On October 21st 1966, after a period of heavy rain, 30,000 cubic yards of coal sludge collapsed on 19 houses and a primary school in Aberfan with predictably devastating results. Episode 3 of The Crown focuses on he disaster and its aftermath. The Queen herself reacts slowly to the tragedy, forcing her to confront her own apparent tendency to react with the traditional stoicism and reserve to such events, rather than the public show of emotion which might be expected or even needed by the watching public in the media age. The monarch would, of course, fall foul of similar issues following the death of Diana, 31 years’ later.
The Crown is back. We rejoin proceedings at the dawn of a new era.
For after two glorious seasons with the marvelous Claire Foy playing the Princess and young Queen in her twenties and thirties, we now give way to the new age of Olivia Colman. The transition is neatly symbolised by a tactful discussion of a new Royal portrait for a new range of postage stamps. It is 1964 and the monarch is in her late thirties, what might normally be seen as her “middle years.”
“A great many changes. But there we are,” Colman’s Queen remarks. “Age is rarely kind to anyone. Nothing one can do about it. One just has to get on with it.”
Other changes are afoot too. Then, as now, a general election is in progress, resulting in the election of the first Labour Prime Minister of the Queen’s reign, Harold Wilson. Jason Watkins captures Wilson’s manner perfectly, although not yet his wit. In time, we now know Wilson would become the favourite of the Queen’s Prime Ministers. At this stage, however, both figures are wary of each other: the working class Wilson seems socially insecure and chippy while the Queen has heard an unfounded rumour from Prince Philip (Tobias Menzies – a good likeness) that Wilson is a KGB agent.
Elsewhere, another age comes to an end as the elderly Churchill breathes his last. In a rare piece of casting continuity, John Lithgow briefly resumes his role.
Suspicion also surrounds Surveyor of the Queen’s Pictures, Anthony Blunt. Although not exactly a dead ringer for the art historian and Soviet spy, Samuel West is well cast as Blunt. West is a fine actor anyway but his lineage here is impeccable. His mother, Prunella Scales played the Queen in the Alan Bennett drama, A Question of Attribution, which was about Blunt and which parts of this episode strongly resemble. Blunt then was played by James Fox, whose brother Edward, incidentally played Churchill in The Audience, the Peter Morgan play which inspired this series. West also played the Queen’s father George VI in the (not very good) film, Hyde Park on the Hudson. His wife, the future Queen Mother was played by one Olivia Colman. West’s father, Timothy, of course, famously played George VI’s grandfather, Edward VII (and also played Churchill, several times), while Colman won an Oscar for playing the Queen’s ancestor, Queen Anne in The Favourite, earlier this year.
Fellow Oscar winner, Helena Bonham Carter is, of course, now cast as the Queen’s glamorous but troubled sister, Princess Margaret here, replacing the excellent Vanessa Kirby. The makers clearly feel obliged to feature Margaret frequently in this episode, presumably because of Bonham Carter’s star status, but aside from much drinking, rudeness, singing and fretting about her wayward photographer husband Armstrong-Jones (Ben Daniels), who is pictured motorbiking about a lot, she does little of interest.
The next episode promises to be much more Margaret-orientated…
Published by Amberley: October 15th 2019
For 2,000 years, the Devon city of Exeter has played a small but vital role in our nation’s history. There have been highs and lows. For centuries, it was one of the top cities in the land, elevated into a golden age of prosperity. But the city has also suffered countless incursions from a wide range of invaders both foreign and English. It came close to defeating William the Conqueror, remained defiant in the face of German bombing, fought on both sides in the English Civil War and has battled fires, plagues, sieges and pretenders to the throne.
This is Exeter’s story, told for the first time in alphabetical order.
Chapter headings include:
The Civil War
The Exeter Blitz
The Great Theatre Fire
Witches on trial
Chris Hallam was born in Peterborough and settled in Exeter in 2005 where he now lives with his wife. He has written for a large number of local and national magazines including DVD Monthly, Yours Retro, Infinity, Geeky Monkey and Best of British. He also wrote The Smurfs annual 2014 and co-wrote the book, Secret Exeter in 2018.
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 them.
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 history.
We would not be the same people without it.
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 Philip
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.
John Major was entirely painted in grey. Home Secretary Kenneth Baker was a slug. Future Prime Minister Tony Blair was portrayed as a wayward child while Edwina Currie was characterised as a malevolent Cruella Deville figure. The puppet-based comedy Spitting Image first appeared on our screens thirty years ago in 1984 and ran until 1996. There had never been anything like it before and there has been nothing like it on British TV since. It made its mark on the times in a way that no other comedian, TV show or satirical cartoon of the time could ever have managed.
Perhaps it could only have started in 1984, a time when the forces of conservatism seemed perilously close to absolute victory. Margaret Thatcher, simultaneously the most loved and loathed Prime Minister of all time, had won a second landslide election victory the year before and was now taking on the miners, a battle she would ultimately win. The unions were in revolt, unemployment was sky high. People were angry and yet the Opposition, which was split between Neil Kinnock’s Labour and the Liberal-SDP Alliance, had never looked weaker.
