王冠第一季

爱德华七世逊位后由弟弟乔治六世继承。乔治六世有两个女儿：长女伊丽莎白，次女玛格丽特。 E1 wolferton splash（乔治六世和菲利普打猎的地方） 伊丽莎白于1926年4月21日出生，与希腊王子菲利普于1947年结婚。

女王家族

菲利普被赐姓蒙巴顿

菲利普亲王的父母

1948年长子查尔斯出生

1950年安妮公主出生

E2 海德公园角（国王去世的暗号）

伊丽莎白在父亲乔治六世病重期间替父巡访各英联邦，在肯尼亚期间，乔治六世去世，伊丽莎白匆忙回国，1952年2月6日即位，1953年6月2日加冕。

丘吉尔从1951年10月再次组阁，艾登出任副首相兼外交大臣。 玛格丽特公主喜欢乔治六世的近侍武官（皇家空军上尉彼得•汤森，有家室），乔治六世去世后接受任命为女王母亲的事务长，后与妻子离婚。 E3 温莎 在纽约的温莎公爵回到伦敦，参加国王的葬礼，顺便谈谈他的年薪。 理论上伊丽莎白继承后应改为丈夫姓氏蒙巴顿的王朝。女王后来在内阁和温莎公爵建议下决定继续为温莎王朝，并且离开克拉伦斯宫，搬去白金汉宫。这违背了菲利普亲王的两个愿望。

温莎王朝由来

E4 天灾 1952年12月5日起持续性大雾，直到12月9日，一股强劲而寒冷的西风吹散了笼罩在伦敦的烟雾。

“”伦敦烟雾事件”成为20世纪十大环境公害事件之一。

同时丘吉尔受到党内外人士的反对，想要他辞职。女王差一点在一些内阁成员的建议下向丘吉尔提出此意，幸而大雾散去。 E5 烟与镜 女王加冕礼、玛丽王太后去世

加冕礼委员会通常由诺福克公爵负责，女王为了让菲利普有事做，希望由他负责。

女王为菲利普力争

不被承认的辛普森夫人

温莎公爵暂居

温莎公爵喜欢给他的皇亲国戚们取外号

君主的红匣子

爱德华七世未加冕

温莎公爵未去参加加冕礼

女王受膏

女王加冕礼，电视直播，使伊丽莎白成为全世界最知名的女性

观看电视转播后，落寞的温莎公爵

没有王国的国王

E6 重磅新闻

玛格丽特与彼得的“丑闻”

王室婚姻法

两人的恋情得到公众极大的关注热情，在各方权衡下，王室决定暂时分离他们，直到公主满25岁。

E7 知识就是力量

在与各政客交往中，女王深觉自身通识教育的严重不足，与政客交流时常常处于劣势，甚至听不懂，决定请老师重新学习。

公主从小只学习宪法和礼仪，老师认为君主只要负责高贵，而文学哲学科学等通识教育不够高贵

同时，丘吉尔因病取消与美国总统艾森豪威尔的会面关于苏联氢弹问题的讨论。而外交大臣艾登也暂时在美国进行手术。丘吉尔向女王隐瞒了病情，女王得知后约谈丘吉尔，一番话令丘吉尔对她刮目相看。

E8 小骄傲和开心果（乔治六世说伊丽莎白是他的小骄傲和玛格丽特是他的开心果）

继位后女王的第一次大巡访，为展现大英帝国最完美的一面，（此时，印度、巴基斯坦、南非、伊拉克、约旦缅甸、锡兰都已独立了），1954年，巡访从百慕大开始，行程马不停蹄，开始了为期六个月的英联邦盛大之旅，其中包括58天在澳大利亚，他们访问了57个城镇。他们笑得脸都僵了，菲利普亲王一直在抱怨这疯狂的行程，连做梦都在招手了。最后一站，坚持前往反英情绪高涨的直陀罗布海峡，得到国内民众的高呼。

同时，玛格丽特在国内暂执君主职位，充满个性的讲话，大放异彩，令内阁惶恐，不被允许“将个人意志加于王权之上”，丘吉尔决定将权利推回给王太后。

E9 时间刺客

菲利普亲王常常醉酒晚归。两人矛盾激化。

女王与她的爱马和她的“青梅竹马”波尔契。

丘吉尔与回归的外交大臣的针锋相对。

丘吉尔与他的80岁大寿肖像画家。

最后，丘吉尔承认自己老了，辞职让位

安东尼·艾登继位为首相兼外交大臣。风流倜傥的艾登凭借其俊朗的外表和二战期间的政绩，迅速成为英国国内最受欢迎的人物，并被寄予厚望。（在出任首相一年之后，艾登走错一步断送其政治生涯——第二次中东战争）

丘吉尔80岁大寿在威斯敏斯特教堂演讲

E10 荣光女王

玛格丽特与彼得仍不被允许结婚。

女王在各方压力下，不允许玛格丽特与彼得结婚，也不能抛开其身份地位。

在绝望下，彼得代表公开发言：为王室做出牺牲，终止恋爱关系。

女王与亲王渐行渐远。

英国首相与埃及总统纳赛尔谈判持续激化。

原文链接

Series one, episode one: Wolferton Splash

The series opens with King George VI spewing blood into a lavatory pan, to indicate that he is a sick man. Before the opening credits, there is a scene in which the King invests Prince Philip, as Duke of Edinburgh. Prince Philip is described as a Prince of Greece and ‘of’ Denmark. Then the King knights him as he bestows titles on him in the wrong order, and only then gives him the Order of the Garter. There is a scene in which the King uses the ‘C’ word. We are introduced to the Prince Philip character, portrayed throughout the series as a kind of ‘Jack the Lad’, smoking a cigarette on the day before the wedding and treating it all as something of a game.

This episode introduces the various themes. We see tension between the King and Prince Philip, we meet Group Captain Peter Townsend hovering amorously around Princess Margaret, and Princess Elizabeth preparing for her future role, at work with her father.

At the 1947 royal wedding Prince Philip’s mother is depicted in a nun’s habit – in reality she was a civilian then and did not adopt the habit (which she wore at the Coronation) until 1948. But this allows Queen Elizabeth (the Queen Mother) to describe her disparagingly as ‘the hun nun’. But then she calls her daughter ‘Elizabeth’ when it was always ‘Lilibet’. There are scenes in Malta of Princess Elizabeth’s carefree life, though her son, Prince Charles, was not in Malta at that time.

The King has to have an operation, so we see Princess Margaret waiting anxiously with Queen Mary and the King with his doctors. There are gory scenes of the lung being removed and the lung is wrapped up in a copy of The Times (a story gleaned from Hugh Trevor-Roper’s letters). There is a scene where Sir John Weir, the well-known homeopathic doctor, informs the King of the gravity of his illness despite the operation. It is curious that this role was assigned to Weir. In reality he failed to give the King proper advice. He was even mistrusted by the admirable Dr Margery Blackie, the most distinguished of homeopathic doctors, who had little time for him.

