
in fact, not celebrated her own Silver Jubilee, there being no tradition of
celebrating them in 1862. She had at any rate been grief-stricken following the
death of her beloved Prince Albert in December 1861.
November 1936 saw the destruction by fire of the Crystal Palace
constructed for the Great Exhibition in 1851. The timing seemed apt: the
monarchy was now in its most serious crisis of the post-Victorian era. George V
had died in January, his son Edward VIII abdicated in December: a major trauma
for the Royal Family, the wounds of which would not heal for decades.
1937 was thus a coronation year with the reluctant George VI being crowned, a century after his great-grandmother had started her long reign. The line of succession now strongly suggested, Britain would have a new Queen one day. That was assuming the King’s wife, Queen Elizabeth didn’t now give birth to a son. This was quite possible: she was only 36 at the time of the coronation and until the 21st century, a son always overtook a daughter (in this case, Princesses Elizabeth and Margaret) in the line of succession. But this didn’t happen.
Incidentally, the year 1937 also saw the release of Victoria
the Great starring Anna Neagle. Although very reverent in its portrayal of the
monarch’s early years, the Lord Chamberlain initially banned the play it was
based upon as it used a member of the Royal Family for its subject matter.
The years ahead would see more change. Although the war,
reinforced notions of patriotism and led to a rise in support for the monarchy,
by the half way point of the century with the empire fast unravelling,
Britain’s Victorian heritage was increasing looking like a thing of the past,
perhaps unsurprisingly fifty years after Queen Victoria’s death.
But then in 1952, her great-great granddaughter succeeded to
the throne, accompanied by her husband, himself one of Victoria’s great-great-grandsons.
Elizabeth II was only the sixth ruling female monarch in English history. Any
Briton in his fifties or over would have seen five new kings or queens come to
the throne in the previous fifty years. As we know, this has not happened again
in the nearly seventy years since. At the start of the Queen’s reign, both the
Prime Minister and Opposition leaders, Churchill and Attlee had been young men
at the time of Victoria’s death.
Harold Macmillan who was Prime Minister at the start of the sixties, was the last PM to be born during Victoria’s reign. The Sixties, more than any other decade, for good or ill, would see much of the residual spirit of the Victorian age vanish forever.
Probably, it was inevitable. Even by the early Sixties, only
people of retirement age could remember the closing years of Victoria’s reign
at all. Even then, these memories were likely to have been eclipsed by memories
of bigger events since, such as the two World Wars and Great Depression. But even allowing for that, with the rise of
tower blocks, the Beatles, free love, the contraceptive pill, decolonisation
and the liberalisation of laws on divorce, and homosexuality – the pace of
change was too great for any Victorian sensibility to survive.
Today, we view the Victorian age with mixed feelings: a
golden age of literature and change undoubtedly although our other opinions
might well be determined by our political outlook, However, what cannot be
denied is that it was a decisive, transformative and crucial period in British
Lolly Adefope, Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard, Charlotte Ritchie, Kiell Smith-Bynoe, Ben Willbond, Katy Wix
The spirit of Rentaghost is resurrected in this recent BBC sitcom, the highest rated British TV comedy series of 2019 thus far.
Charlotte Ritchie and Kiell Smith-Bynoe play Alison and Mike, a young married couple whose lives are transformed when Alison unexpectedly inherits a large, but dilapidated rural manor house, following the death of an unknown elderly aunt.
The house contains many secrets, however, not least a large party of ghosts who dwell within. All are from different historical time periods and all are invisible to most normal humans, ensuring their initial attempts to haunt the house’s new owners all in vain, rather like the Tim Burton film, Beetlejuice. This changes when Alison (Ritchie star of Fresh Meat and Call The Midwife) bangs her head in an accident. Soon, she alone, can see the home’s phantom residents, whether she wants to or not.
The ghosts – all played by the former cast of the acclaimed Horrible Histories and Yonderland and who, mostly, also wrote this – are, of course, the chief source of fun here. Mathew Baynton (The Wrong Mans, Quacks), for example, plays a romantic poet hopelessly besotted with the still very much alive and married Alison, while Katy Wix (Not Going Out) plays the ghost of a slightly charred 17th century peasant woman apparently burnt to death for witchcraft.
Most hilarious are the great Simon Farnaby (The Detectorists and, appropriately, the man who sang ‘Stupid Deaths’ on Horrible Histories) as a disgraced 1990s Tory politician, still massively pompous, despite now being permanently trouser-less having died in some unspecified sex accident. Laurence Rickard also works wonders as Robin, (“bum and chips!”) a caveman, who lived on the grounds of the estate, long before it was built.
How did such a random assortment of characters ever come to live in the same house, even at different times? Why does every one of the Ghosts seem to have died prematurely? Doesn’t it all feel a bit like a children’s programme? Ultimately, none of these things really matter. Were it not for the presence of a few deliberate adult references (including a brief appearance by a genuinely scary child ghost), this would fit in perfectly well on CBBC.
Again, though, this hardly matters. Occasionally, Ghosts’ large regular cast works against it and the show is overwhelmed by chaos and silliness. But overall, this is good fun from a talented bunch of actors and writers. If your mansion house needs haunting, look no further.