There was something of a political comedy void too. Mike Yarwood, a huge star in the Seventies, was far too gentle (and troubled) an impressionist to continue throughout the Eighties. By 1984, his career was in freefall, partially because he was unable to convincingly “do” Margaret Thatcher. Yes Minister, meanwhile, was a brilliant political comedy, but it was set in a fictional and non-partisan political landscape (its main character, Jim Hacker MP was never identified as belonging to any existing party). Meanwhile, Not The Nine O Clock News which had lampooned many public figures during the early Eighties (while rarely actually impersonating them) had ended in 1982. Smith and Jones had begun their own largely non-political sketch show while Rowan Atkinson was now in Blackadder. NTNOCN producer John Lloyd would be instrumental in launching Spitting Image for the ITV franchise, Central in 1984.
The project was hugely ambitious: it was the most expensive light entertainment show of the time. In retrospect, we should be less surprised that the results were patchy (and they were) than by the fact the show worked at all. Peter Fluck and Roger Law’s puppets were nearly always easily recognisable. To ensure topicality, Spitting Image was produced close to transmission time (some scenes were even broadcast live). The show was often on the mark and frequently very funny.
Some public figures will be forever linked with their puppet counterparts. To some, Norman Tebbit will always be a leather jacketed yob, Michael Heseltine a swivel-eyed loon vocally denying any intention of standing against Thatcher for the Tory leadership while simultaneously wearing a sign saying “Vote for Heseltine” on his back while, for many, Kenneth Baker, as mentioned, will always be a slug on a leaf.
Some caricatures required less imagination, however, with US president Ronald Reagan (voiced by Chris Barrie, later of Red Dwarf and The Brittas Empire fame) always portrayed as a moron, as in this fireside chat with Soviet premier Gorbachev (whose distinctive birthmark always took the form of a Soviet hammer and sickle):
Gorbachev: Ron, do you know what I see when I see when I look into those flames? I see our two nations living in peace and harmony… what do you see?
Reagan: I see a little doggy, a bunny wunny and a big hippo on a broomstick. Hell, this is fun!
Margaret Thatcher herself, meanwhile, was usually portrayed (in a rather sexist fashion) in a man’s suit, something which may actually have helped her image.. John Major, her successor, initially appeared as a robot who was being secretly controlled by Thatcher, before becoming the totally grey figure he is now remembered as, complementing wife Norma on her peas (“Very tasty”) while secretly nursing a childish crush on colleague Virginia Bottomley (prompting Major’s cabinet colleagues to taunt him by chanting “John loves Ginny!”). Major’s earlier affair with Edwina Currie was, of course, at this stage not known to the general public or to Spitting Image’s writers.
Currie, in fact, undeniably benefited from the publicity her puppet generated. She was, after all, a junior minister and never served in the cabinet. How many junior ministers can you name today? This was not solely Spitting Image’s doing, but it surely helped. The same is true with Labour frontbencher Gerald Kaufman. He was never exactly a household name but got attention simply because Spitting Image claimed he went around saying creepy things such as (inexplicably) “sweaty palms”.
Others liked the attention less, though many like to pretend otherwise. Liberal leader David Steel openly claimed that his image was harmed by the impression he was in SDP leader David Owen’s pocket. It is doubtful Roy Hattersley (who has a genuine speech impediment) enjoyed his depiction spluttering spit everywhere, notably spitting out the words “Spitting Image” during the title sequence, either.
It wasn’t just the politicians, of course. The portrayal of the Royals was always controversial. An early episode saw the Queen “christening” Prince Harry (who had an unflattering puppet from birth) by smashing a bottle against the side of his pram. Elsewhere, Jeremy Paxman (one of the few figures still in the public eye both now and then) memorably began every broadcast with a sneering “yeeeeeeeeeeeeesss” while the late newsreader Alistair Burnett was seen as being in love with the Queen Mother. Rupert Murdoch, meanwhile, was seen as a crude figure constantly breaking wind while all journalists were routinely portrayed as pigs.
It had to end one day, of course, and in 1996, it did. Tony Blair was initially portrayed as a schoolboy because of his relative youth. He was soon being depicted as a super hyperactive figure on becoming Labour leader in 1994. But while both he and successor Gordon Brown had puppets, the show didn’t get to see New Labour in power.
The programme never received much critical acclaim but effectively launched a thousand careers with Ian Hislop, Clive Anderson, John O’Farrell, Ben Elton and Red Dwarf’s Rob Grant and Doug Naylor (authors of The Chicken Song) amongst the numerous writers and Chris Barrie, Steve Coogan, Harry Enfield, John Sessions, Rory Bremner, John Culshaw, Alistair MacGowan, John Thompson, Steve Nallon and Hugh Dennis all amongst the vocal talent.
Could it happen today? Animated copycats like 2DTV and Headcases both proved failures although Round The Bend, almost a kids’ version of the show with puppets by Fluck and Law enjoyed some success in the Nineties.
But in the age of Boris Johnson and Nigel Forage, perhaps we need a Spitting Image now more than ever?