In 1948 Dermot Morrah, a respected Times writer, reported privately that the King was in danger of losing his leg: ‘One special source of anxiety is his personal physician – a homeopathic quack with a fascination for women, some of whom planted him on Edward, Prince of Wales, who bequeathed him to his successor as official medical officer. Of course they’ve called in good men as consultants, Cassidy and Learmouth especially, but this old menace is there all the time, and it was he who let the trouble go to this length before sounding the alarm.’

It was as bad in 1951, in which this episode is set. Weir accompanied the King to Balmoral for the summer. The worldly doctor enjoyed himself shooting with Scottish dukes. Only when the local doctor was called in was the gravity of the King’s illness appreciated, resulting in him being whisked down to London to have his lung removed. Following that, those who understood such things realised that the King’s life was likely to be short.

This episode depicts Churchill becoming Prime Minister again (in October 1951), and suggests that neither he nor the King are in good health, the King is forced to wear rouge (which was the case). In reality it is not certain how much the King was told about his state of health. The episode ends with Princess Elizabeth looking at the King’s boxes, and in a sense facing her destiny.

A minor mistake: Princess Elizabeth’s car has the royal coat of arms on it. This is reserved for the monarch. Lady Churchill’s GBE riband at the wedding is too red and too wide.

Series one, episode two: Hyde Park Corner

Episode 1 warned us that the King’s life was in danger. Episode 2 carries him off. It starts with Princess Elizabeth arriving in Kenya on the first leg of the proposed Commonwealth tour she is undertaking on her father’s behalf.

We see the royal limousine arriving at an event and the Royal Standard fluttering on the front of it, the inference here being that Princess Elizabeth has already become Queen, but no, it is the wrong Royal Standard. Princess Elizabeth’s would have had a label of three white points. Soon afterwards a cocky Prince Philip mocks a Kikuyu chieftain for wearing a medal to which he is apparently not entitled, in fact a VC, though this is not explained. This was in February 1952 and yet Prince Philip was wearing a 1953 Coronation medal, which, arguably, might not have mattered, but for the fact that he was chiding someone else for wearing the wrong medal.

As they arrive at Treetops for the fateful night of 5/6 February, the Prince Philip character does a Crocodile Dundee feat in seeing off a bull elephant. In reality there were no elephants there that day or night.

The scenes in which Lord Salisbury is seen plotting to get rid of Churchill have not been well received by the Cecil family due to inaccuracies. He would never have elicited the help of Lord Mountbatten, for example. Anthony Eden did not go to Sandringham to ask the King to exercise his constitutional right to remove the Prime Minister from office on account of his incapacity to run the country properly, least of all in February 1952. Churchill himself is given a fictitious secretary called Venetia Scott, so that she can play a role in Episode 4.

Following the King’s death, we see a gruesome scene in which Princess Margaret visits the body of her father during the embalming process. Churchill did not broadcast in the presence of the entire Cabinet, yet his actual words are as moving to listen to today as they surely were at the time. Tommy Lascelles, the Private Secretary, is invested with a most sinister role. He is given good lines, such as when he passes on the Queen Mother’s offer to Townsend to become her Comptroller at Clarence House: ‘I don’t expect you to accept.’

Minor mistakes: It was not Lascelles who told Churchill of the King’s death, it was Sir Edward Ford; Queen Mary was told by Lady Cynthia Colville, not by a footman; it is unlikely that Princess Elizabeth had just written to her father before hearing of his death; Queen Mary did not come to Sandringham to curtsy to the new Queen (that happened at Marlborough House); there is no evidence that Lascelles caught Princess Margaret and Townsend kissing; contemporary evidence proves that the Queen Mother did not cry hysterically when she heard of the King’s death (she was far too stoical); Martin Charteris did not disappear from royal service immediately after the King’s death (he became part of the team, though no longer the new Queen’s actual Private Secretary). Some of these things are acceptable under the heading of dramatic licence.

Series one, episode three: Windsor

Back we go to 1936, seeing Princess Elizabeth and Princess Margaret playing just before their uncle, King Edward VIII, broadcasts his Abdication speech. There is no way that Queen Mary would have come into the room to see the King to try to dissuade him from broadcasting. And Mrs Simpson was not hovering in the background as he made that speech. In reality she was in Cannes. In the real abdication speech he was announced as ‘His Royal Highness Prince Edward’ not as Duke of Windsor.

Presently there are many scenes involved with the aftermath of King George VI’s death, the young Queen wearing black and sometimes a black veil, and Tommy Lascelles becoming ever more the dominant figure in the Palace.

Two big issues are explored to show how Prince Philip no longer has any say in the running of his family. There are many scenes of the redecoration of Clarence House, and he wants the family to stay there. He insists that the Queen puts this proposal to Churchill. The other issue is the family name. It is understood that, in real life, the Queen and Prince Philip would have preferred to stay at Clarence House, which was the perfect London home for a young family, not too big, and with a well-sized garden. Buckingham Palace has always served multiple purposes: a series of state rooms, offices for members of the Household, and the King and Queen’s rooms along a long corridor on the Constitution Hill side. It must have been a bit like living in an Edwardian hotel. But Churchill insisted that the monarch must live in the Palace, and so they moved in on 5 May 1952. The Queen Mother moved into Clarence House on 18 May 1953.

The name issue was another genuine cause for Prince Philip to be upset. As seen in this episode, Lord Mountbatten, curiously dressed for dinner in his own home (Broadlands) as an Admiral, boasts, with some justification, that the House of Mountbatten now reigns in Britain. Normally the male who marries a Queen Regnant gives his name to the new house, hence Queen Victoria was the last Queen of the House of Hanover which became Saxe-Coburg when she married Prince Albert in 1840. Prince Ernst August of Hanover was at Mountbatten’s table in 1952 and did not like what he heard. He informed Queen Mary who called for Jock Colville, then Private Secretary to Winston Churchill. The Prime Minister duly informed the Queen that the Royal House must be called the House of Windsor. There is a fictional scene in which the Queen reads out this declaration to the Privy Council.

It is true that Prince Philip was livid about this though, in reality, he wanted it called the House of Edinburgh, rather than Mountbatten, the preferred choice of his ever-manipulative uncle. Harold Macmillan recorded that Prince Philip wrote a well-reasoned memorandum making his case, but the Government would not countenance the Mountbatten name being used. In opposing Prince Philip, ministers such as Macmillan were keen to send ‘a shot across his bows’, to keep the young consort in his place.

