战士第一季

最震惊的段落是伊丽莎白二世在被首相和家臣联合挤兑之后雇佣了一个家庭教师，人家一问，她才知道原来自己没接受过初中、高中、大学这种系统性的通学教育，是个彻头彻尾的文盲。

唯一系统学过的是宪法，唯一擅长的是赛马。

原来，曾经不可一世的封建集权制的王朝进入20世纪之后衰落到仅仅只剩下一张华丽的虎皮。

稍微想一想也懂，乔治六世那么浅薄的教育自己的继承人，无非是向英国国会表明，温莎王室严格遵守君主立宪，从无野心复辟集权统治，既然无心复辟，名义上的统治者也就不需要学世界历史、政治、军事、自然科学这些东西，就怕有心之人要么怂恿君王复辟权力，要么挑唆大众彻底赶走王室，乔治六世他们其实也只是为了保住自己一家人目前的荣华富贵而已，仅仅就那么十几口子人吧，想想也挺可怜的，他们手无寸铁，也无武装，就靠小心翼翼的经营那张体面，体面在，家就在，体面不在，国会彻底废除王室，赶走他们，菲利普亲王少年时代有多惨，温莎王室就会有多惨。

伊丽莎白二世的演员演的很好，刻意把如履薄冰战战兢兢的样子夸张的呈现在浅浅的景深下，紧抓前襟的手，急促呼吸的鼻翼。

也从一个侧面告诉现代人，内阁究竟是怎么形成的，老王薨逝，新王登基，少女伊丽莎白身边一个能打的没有，我相信菲利普非常能打，但不能用他，用他就是干政，国会绝不允许。

所以女王只能求助于资历尚浅的私人秘书，家庭教师，我想历史上的那些宠信宦官佞臣的国王也是如此，只有这些身边的微末小人物才会感激君王的赏识，君王也才敢信任这些没有任何根基的小人，在一个没有安全感的君王看来，无论是自己的叔叔，祖母，还是那些看起来风评一流的忠臣，不管真不真实，他们首先是太可怕了，直接侵入私人安全空间，而伊丽莎白二世一开始的表现，仅仅是想保住工作体面而已。

我觉得，伊丽莎白和菲利普是一对世间难得的夫妇，他们的婚姻比纯商业化的各种娱乐节目复杂多了，想想《康熙来了》才播了多少年，他们的婚姻维持了多少年，73年！

我相信他们一开始是各自一意孤行，后来终于明白了这就是自己的人生，不管这样过，还是那样过，总会有各种各样的限制不会让你称心如意，而且就算你费尽心机一路追根究底到了月亮上，能得到什么，石头，沙尘，荒漠…… 他俩其实挺萌的，一开始真的是干茶烈火，女王加冕前娃都生了两个，加冕后的婚姻和世间千百万对夫妇的婚姻一样，逐渐走向无趣，但是他们不能离婚，如果结婚前他们还有各自无数可选择的未来，那么结婚后就没有了，离婚，两个人一无所有倒不至于，但会失去人生最大的幸运，他俩首先深刻认识到各自都不是天赋卓绝的人，菲利普成不了威灵顿，伊丽莎白也成不了维多利亚一世，他们也不孤芳自赏自视甚高，自身携带的资源单独拿出来都不足以让自己实现自我，但结婚，他们俩再适合不过，仅仅一场婚礼就奠定了成就世界上最受瞩目的夫妻，最成功的男女的事业基础，几十年的经营砥砺奋进、步履不停，直到死亡的那一刻来临再往回看，让其他人宣布他们的事业刚刚攀爬到了顶峰。

他们不是艺术家、不是演员、不是歌手，拿不出代表作，他们的著作就是儿孙满堂和对外展出的生活，最华丽最端庄也是最片面的皇室风范必须为他们赢得奥斯卡最佳影片、最近导演，最佳男女主演，宇宙级的！

拍英国皇室的大制作美剧，制作非常精致，配乐优雅有时代特征。

大多数人物是皇室成员和上流社会成员，英音发音非常高雅。

至于女王，隐忍富有责任感是公认的了，没什么可说的。

华丽的服饰和首饰，宽敞的宫殿和摆设，仆人秘书一大堆，高高在上的地位，这些东西绝大多数人终其一生也无法拥有的。

而她所遭遇到的工作上的困难和家庭矛盾，地位比她低得多的人照样会有，而且不会更少的。

所以我还是很羡慕她的生活的。

飞利浦亲王的演员长得连普通都算不上了，一大败笔。

女王明显是外貌协会的，才会选择菲利普亲王做老公的，忽略了他的纳粹背景和大嘴巴。

女王两姐妹长相非常相似的，都像父亲。

剧中，两位演员长相不像。

女王的演员，看过她演的楼上楼下，完全没认出她来，气质完全变化了，说明这位演员的可塑性还是很强的，但是她并没有演出女王的高贵气质。

这点远不如电影《女王》里的老演员。

玛格丽特公主的演员形象比姐姐好，可能演个性活泼的角色更容易演活人物。

玛格丽特公主在第七集的宴会演讲和矿井的采访讲话很幽默，她有她的优点，适合做脱口秀主持人或者栋笃笑艺人，但是言行过度随意不符合皇室成员的行为准则。

作为Netflix的首部“英剧”，担任编剧的Peter Morgan早在2008年就因为操刀相同题材的影片《女王》为大家所知。

《王冠》的诞生同样可以追溯到2013年由他编剧的戏剧《女王召见》（The Audience），这部剧展现了伊丽莎白二世在位60年中和历任英国首相们（从丘吉尔到卡梅伦）每周御前报告的场景。