Preview, gratefully reproduced from Bingebox magazine (2016).
It is sometimes described as one great soap opera: the longest running drama in British history. So why not make a big TV drama based around the Royal family? Indeed, why not make one based in the life of Queen Elizabeth II herself, a person whose image adorns either a stamp, coin or banknote on the person of nearly everyone reading this? Well, Left Bank Pictures have produced just such a series, a ten-part epic available on Netflix since November 4th 2016. Indeed, they have big plans. The first series covers the period from the young Princess’s marriage in 1947 to the first few years of her reign following her ascension to the throne in 1952. But five more series are planned. If all goes well, in a few years’ time we should have sixty hours of drama covering the Queen’s sixty or seventy years on the throne.
REIGN OF THRONES
Dramas about the royals are, of course, nothing new – Victoria, Henry V, The Madness of King George are just three examples of historical monarchs who have seen their lives dramatised. But until Stephen Frears’ 2006 film The Queen, scripted by Peter Morgan, which focused on the potential public relations disaster which almost engulfed the monarchy following Princess Diana’s death in 1997, dramas about the current monarch were almost unheard of. The King’s Speech, which features the future Queen as a young girl, was another successful Oscar-winning stab at comparatively recent royal history. But it is Morgan – the author of The Queen as well as the play The Audience which also starred Helen Mirren as the Queen who has brought his formidable writing powers to The Crown. Stephen Daldry, famed for Billy Elliott and The Hours directs.
The Crown’s credentials are impeccable. The casting was always going to be controversial, however. Few are likely to gripe about Claire Foy in the role of HRH but as with Victoria which saw former Doctor Who companion Jenna-Louise Coleman cast in the main role, the producers have turned to the Tardis for the role of Prince Philip. Recent Doctor Who Matt Smith is not an obvious choice for the role, but then who is? James Cromwell and David Threlfall have both played the Duke of Edinburgh before but as a much older man. Smith is a fine actor and delivers a first-class performance. However, time will inevitably become an issue. Both he and Foy are in their thirties and are likely to be replaced at least once if the show is to cover the Queen’s entire reign.
The choice of American ‘Third Rock From The Sun’ actor, John Lithgow to play Churchill, the Queen’s first Prime Minister might also raise a few eyebrows in some quarters. Yet Lithgow is an accomplished actor experienced way beyond the realm of comedy and thanks in part to some due some modifications to alter his appearance (Lithgow is nearly a foot taller and slimmer than Winnie was) he is great in this. And Churchill was half-American anyway. What’s the problem?
MONARCHY IN THE UK
“I have seen three great monarchies brought down through
their failure to separate personal indulgences from duty,” says Eileen Atkins’
Queen Mary at one point, warning her granddaughter Elizabeth, “you must not
allow yourself to make similar mistakes. The Crown must win.”
Rather like Maggie Smith’s character in Downton Abbey, The Crown’s Queen Mary seems to specialise in saying controversial and sometimes prophetic things in this. Presumably, the three monarchies she means are Victoria (who arguably indulged herself by grieving over Prince Albert’s death excessively), Edward VII (who basically drank, ate and womanised his way to death) and her own son Edward VIII, who abdicated. Although as a heavy drinker and smoker, Elizabeth’s father George VI (also Mary’s son) was hardly free of personal indulgence either.
The excellent Alex Jennings incidentally crops up as the Duke of Windsor, whose abdication in 1936 (as Edward VIII) ensured Elizabeth would be Queen. Jennings also played Prince Charles in the film The Queen.
As with any good drama, there is the potential for
controversy. Though the Queen no longer has the power to put people who annoy
her in the Tower, there will still be a desire not to cause offence.
If The Crown proves a success, five more series could be in the offing. The opening episode which begins in 1947, clearly lays out the framework for what is to come. The King (Jared Harris, son of the late Richard Harris and perhaps best known for his role as the token Brit in Mad Men) has a bad cough and is clearly not long for this world. His daughter Princess Elizabeth is about to marry Prince Philip and though the couple are happy, there are hints of awkwardness to come. Philip is giving up a lot for “the greatest prize on Earth” including his love of smoking and Greek nationality. “Not a single person supported the match,” warns Queen Mary.
The action then jumps forward four years to 1951 during which time, the King’s health has deteriorated further and Elizabeth and Philip’s marriage has yielded two children, Charles and Anne. There are also allusions to trouble brewing with Elizabeth’s younger sister Margaret (Vanessa Kirby), notably the strong suggestion of an affair with dashing equerry Group Captain Peter Townsend (Ben Miles), a married man. With a title sequence, reminiscent of Game of Thrones, there are also political manoeuvrings afoot. Returning Prime Minister Winston Churchill soon knows more about the true state of the King’s health than the monarch does himself. And Foreign Secretary Sir Anthony Eden (Jeremy Northam) is already assessing the great war leader’s vulnerabilities: as Tory heir apparent in effect, he is clearly eyeing up the elderly Churchill’s job.
Ultimately The Crown is essential viewing. It is as much
about how Britain has changed in the last seventy years as the monarchy has.