The Duke of Windsor comes over for his brother’s funeral, and the series makes much of the newly styled Queen Mother’s hostility to him. The Duke of Windsor also wants various things. There is a lot of bargaining in this episode. The Queen asks Churchill to do her a favour by informing the Cabinet about the Mountbatten name, claiming that she is keeping him in office by agreeing to a delayed Coronation. In fact the Coronation was always planned for June 1953 as it takes a long time to arrange such a ceremony.

Then Churchill asks the Duke of Windsor to help put various points to the Queen – for example to be an intermediary over the other two issues of this episode, the family name and the move to Buckingham Palace. In exchange, the Duke wants to retain the allowance King George VI promised him (which ceased at the King’s death) and again demanded an HRH for the Duchess. There is a curious scene in which three contrasting aspects of love are explored – we see a sequence with the Windsors dancing romantically, the Queen and Prince Philip at the opera (where he takes her hand), and Princess Margaret popping in to Townsend’s office to kiss him with some passion.

The Duke of Windsor then lunches with the Queen, which did not happen in real life, and puts Churchill’s two points to her. Most erroneously, we find the new young Queen turning to the Duke of Windsor for avuncular advice. He is presented as a sage and explains in the almost Shakespearean language the scriptwriters give him why she, as a monarch, must move from Clarence House to Buckingham Palace.

Alex Jennings, the actor, looks incredibly like the Duke of Windsor, but the real life Duke never delivered such Shakespearean oratory. Nor would the real Queen ever have asked for advice from a man so patently incapable of giving it.

The Duke of Windsor had been immensely tiresome ever since the Abdication in 1936, and Tommy Lascelles had seen him off on more than one occasion, most effectively in 1945. The Royal Family felt gravely let down by the Abdication, and Lascelles wrote at one point in the 1940s that any appearance in Britain by the Duke would have a grave effect on the health and peace of mind of George VI. Later on, in real life, the Queen was courteous to her uncle, and various rapprochements were made before he died, but the trouble with the Duke of Windsor was that if he was given an inch, he would take a mile.

In other themes, we see Prince Philip asking Group Captain Townsend to teach him to fly, a theme followed up in the next episode. He did learn at White Waltham, near Maidenhead, but was taught by Flight Lieutenant C.R. Gordon, of Cheltenham. He received his wings from Air Chief Marshal Sir William Dickson, on 4 May 1953, having flown for 90 to 100 hours.

The film-makers also introduce the idea that Prince Philip bullied Prince Charles, which is again addressed in later episodes.

Minor mistakes: Prince Philip was a descendant of the royal houses of Greece and Denmark, but not of Norway. King Haakon of Norway (1872-1957) was a Prince of Denmark who was given the Norwegian throne in 1905.

A recurring mistake throughout the series: All the characters arrive at Buckingham Palace through the ceremonial front gates. Normally they enter via the gate to the right near Constitution Hill.

Series one, episode four: Act of God

This is a curious episode based on the great fog that descended on London between 5 and 9 December 1952. This fog caused some spontaneous burglaries and one murder. London was perfectly used to fog, so it was not treated as a particular emergency until much later when it was estimated that between 4,000 and 12,000 people died – though most of them had breathing problems or were very old. Most of this episode is fictional and did not happen. Obviously the scenes involving Churchill’s fictional secretary, Venetia Scott, were made up. She is killed when hit by a bus, but since there was no public transport, other than trains on the London Underground, due to the fog, this could not have happened.

The film-makers then involve Churchill failing to take action, the question of Clement Attlee, the Leader of the Opposition, potentially turning the situation to political advantage, and Churchill’s decision to visit a hospital during the crisis, but all this is fiction too. Interestingly the fog did not rate a mention in Martin Gilbert’s official biography of Churchill.

The other scenes involve Prince Philip learning to fly and Government annoyance at this. Queen Mary falls ill and takes to her bed, attended by Sir John Weir. The Queen walks through the fog to visit her ailing grandmother to discuss what is expected of her as a monarch.

Series one, episode five: Smoke and Mirrors

There is a flashback to 11 May, with George VI explaining the significance of anointing in the Coronation ceremony, and talking of the weight of the crown, both actual and symbolic. The action then moves forward to 1953, with the Queen trying on the same crown before her Coronation.

Queen Mary falls gravely ill, which brings the Duke of Windsor over. In this series he comes from France, though he actually came with his sister, the Princess Royal, from New York. There are lots of opportunities for him to complain to the Duchess of Windsor about his family, his mother and his treatment. The Queen is warned by the Queen Mother to be wary of the Duke – ‘like mercury, he’ll slip through the tiniest crack.’ During his visit, the Duke is summoned from Marlborough House to Lambeth Palace where he finds the Archbishop of Canterbury, Tommy Lascelles and one other, ranged against him explaining why he should not attend the Coronation and that the Duchess would not be invited. The Duke is furious, but he agrees to put out a statement explaining why he won’t be there.

While he is at Lambeth Palace, a message comes through that Queen Mary has died. In reality the Duke was not at Lambeth Palace. Her funeral is shown (with the Royal Standard on her coffin, not her personal standard).

In real life, the question of the Duke’s possible attendance preoccupied the Archbishop of Canterbury as early as November 1952 and he raised the matter with the Queen at lunch. It was agreed that his presence ‘would create a very difficult situation for everybody, and if had not the wits to see that for himself, then he ought to be told it.’ Churchill took the line that while it was understandable that the Duke would wish to be present at family funerals, it would be completely inappropriate for him to attend the Coronation of one of his successors. Tommy Lascelles wrote to the Duke’s lawyers making it clear that no summons would be forthcoming. A statement was prepared for the Duke to issue to save face, but he must have alarmed the British Government by giving an interview at Cherbourg in which he said he might well be in England at the time of the ceremony. As it happened he and the Duchess stayed in Paris and watched it on television with friends, a scene recreated in this episode. We see the Duke explaining the proceedings in the Abbey, again in Shakespearean phrases, to a group of undistinguished guests. The episode ends with him playing his bagpipes outside the house, with tears in his eyes, presumably to hint that he is regretting all that he discarded.

The other main theme in this episode is the role of Prince Philip in the preparations and also in respect of the part he intends to play in the ceremony. Here he only agrees to chair the Coronation Committee if he has total control and we see him coming out with all sorts of modern ideas for the day, such as inviting Trade Union leaders and businessmen to take part. He is told that some things cannot be changed. There is a row with the Queen and he tells her he refuses to kneel before her to do homage. In the end he is obliged to do so, but he is given credit for insisting the ceremony be televised.