没错，这部13年度热剧《女王召见》正是电视剧《王冠》的底本——戏剧导演Stephen Daldry同是电视剧集导演之一，Netflix为此掷下重金，号称网飞史上投资最高剧集，预期把女王自1940年代末继位前夕起的生涯用每季10年的跨度展现给观众。

戏剧《女王召见》在头一个10年里（从1947年到1956年），伊丽莎白成婚，乔治六世去世，女王继位，伦敦大雾，公主结婚风波，苏联氢弹试爆，女王出访英联邦，丘吉尔卸任……这一连串和英国王室关联的事件中，我们窥见了什么？

菲利普亲王时常闹情绪，虽然情有可原但越到后来他看起来越不像一位称职的丈夫，在重压之下他似乎选择了逃避。

女王的私人秘书汤米（Tommy Lascelles）包办一切的古板“老父”形象，真的非常讨人厌。

龙钟老态的丘吉尔在战后不像是一个英雄，而是个自大的老顽固，在52年应对伦敦大雾时犯了大错，更可气的是，这场危机中“拯救”他的是秘书的意外死亡。

至于副手艾登，也就是下一任首相，有野心却无能力，还是个药罐头，虽然在历史上对他的评价确实不高。

本剧讨喜的角色似乎不多，或是为了满足观众对王室的窥视欲，或是为了让剧集更可看，他们个性都很突出，可这样并没有让人感觉更好。

最明显的例子是剧中的温莎公爵，温莎王室的亲戚们大半都厌恨他，他是个不负责任的败家子，他的私情让王室权威岌岌可危。

更有甚者，老去的温莎公爵开始做起了曾经皇帝的旧梦，对过往地位的怀念让他对如今的王室更加眼红愤恨。

——这一切，如果站在“王权”的角度看并无不妥，女王毕竟还是对这位叔叔给予了最低限度的尊重。

剧中温莎公爵的形象，实则树立了一个王权荣耀的对立面，似乎想告诉我们，辜负无上荣耀的人最终只会落得丧家犬般的下场。

这也很好地说明了，为何与王权关系不大的温莎公爵，在剧中戏份如此之多。

温莎公爵这个角色不仅是被黑，还十分刻意地安排在那里，以显示出“崇高”和“背离崇高”之间悬殊的距离。

但在我看来，这反而使他成为《王冠》中的绝对例外。

他几乎每次出场都语带讥讽，一提祖国和家庭就是彻骨的阴冷。

还在通过电视机观看加冕典礼时嘴炮连连：“你会变魔术时，怎么会希望别人一眼看穿”。

通览全剧后，难道他的语句不是最毒辣和戳中要害的吗？

同时，他也见缝插针地被安排成为化解两起事件（阻止女王子嗣改姓和争取公主婚事）的关键人物，难道他是一时诋毁王权一时又劝说女王维护王权的跳梁小丑？

没有这么简单，谁都知道他并非没有坚定立场，他一再宣示自己的对立，所以他的出场无非是为自己而已。

最微妙的是，这位被加以强调的不负责任的公爵，孤立于王权之外的人，居然仍对女王有着强大的说服力！

他自称没有国土的王，向另一位王宣教并立下预言。

若从这个角度看，剧中没有其他王室成员敢像他那般地破格做事和说话（唯一敢爱敢恨的玛格丽特公主每在彰显个性时就立即被遏制）——因为那样做会被告知破坏了王权。

这让温莎公爵比伊丽莎白二世看起来更像一个人，他是真正从枷锁中挣脱出来的，他的生命更加敞开和充满未知，就算为了钱写写专栏接接采访，又何尝不可呢？

报纸对公主恋情的报道和“例外”的对比，恰恰让全剧表现女王个人和王权之间张力的意图显得尴尬，编剧想通过想象和史实的结合来丰满她的个性，但实际上王权在这两面之中总是压倒性的。

这不是在过程和抵抗中展现出西绪福斯式的生命力量，而是一切尚未开始，就看到了结局，一再预演和服从，其中的挣扎甚至有些假模假样了。

英国《独立报》（The Independent）对《王冠》的评论中写道：“简而言之，如果把这部剧集拆开来，本质上只看见在一个房间里，一连串的男人在谈论一个女人应该和不应该做什么，当然在这之前，他们会礼貌地在这位女人面前坐下并提出自己的建议。