There is certainly plenty of material.
AND WHAT DO YOU DO…?
Three stars of The Crown…
Claire Foy as Princess Elizabeth, later Queen Elizabeth II
Foy has played royalty before and was the ill-fated mother
of the Queen’s Tudor namesake (Elizabeth I) Anne Boleyn in Wolf Hall. She sprung to fame in the title role in the
BBC’s Little Dorrit in 2008.
Matt Smith as Prince
Best known for playing the last Doctor Who but one, the
thirty-four -year-old Smith plays the young Duke of Edinburgh, a man struggling
in the traditionally feminine role of partner to the monarch.
John Lithgow as Winston Churchill
Although often associated with comedy roles such as Bigfoot
and the Hendersons and Dick in the sitcom Third Rock From The Sun, veteran US
star Lithgow is an acclaimed and prolific dramatic actor.
Gratefully reproduced from Bingebox magazine (2016):
THE WEST WING
Welcome to the presidency of Josiah Bartlet. During the
seven season run of Aaron Sorkin’s award-winning series, we see the fictional two-
term administration take a rollercoaster ride through crises (a major
assassination attempt and an attempt to kidnap the president’s daughter),
scandal (is the president concealing something important from everyone?),
disaster (a major nuclear accident in California), numerous triumphs and many
other matters, some of global import, some, such as the president falling off a
bike in public, more trivial.
In truth though, this is not just the story of a president but of the talented team behind him. In what may prove to be career-best role, onetime Brat Packer Rob Lowe excels in the first four seasons as razor-sharp speechwriter Sam Seaborn with Bradley Whitford, Alison Janney, Richard Schiff, John Spencer (the last of whom sadly died just as the final season was coming to an end) leading a stellar cast who make up the president’s White House west wing team.
Occasionally, things may get a little too bit earnest. Is
everyone in US politics really so well-intentioned and decent as they are here?
It’s actually something of a relief when Bartlet’s vice president John Hoynes
(Tim Matheson) turns out to a scheming, malevolent toad.
Ultimately, however, for all of its high powered “walk and
talk” conversations and highly-charged content, The West Wing was just as popular
amongst those with little or no interest in current affairs at all as it was
amongst battle-hardened political junkies.
Ten years after it finished, The West Wing, often funny,
sometimes moving, has scarcely dated at all. If you’ve never seen it before,
now is the perfect time to catch up with an all-time classic.
Box out: All The
President’s Men (and Women)…
Three of Bartlet’s
best and brightest…
Josh Lyman (Bradley
Idealistic, witty and argumentative, communications deputy
Josh is devoted to Bartlet, having previously backed his opponent John Hoynes
who is now the Veep. Badly wounded in
the attempt on the President’s life.
CJ Cregg (Alison
In a career-defining role, Janney is perfect as the sharp,
sassy and on the ball press secretary CJ. And just as Josh secretly yearns for
his assistant Donna, CJ loves beardy journo, Danny.
Josiah “Jed” Bartlett
POTUS himself, the president is sort of an older wiser less
promiscuous version of JFK (a role Sheen once played memorably on TV). Jed is
ably supported by his First Lady Abby (Stockard Channing).
HOUSE OF CARDS
If The West Wing offers an optimistic view of the American
political scene, House Of Cards represents its dark underbelly. In that
respect, perhaps it is ideal viewing for the era of Hillary Clinton and Donald
For make no mistake, from a fairly early stage, it is clear
that the main character Frank Underwood (Kevin Spacey) is a very bad man
indeed. We know because of how he speaks. We know because of the thigs he does.
And finally, we know because he tells us so himself, confiding in us his every
passing evil thought and deed.
It is this Shakespearian device which sees Underwood sharing
his thoughts with the audience – sometimes just in the form of a wry smile to
the audience (of course, always unseen by whoever Frank is talking to and
presumably screwing over at the time) – which makes us feel complicit in his
crimes. It was an appealing device when Ian Richardson (like Spacey, a
Shakespearian actor) played the equivalent role of an upper class English Tory
politician in the original version of House of Cards, 26 years ago. It works
just as well now.
We watch Underwood climbing the greasy pole rising from
party whip (being snubbed by being passed over for his promised position of Secretary
of State) rising to Vice President and beyond. We watch him lie, cheat, have
affairs and commit murder but we’re basically rooting for him. We want him to
For yes, Frank Underwood is a very bad man. But some of us
do like bad guys. The problems begin when too many of us start electing them
into positions of power.
Box out: Axis of
Three of the main
players in this game of thrones…
Frank Underwood (Kevin
US Democratic Party politician. Likes include: cooked
breakfasts, the South, exercise, sex with young female reporters, murder,
blackmail, gradually accumulating political power over a period of time,
breaking the Fourth Wall.
A million miles away from her breakthrough role as the
Princess Bride, Wright is brilliant as Frank’s wife and partner in crime, a
character every bit as ruthlessly ambitious as her husband.
Doug Stamper (Michael
Not to be confused with Thumper (the rabbit in Bambi), as
the Underwood’s chief accomplice, Stamper’s sense of loyalty is the one thing
that never seems in doubt. Or is it?