Having written a book on the Coronation and delved into the Archbishop of Canterbury’s papers I can testify that these reveal the Archbishop of Canterbury, pushing Prince Philip out as much as possible. He pronounced: “There must be no association of him in any way with the process & rite of Coronation.” Yet they also show that Prince Philip was quite happy to do fealty after the Archbishop (when he could have been expected to go first) and that he presented a silver gilt wafer box to the Abbey, and a chalice and paten to Lambeth as a form of offering to respect taking his place next to the Queen during the communion.

Unlike other flaky consorts such as Prince Claus of the Netherlands and Prince Henrik of Denmark, Prince Philip was raised within the Royal House of Greece. But for the birth of the future King Constantine in 1940, he would have ended up as King of Greece in 1964, and marriage with Princess Elizabeth would have been out of the question. In real life he adapted quickly to his changed circumstances, but in The Crown, they put him in conflict at every opportunity.

The Coronation scene was a wonderful opportunity to create a scene of great visual magnificence but it fell seriously short in regard to a great number of details. Earl Mountbatten, seated in the front row of the Royal Box (he was not in the front row) appears dressed in ducal robes, and is not wearing his Garter collar. Nor is the supporting actor representing the Queen’s uncle, the Duke of Gloucester. The Marquess of Salisbury carries the Sword of State (which he did at the actual Coronation), but he crowns himself with an Earl’s coronet. The Dowager Duchess of Devonshire (Mistress of the Robes) fails to put on a coronet. The oath was not administered during the anointing but before it. There are a number of peeresses sitting where the Peers sat in reality. Thus this scene is one of the least convincing in the series.

The St Edward’s Crown with which the Queen is crowned was far too big, but this may have been intentional to demonstrate the burden the Queen was assuming.

Series one, episode six: Gelignite

The theme of this episode is the Princess Margaret – Peter Townsend love affair and their attempt to marry in 1953. The opening scene shows the Queen and Prince Philip going to the Coronation Derby, but we then see a newspaper office where an unshaven journalist has picked up what he realises is a huge scoop (hence ‘gelignite’) – Princess Margaret having been observed picking some fluff off the jacket of Group Captain Peter Townsend at the Coronation – he being by then a divorced equerry. Princess Margaret and Townsend are on the point of accompanying the Queen Mother on an official visit to Rhodesia.

The Princess invites the Queen and Prince Philip to dine with her and Townsend and they believe that they have her blessing, but they soon run up against the establishment. Tommy Lascelles invokes the Royal Marriages Act of 1772, which stated that no lineal descendant of George II could marry without the consent of the Sovereign, and so Princess Margaret is asked to wait for two years. The series suggests that the Queen deceived her sister by appearing to support her wish to marry him and then eventually forbidding it. The film-makers imply that the Princess never forgave her sister, a theme which recurs in later episodes. The essence of this episode is more or less correct, but the sequence of events is somewhat muddled. Since there are also a number of contradictory accounts left by Peter Townsend, Tommy Lascelles, and Princess Margaret to her biographer, it is hard to settle on a true version, since that true version depends on which source is trusted.

Lascelles appears at his most severe in this episode, a Satanic and menacing figure. This is an interpretation that might well have resonated with the real life Princess Margaret, not to mention the real life Peter Townsend.

There is no doubt that Princess Margaret fell in love with the Group Captain. He was the trusted equerry of the father she adored and a Battle of Britain hero. He was rather a gentle figure. However, as Lascelles made clear to him in no uncertain terms, he had been placed in a position of trust and responsibility. He was a married man with two sons and he was considerably older than the Princess. The real Lascelles said of him: ‘He has Theudas trouble’, a reference to the Acts of the Apostles: ‘For before these days rose up Theudas, boasting himself to be somebody.’ Churchill made it clear that the Queen could not sanction the marriage. So Townsend was sent away to Brussels, where he stayed for two years. By the time he returned in 1955, when the British public were agog to know whether the marriage would take place, the path of love had completely run its course. This is the main theme of Episode 10.

Minor mistakes: The costume department gave Townsend his CVO, but failed to give the actor playing Lascelles any medals or Orders (by 1953 he was entitled to a GCVO, CMG, MC and various other medals); in Rhodesia, there was a Governor-type figure in a Guards tunic with a GCB, but only bar ribbons for medals. At one point we see the telephone switchboard, which includes Highgrove House. This is the house that the Duchy of Cornwall bought for Prince Charles in 1980, so it would not have been on the switchboard in the 1950s.

Series one, episode seven: Scientia Potentia Est

It is 1940 and the Princesses are with their French governess. Princess Elizabeth goes to Eton College to be instructed by the Provost, Sir Henry Marten (not Vice-Provost as stated in the series). This leads to the Queen wishing to be better educated – knowledge is power - and as the story moves on into 1953, one of the themes is that she wants a tutor to help expand her general knowledge. Martin Charteris such a figure called Professor Hodge, but he is a completely fictitious character. The Queen did not seek a tutor to help her and nor would she ever have taken advice over constitutional matters from a figure outside the Palace system.

Retirement, or rather non-retirement, is in the air. Churchill is getting old and rather desperate, but refusing to go. The Anthony Eden character is ill in Boston, rather luridly so, taking injections, the implication being that he was almost a drug addict (a theme which gets worse in subsequent episodes). Then Churchill has two strokes. Evidently the Queen is not informed and so the fictitious Hodge urges her to summon Churchill and Lord Salisbury to tick them off like recalcitrant schoolboys. The Crown plays out the two wiggings. Symbolically this is to demonstrate that the Queen is getting on top of her role as an assured constitutional monarch.

Tommy Lascelles is also about to retire. In this series, the Queen wants her former Private Secretary, Martin Charteris, to take over and even offers him the job. He and his wife (Gay in real life, but here carelessly called Mary - the name of his daughter), go to look at the Private Secretary’s new home at St James’s Palace and have a tree trimmed outside it. They even say the house will be good for ‘the girls’. (In real life they had the one daughter and two sons). Michael Adeane hears about this, is aggrieved, and complains to Lascelles, who engineers that he does succeed him and not Charteris. Once again Lascelles proves himself more dominant and the Queen’s private wishes are set aside.

This is inaccurate. It is traditional that the monarch’s serving Private Secretary stays on for a few months at the beginning of a new reign to help with the transition as did Lascelles until after the Coronation, retiring at the age of sixty-six on the last day of 1953. Michael Adeane and Martin Charteris were working as a team (along with Edward Ford, who is not portrayed in the series). Michael Adeane was always the natural successor, and there was no fuss. He took over.

In this episode, the film-makers have put a 1972 story into a 1953 context, presumably so that they could use the Lascelles figure. There was a fuss over Adeane’s successor when he retired. At that time Charteris was the natural successor but Lord Cobbold, a former Governor of the Bank of England, wanted to sweep away the Guards officer Old Etonian types who held sway in the Palace and replace them with more meritocratic types. He tried to reject Charteris in favour of Philip Moore. But Charteris went to see the Queen and asked to take over. She immediately agreed, and he proved to be an inspired Private Secretary, who succeeded perhaps better than any other Private Secretary in presenting her to the world as she really is. He served until 1977.

The message that emerges from this episode is that the Queen is conscientious, prepared to do her homework and research, with a knack for discovering the truth when it is kept from her – as, for example, with Churchill’s two strokes (though Lord Salisbury is unlikely to have been willfully withholding this information from her).

Lascelles is well played in the series, though his older daughter (now 94) has said that his hair parting is wrong and his moustache too big. By curious misfortune, the actor playing Michael Adeane looks more like the real life Martin Charteris.

Series one, episode eight: Pride and Joy

The King used to say of his two daughters: ‘Lilibet is my pride, and Margaret my joy.’ (This is something first published by me in my biography of the Queen Mother and therefore explains the title of this episode). Here there is a complete jumble of the real life facts. The episode starts with a scene where the Queen unveils a statue to King George VI in the Mall. This was in fact unveiled on 6 October 1955. But suddenly plans are being made for the Commonwealth tour of 1953 and 1954, so the story moves back in time.

There is particular discussion about Gibraltar as a place that could be dangerous. This was quite true. There were threats from the Spanish and for a visit of less than two days, there were detectives from Scotland Yard operating under cover there for several months. There are some scenes from the Commonwealth tour demonstrating the Queen’s determination to undertake it all, and the strain this put on her. At one point the press see the Queen and Prince Philip emerging from a house after a row. Rightly, they stress the success of the tour.

The film-makers decided that while the Queen was away on her Commonwealth tour, the country would be run by Princess Margaret, rather than the Queen Mother, enabling them to use her as a modernizer breaking all the rules and introducing a spontaneous and touchy-feely (quasi Diana, Princess of Wales) approach to being Head of State which, not surprisingly, upsets everyone. She rewrites a speech, suiting her wayward personality and introducing more colour into it, and delivers this at an Ambassadors’ reception (curiously British Ambassadors serving overseas, in Washington and Athens, who appear to have flown in for this occasion). She gets the guests laughing. The point they seek to make is that Princess Margaret thinks she would make a better Queen than her sister, more in tune with the changing times. The Charteris figure gets more and more worried as she chats to miners, gives spontaneous interviews to the media in which she mentions her affection for Townsend and takes a dig at the Queen. She gets ticked off by Churchill who begins to detect a crisis arising, akin to the Abdication. When the Queen comes back, Churchill alerts her to Princess Margaret’s behaviour.

None of the above happened and is ultimately tabloid invention. Nor do I subscribe to the idea that there was bitter jealousy between Princess Margaret and the Queen. Princess Margaret always supported her sister.

To achieve this, they blur the dates and have the Queen Mother out of the way, buying Barrogill Castle (later renamed the Castle of Mey) in Scotland, something which actually happened a whole year earlier, in 1952. Lascelles (who would by then have retired) tells the Queen Mother what her duties will be, but she tells him she wants to be away. The episode twists history by suggesting the Queen Mother was prepared to shirk all her responsibilities.

In reality the Queen Mother was very much in London while the Queen was away, not least looking after Prince Charles and Princess Anne, who stayed with her at Royal Lodge most weekends (when she was not away racing) and at Sandringham for a long Christmas holiday. She was the senior Counsellor of State during the Queen’s absence. Counsellors act in tandem and Princess Margaret usually assisted her. But Churchill had the same kind of audiences with the Queen Mother as he would have done with the Queen, but not so regularly. The film also has Princess Margaret being advised by Martin Charteris, when in real life, he was travelling with the Queen and Prince Philip.

As to the Castle of Mey scenes, the Queen Mother did not ride horses after the early 1930s, so to see her cantering along the beaches is somewhat strange. Nor is it likely that the castle’s funny old owner, Captain Imbert-Terry, would not have recognised her. While she stays with the Vyners, she addresses the issues of her early widowhood. As this is meant to be late 1953, and not 1952, this does not convince – even with dramatic licence.

Minor mistakes: At a fitting they dress Prince Philip in the naval uniform which he wore but once – at the Coronation, an outdated uniform with epaulettes; later, he wears a Garter riband and bar medals, which is incorrect. The Caribbean Governor in white is wearing what might be a curious interpretation of a military GBE riband along with a huge GCMG star. When Princess Margaret gives her speech, the guests are wearing Orders, but she is not.

Series one, episode nine: Assassins

In London in 1954 Jean Wallop, a private person still very much alive, arrives in a restaurant to dine with Lord Porchester (later 7th Earl of Carnarvon). He proposes to her. She accepts on one condition – that he does not still hold a torch for ‘her’ – i.e. the Queen. I have it on impeccable authority that the future Lady Carnarvon did not even know that he knew the Queen when she met him. The outcome of this scene is that he tells her that for the Queen there was only ever Prince Philip, and she (his bride to be) is the only one for him. The Porchesters were married in January 1956.

The Crown suggests that Porchester was the man many wanted the Queen to marry, and they hint that she would have been happier with him than with Prince Philip. For the record, the Queen Mother originally wanted Princess Elizabeth to marry a Grenadier Guards officer. The late Duke of Grafton springs to mind. But from very early on, she set her heart on the good looking Prince Philip. Soon after he returned from war, they were engaged. The Queen Mother told Sir Arthur Penn: ‘Won’t the Grenadier Guards be disappointed?’ They were and at first refused to have Prince Philip as their Colonel.

The episode depicts Porchester ringing the Queen late at night, with a certain number of double entendres, his wife-to-be coming through from the bathroom. The Queen’s love of racing is emphasized as is Prince Philip’s boredom with it. This theme is rather dropped as the episode goes on, though in one scene, the Queen and Prince Philip watch a mare being covered, with Lord Porchester observing from afar and with some predictably cheap lines. Afterwards Prince Philip jumps out of the Land Rover in a rage. This is followed by a scene back home with a declaration of love by the Queen for Prince Philip.

Lord Carnarvon was a close adviser to the Queen as her racing manager and she often stayed with him and his wife to visit studs in the Berkshire area. Both she and Prince Philip flew down from Balmoral to attend his funeral in 2001.

The Graham Sutherland story is well told. Sutherland was commissioned to paint Churchill’s portrait to be presented to him in Westminster Hall for his 80th birthday on 30 November 1954. Peter Morgan is on firm ground here as it is within the political domain. Intermingled with this is the theme that Churchill should stand down. There is a fictional scene where Eden visits Churchill at Chartwell and bids him to give way in a histrionic, hysterical way – presaging the recurring theme that he was some kind of junkie. As to the portrait itself, it was revealed after her death in 1977 that Lady Churchill had destroyed it. In 1957 she described Churchill’s reaction to the painting in a letter to Lord Beaverbrook: ‘it wounded him deeply that this brilliant … painter with whom he had made friends while sitting for him should see him as a gross & cruel monster.’

There is a partly fictitious version of the speech he gave in Westminster Hall in which he teases the audience that he is about to retire and that his successor, Anthony Eden, is to hand. It appears that he then promptly resigns and with the brutality of the political system, as he leaves the Palace, Eden’s car draws up. The Queen’s speech at Churchill’s farewell dinner was taken from a private letter from the Queen to Churchill after his resignation and not delivered as such on the night. As we listen to it, we see another scene – Lady Churchill presiding over the burning of the Sutherland portrait.

In reality Churchill did not resign immediately after his 80th birthday in November 1954. He hung on in office until April 1955.

Series one, episode ten: Gloriana

The episode reprises the events of December 1936. Edward VIII agrees to see his brother, the Duke of York, but not the Duchess (there is no evidence for that). Then the new King informs his daughters that their uncle has put love before duty. He tells them never to let each other down thus introducing the theme that there could be tension between them later on.

A Royal Standard is hoisted over Balmoral. It is Princess Margaret’s 25th birthday (21 August 1955) and she declares she still feels the same way about Group Captain Townsend. It seems possible that she can now marry him. But the Queen discusses the Royal Marriages Act with Michael Adeane. He invokes a different version of the situation. He mentions that both Houses of Parliament need to approve and the need to wait for 12 months. Still under the illusion that she is free to marry, Princess Margaret wants to announce it.

Another scene shows Prince Philip teaching Prince Charles to fish so that we realise that he is quite tough on the boy. The Queen Mother voices the opinion that Prince Philip is taking it out on Charles due to the frustrations of his life. The Crown likes to think that the Queen Mother is very thick with Lascelles, in his retirement. She relied on him a bit after the King’s death but Lascelles took a dim view of her philosophy of life, considering it was best summed up in the hymn: ‘the rich man in his castle, the poor man at his gate’. But it gives them the idea that Prince Philip was sent by the Queen to open the Olympic Games in Melbourne, Australia in November 1956 to get him out of the way, to get him away from bullying his son and in the hope, as expressed clearly in this episode, that he would come back ‘changed’. But this all happens in August 1955 and he did not undertake the voyage until October 1956.

The second and final round in the Princess Margaret – Peter Townsend drama is played out. We see headlines speculating as to whether or not she is going to marry the Group Captain.

Apparently Prince Philip is somewhat in league with Princess Margaret over the marriage question. Townsend returns and they run together in a passionate embrace. Then come the problems, the involvement of the Attorney-General, the threat that Lord Salisbury will resign if the marriage takes place, the Queen saying she will support her in any way she can, but then that she would be deprived of money and titles, and have to live abroad for several years as Mrs Peter Townsend. Princess Margaret claims the country is on her side. The invented words of their father about mutual support are repeated by the Queen.

Then it all gets worse, with the Cabinet advising against the marriage, the Archbishop of Canterbury and other Bishops reminding the Queen that she is Defender of the Faith and of the oath made at the Coronation, and finally the Queen seeking advice from the Duke of Windsor in France. He tells her ‘You must protect the kingdom’. And so, in this episode, the Queen’s line is that Princess Margaret cannot marry Townsend and remain part of the family.

In reality, Eden did advise the Queen at Balmoral, but there was no involvement from the Archbishop, and the Duke of Windsor was in no position to pontificate about the role as sister and Queen, and duty to the realm.

The film-makers maintain that Princess Margaret broke off from Townsend because she had been forbidden to marry him. Furthermore, she tells him she will never marry anyone else. And then Townsend makes a public statement, in fact reading much of the written statement that in reality Princess Margaret issued to the press. He then returns to Brussels.

In truth, the decision was a mutual one between Princess Margaret and the Group Captain, largely based on the fact that Lascelles’s separation plan had worked and the love between them had died.

None of the characters are happy at the end of this episode. Princess Margaret is seen depressed at parties, and Peter Townsend sitting forlornly alone in his apartment in Brussels. Prince Philip is angry at being sent away on the long tour.

The situation with Nasser in Egypt is flagged up during this episode, meetings with Eden, more pills being taken and in the end, Anthony Eden slumped in front of burning cine-film of Nasser, having just stuck a needle full of drugs into his arm – followed by an image of the Queen posing in tiara and evening dress, next to the Crown Jewels which have been brought to the Palace for effect. She is shown as an assured and confident young monarch while the ever-frustrated Prince Philip drives off down the Mall in his open care, all alone, looking distinctly fed up.

I should be grateful that it is Cecil Beaton who gets the last word in both this series and Series two, extolling the virtues of monarchy with Shakespearean lines. Nevertheless Claire Foy’s Queen looks ominously sad.

（有剧透）“爱美人不爱江山”，这样的标签，常给我们一个多情逍遥的形象。谁曾想过，他们也背负哀愁与痛苦。也许有人放弃得潇洒，爱得热烈，但至少不是《王冠》镜头下的英王室爱德华八世。 《王冠》（ The Crown ）是 Netflix 出的一部良心历史剧，主要讲的是待机时间超长的英女王伊丽莎白二世。和之前写的《黑镜》S3E6《全民公敌》一幕高潮强过一幕的叙事节奏不同，《王冠》叙事较缓，有点像剪辑中的“问答模式”，抛出一个冲突，解决一个，又抛出下一个。娓娓道来一个又一个的故事。相较于《全民公敌》极少的人物刻画，《王冠》的人物塑造相当细腻。因此，若你心中有坑，想找一部剧填补空虚，或平息郁闷，你也许会觉得它无聊。但若你心绪宁静，这画面极美，布景华丽，台词优雅，演技一流的王室故事绝对上瘾。

爱德华八世（1894-1972）是当今女王的伯伯，即女王父亲乔治六世的哥哥。爱德华八世即位后，与辛普森夫人相爱。辛普森夫人离过婚，前夫尚在世。英国国教教义中是不允许和这样的人结婚的。在王室、内阁、教会的压力下爱德华八世选择退位，并和辛普森夫人结婚。他们在法国结婚，王室中无一人参加他们的婚礼。婚后很长一段时间定居法国。 人物 今天要介绍的是第一季第5集。这一集的主线是年轻女王加冕，副线是对爱德华八世的刻画。（开始剧透了...）这这位王叔的出场是他在巴黎的家中接受采访。在采访中我们得知，他有一个房间保留了在英国和在王室中的记忆。

他有思乡时吹的风笛，这是一个伏笔。

通过记者唐突的问题，我们还知道他在位时并没有“加冕”过。

从这些场景可以感受到他并不像想象中的“不爱江山”，他内心还是对王权贪恋。 接着，他被告知母亲病重，让他回去探望，不能带妻子。他的母亲玛丽王后（Queen Mary ) 对他比较刻薄，也反对他娶辛普森夫人。因此，怀着不情愿，他还是去了。

但是尽管嘴上恶毒，他还是温情地陪伴母亲。 接着他被告知，他的妻子不能过来参加女王的加冕仪式。女王的首席秘书、教会的大主教等过来告知他。注意这个画面的构图。

人物都放在画面的右边，中心人物在画面正中。在空旷且层高的室内，人物拍得渺小，显得疏离。一个很长的斜线（桌子）分割了人物，增加了疏离和不舒服感。 这一幕会谈他是没想到的，他本以为可以来参加加冕，看的出来他也很想参加，他试图劝说其他人。

遭到拒绝后，他又开启了尖酸吐槽模式。欣赏一下王室说话的艺术。

不能去现场，王叔就邀请了一帮人，在巴黎家中看电视直播。拜女王丈夫菲利普亲王所赐，这也是王室加冕的第一次电视直播。在直播时又是开启了活弹幕模式。 吐槽女王的马车：

然后有一个细节真是见足了编剧和导演的功力。如果让你拍一个内心尚留恋王权，被迫退位的国王，面对想亲临却被拒只能观看直播的加冕仪式，你会怎么写怎么拍呢？你一定想过他在直播时或直播后的表现，可你想过他在直播前会怎样吗？

也许是这辈子最后一次可以感受它了，这个曾经想象过无数遍的神圣时刻。这么多年过去了，原以为可以放下了，他们的不谅解，我的帝王心。在这个新旧交替的时刻，我只想，坐在殿堂里，让前尘往事淹没在这煌煌盛事中。然而，现在只有一个电视屏幕.... 通过演员一个表情（注意上图拍摄角度），通过妻子迟迟催促才下楼的一个场景，完美展现了这些...

女王加冕使用了暖色调，和王叔家中的直播形成了鲜明的冷暖色调对比。

在最神圣的受膏时刻（开头有交代，指主教在新王身上抹圣油，这代表了王彻底转变，与神相连），直播切掉了这个画面。现场有人不解，王叔说

王之落寞啊！ 我又要提编剧圣经《故事》了。它说，好的人物描写需要给到层层压力，揭示人物内心的欲望。对王叔的刻画里，从保留王室盒子的贪恋，到被告知不能参加加冕时，表面的不屑和傲骨，到观看直播的尖酸刻薄，到王之落寞。人物压力层层推进，笔力精到。 镜头 《王冠》的镜头有个特色是它用到比较多的运动镜头。不像《黑镜》，描述的是一个结构简单的事件，有强烈的事件线索。《王冠》的一集就记叙了许多的历史事件，事件间的时空线索没有《黑镜》那么连贯。因而导演运用运动镜头来进行事件（场景）间的转场，使时空的衔接更自然些。 例如菲利普亲王对女王的加冕计划演讲镜头转到直播 idea 的展现。 原本对他就是一个微微仰拍，然后再一个自上而下的摇镜转场。【豆瓣放不了动图，可以去我公号看,下同><...】

再如从女王和亲王看剧转到王叔家中的采访，也是一个自上而下的摇镜。

除了转场，还用来表现人物。 第7集里表现女王生气，是一个面向女王的推轨镜头，且通过摄影机速度快于女王来呈现。（注意推轨速度先慢后快）

以及在这一集的最后的一个相当有表现力的画面。在直播结束后，是王叔背对着镜头在吹风笛。镜头后退，同时上升，这同时从距离和高度上远离了人物，显得那么疏离。

但镜头拉到最后，给了一个正面大特写，是泪流满面又使劲吹风笛的他。一个强烈的对比。

等不来的谅解，回不去的盛世。我心羁绊，而无人顾盼。像王维诗里写的，回瞻旧乡国，淼漫连云霞。 王权早逝，乡关何处？ 走不出的他乡里， 回首，只有凉薄迷烟。 剧会说话出品，转载请注明出处。

欲戴王冠 必承其重 如果电视剧讲述的是你喜爱的历史人物，自然会投入更多的感情，他或她不是你们演的这样的；但如果只是吃瓜群众，自然是怎么八卦怎么来，怎么狗血怎么好咯。所以传记类型的电视剧，往往会收到不同的评价。 ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- 就剧谈剧的分割线 -------------------------------------------------------------------------------------------------------------------------------------------- 剧集剧本由《女王》（The Queen）的编剧彼得-摩根（Peter Morgan）创作，由《时时刻刻》导演史蒂芬-戴德利（Stephen Daldry）执导，主要讲述伊丽莎白二世与丘吉尔在二战后，重塑英伦的故事。克莱尔-福伊出演伊丽莎白二世，马特-史密斯和约翰-利斯高分别饰演菲利普亲王和丘吉尔。该剧有可能会续订至六季，因为有传言称Netflix已将计划预算设置为1亿美金。 美国的网络电视网拍摄英国王室的故事，确实很有趣。华丽的布景，精美的服饰，把观众带回到二战结束后的雾都伦敦，第一王位继承人伊丽莎白公主即将出嫁，民众对盛大的王室婚礼翘首以待，期望与年轻的公主一起扫除战后的阴霾开始新的生活篇章。 王宫中，公主在门外徘徊，等待着未婚夫宣誓放弃那些有名无实的外籍头衔，真正成为大不列颠的一员。房间里国王正在授勋，正式接纳一个原本的外国人成为家族的一员。她最爱的两个男人正在完成庄严的仪式，而她却忐忑着。他会愿意吗，此后一生他是否会后悔今天的选择，他的爱是否和她一样坚贞？ 她装作不在意地说，他还有24小时可以反悔；宽慰他此时的放弃或许可以获取的更高的奖赏，可傲娇的未婚夫回答“这正是他们想的”，她的心几乎就要坠地。可他接着送上一个甜蜜的偷吻，“我也是这么想的”，公主的脸上立刻绽放出笑容。这就是她的未婚夫，总是知道怎么让她心烦意乱，总是知道怎么让她的脸上染上红晕。 婚礼上，他们相互盟誓：我们从今以后，无论富贵或贫穷，无论疾病或健康，都将彼此相爱、珍惜、服从，直至被死亡分离。她紧张时，她不安时，总是望向他，他时而挤眉弄眼，时而小声提醒，让她放松下来。“服从”或许不是王储该有的誓词，却是此刻她心中的箴言。 他们的蜜月旅行，他们爱的结晶，他们新的家，一切如童话般完美。他们是一对人人羡慕的一对佳偶，迷人海军军官和他高贵优雅的贵族夫人。海滩上的嬉戏，赛艇比赛时的亢奋，party上的热闹喧嚣，还有一双如天使般可爱的儿女，几乎让他们忘记了自己的头衔和使命。 是啊，国王正值盛年，他们有足够的时间去享受自己的生活，陪伴孩子们长大，等到他们自己也足够成熟稳重，等到父亲慢慢老去，再去思考如何接下重担。 爱曾经让她小心翼翼，而现在爱让他们有恃无恐。 可惜，现实中的童话总是不会圆满。 来自伦敦的紧急电话，把他们召唤回伦敦。公主紧张父亲的病情，得知手术成功终于松了一口气。可身为这个家庭的外来者，菲利普敏锐地察觉到了医生心虚的表情，独自走进手术室，看到还在麻醉中的国王和被切除的肺部，他意识到了，岳父的病情绝不像公布的那样简单。他开始默默关注着国王，时刻担心他会突然倒下，他知道他的妻子和这个家庭都承受不了这个打击。爱让他变得小心翼翼。 而伊丽莎白对这却毫不知情，和母亲一起筹备圣诞行程，关心妹妹的感情生活，向父亲抱怨丈夫对装修的挑剔。她还幻想着等父亲完全康复后，可以和丈夫孩子回到原本的家中，继续做她的军官夫人。面对父亲突然交给的出访重任，她当然有点不知所措，不过也有点跃跃欲试。她是父母眼中听话的好孩子，履行公主的职责，替父亲分忧这是她该做的事。至于说服丈夫的工作很轻松，出访几个月的时间总会给他找的事做，孩子们还小不会在意他们的离开，等他回到海军，一切都会变好的。 忽视了父亲不断恶化的健康，纵容着妹妹可能成为丑闻的爱情，也未能读懂丈夫眼中的担忧，爱让她蒙上双眼，继续有恃无恐。 公主与王子的爱情故事演绎千遍万遍，一样有捧场的观众，而《王冠》的第一集没有描绘公主与王子如何相识相恋，而直接从婚礼开场。我很中意剧中这对王室夫妻的描述，几句对白，一个深吻，还有运用蒙太奇展示的婚后生活，寥寥几笔就勾画出丰满的人物形象。循规蹈矩的大公主遇到了潇洒不羁的落魄王子，尽管不被人看好，尽管有那样这样的问题，他们还是走到了一起。婚后离开了王室的纷繁，回归最简单的夫妻生活，他们拥有了一段梦想的人生。这是童话的尾声，也是现实生活的开端，之前的生活有多少欢乐，此后的生活就有多少的一言难尽。 传记片就是这样，观众是历史的知情人，而剧中的芸芸众生则是历史经历者。对我们而言是一段故事，于他们来说是整个人生。如果说对公主夫妻的描述只是一个精彩的开场，对乔治六世国王的描绘则是一段华美的篇章。 他是一个深爱家庭的男人，即便身体出现不适，仍然坚持出席女儿的婚礼，牵着她的手交给另一个男人，精心为她挑选新婚礼物。获知自己不久于人世时，他小心翼翼的瞒着所有的人，不让妻子难过，不让母亲伤心，不让女儿担心。他默默地为继承人规划着未来，与帝国最老道的老狐狸斗智斗勇，为她争取时间和经验。他被病痛折磨着早起，却恶作剧般地叫醒裸睡的女婿，一起去沼泽地打猎。他记得答应过女儿，陪她的丈夫出去散心，他希望她有一个能陪伴她走过这段艰难旅程的人，一个将爱她，保护她视为毕生职责的伴侣，因为他已不能再陪伴她了。 他是一位与疾病抗争的国王，他收拾好了哥哥退位后留下的烂摊子，和人民一起打赢了世界大战，甚至用讲黄段子的方法克服了口吃和坏脾气。可是“癌症”，不是他能克服的。当从医生口中听到实情后，他问了两个问题，有谁知道自己的病情，以及自己还有多长时间。医生的回答让他心酸又难受，原来首相早就获知自己的病情，之前的悉心装扮，甚至打上的腮红，不但没有遮掩病容，反而将自己的软肋暴露在对手面前，而自己珍爱的家人却无人知晓自己的状况。他艰难地维系着一个国王最后的尊严，掩饰着身体的痛楚与对人世的不舍。他深知王冠之重，哪怕不能与家人享受最后的人伦之乐，也要把王冠平稳地传递下去。他只祈求上苍再多给自己一点时间，再多做点准备，为继承人再多铺一段路。 作为知情人我们知道，上帝留给乔治六世的时间并不多， 对家人的爱，对国家的爱，让他小心翼翼走过了最后的时光。而他的女儿即将加冕为王，此后一生她都将承受王冠的重量，也用一生的勤勉去兑现对父亲的承诺与爱，他离去之后她再也无法有恃无恐。 ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ 谈谈真实人物 --------------------------------------------------------------------------------------------------------------------------------------------- 自我记事起，英国女王就是白发苍苍的老太太，而她的丈夫则是比她高出很多的秃顶老头。前段时间看了英国为庆贺女王90岁生日拍摄的纪录片（ps：看看人家怎么拍马屁的），看到了女王夫妇年轻时的模样。老实说这个剧的选角真心有问题，主角的颜值和气质与真实人物差距太大，反而配角到还原得不错。 青年时代的女王，优雅大方，充满朝气。如果说女王的颜值不输给女明星，那么亲王的颜值是直逼当红巨星。那时的亲王高大英俊，一头金发，标准的西方美男子，既有贵族气质又兼具迷人魅力，难怪女王在少女时代会对他一见钟情。乖乖女爱上坏小子，老套的剧情总是重复上演。婚后，他们曾拥有一段如普通人般的生活，他是驻外的海军军官，她是当地社交圈最受欢迎的女主人。男主外，女主内，其实某种程度上与他们本身的性格相符。可惜，注定得她走在前面，他跟在后面。 纪录片里王子、公主们纷纷出镜，他们描述女王时，总是站在王室成员的角度，讲述女王的智慧、辛勤与付出；而谈到亲王时，则是在讲一位父亲，一位祖父的故事，甚至有位年轻的公主因为外界对祖父的不公评价激动地落泪。亲王是王室的外来人，如今则是王室另外的某种象征。他的风流韵事，他的保守思想还有口不择言，都让王室公关们头疼不已，可他依然我行我素。 女王的男人不应该是这样的，但转过来想，这样的男人也许正是女王想要的。一个能对自己直言不讳的人，一个能替自己讲“不合时宜”笑话的人，一个能和儿孙正常交往的人。他们的故事绝不像鸡汤文中描述那么美好，也不会像反鸡汤文中描绘得那么不堪，如人饮水，冷暖自知。 爱或许曾经有恃无恐，但现实教会爱小心翼翼，最后悠长的时光让爱变做陪伴。