”这样看来，《王冠》只是在重复上演父权制的把戏（即便温莎公爵也不外如是），尤其是，这次掌权的正是一个女人。

女王的角色似乎令人同情，因为在这套系统中越往上走，越失去个人自由——潜在的呼喊是：根本没有人想当国王/女王。

但总体上来说，本剧只关心“王冠”，它强调王冠是一种责任，乃至是神圣的责任，它也在叙述这个新生的王是如何一步步让王权压过自身，最终“在其位，谋其职”的——而不是两者之间调和的可能。

“王冠”还有效地隔绝了人民的踪影，在本剧为数不多出现民众意见的时刻，我们反而发现人民拥戴“动摇王权”的公主和上校，那么贵族和政客们每天念叨的王权要垮，是谁的王权呢？

真是英国人民的吗？

本剧暂未给出任何可能的回答。

正如剧中所有冲突都被一股力量所钳制，剧中人物真实可触的灵魂也极其有限——没有任何反思的自我，也看不出什么孤独，只是一直在说：真的很对不起，但那是规矩，我不能碰。

在夹缝中填充进的人物个性最终触及到的是真实的王权，在现实中，女王不会也不能对英国议会做出的决定表示异议。

但同时，王室并不是受害者，它握有一定的权力。

使得本剧在各个层面上都折射出王权在现代的尴尬处境，甚至隐含着更广的价值冲突：曾经那嵌入的，统一的世界和如今这祛魅的，多元的世界。

既然一种荣耀树立起来了、稳固了，它不可避免地描述王权衰微和危机。

如果《王冠》的后续剧集还有什么令人期待地方，那就是当60年代之后王室面对更多丑闻和外界攻击时，王室家族会有怎样的反应？

还是拭目以待吧。

丘吉尔80大寿演讲和他的肖像画参考资料：The Crown writer Peter Morgan: 'I bet the queen would've voted Brexit', via The GuardianThe Audience – review, via The GuardianThe Crown review: Sumptuous but empty, Netflix's latest fails its queen, via The Independentt

创下投资之最的《王冠》，是女王成长记，也是职场新手速成指南。

1一部优质、好看、有营养的剧趁春节假期，看了最新的英剧《王冠／The Crown》第一季。

制作精良，编剧、表演、台词、摄影、音乐、剪辑、布景，等等，堪称全方位的优质。

尤其，它在史实与编剧自主创作之间体现出的分寸感，堪称历史剧典范。

毕竟，它的男女主角女王伊丽莎白二世和菲利普亲王，仍然在世。

这部投资达1亿英镑、创下投资之最的电视剧集，也的确成为好评收割机：包括金球奖最佳电视剧集、最佳女主角、最佳男配角在内的大小若干奖项；豆瓣9.2分，IMDB评分8.9分，烂番茄8.69分。

它的制片人、编剧Peter Morgan，有多部口碑甚好的作品，不乏描写英国王室题材的佳作，比如2013年的舞台剧《女王召见》、2008年电影《另一个波林家的女孩》（斯佳丽.约翰逊、娜塔莉.波特曼主演），2006年的电影《女王》（获奥斯卡和威尼斯最佳女演员奖）等。

看过后两部，都挺喜欢。

但在我心里得分最高，还是《王冠》。

得益于电视剧所能允许的从容篇幅，《王冠》得以细陈伊丽莎白之由女孩自女王的成长之径，她之“为人”与“为王”，以及她夹在这两种角色之间的纠结与挣扎。

它，既满足了我等吃瓜观众对英国王室内幕的八卦心——比如尊贵如女王，是如何面对频繁酒醉夜归、绯闻满身的丈夫；它又“寓教于乐”间让你更深地理解了英国君主立宪制的精神，了解英国王权、教会与政府之间的关系；它还“顺便”帮你温习了英国上世纪四五十年代的历史关键词与重要场景。

这样一部有营养的电视剧，当然值得安利。

而今天这篇文章的重点，则主要想借伊丽莎白二世的“女王成长记”——我们未尝不可以将“女王／the Queen”看作为英国职位最高的“职场女性”伊丽莎白.温莎的“一份工”，当然，这也许是世界上“职场关系”最复杂、最具挑战的工作之一——通过这位“职场新人”如何于重重危机中历练成长，得出一些诸如我等普通职场女性，在工作与生活中可以借鉴的一些经验。

2一个未准备好的女王1952年，伊丽莎白继位时，仅25岁。

彼时，她刚刚结婚4年，与菲利普亲王育有一子一女，即查尔斯王子与安妮公主。

公主沉浸在初为人妻、为人母的简单幸福中，不曾想，父王乔治六世的突然亡故，将毫无准备的她仓促间推到了历史前台。

按照剧中演绎，她此前完全不知晓56岁的父亲得了肺癌，整个英王室除去乔治六世本人，都被“隐瞒”了病情。

甚至，主治医生也是在“不得不”的情形下，在国王亲自追问那刻，方才告知实情。

隐瞒的理由很“崇高”，“希望国王在没有额外压力的情况下履行好王的职责。

”可见，在英国君主立宪制的文化里，无论是王室，还是民间，都有一种共识，THE CROWN／王位，更意味着duty／责任，而非王权。

一旦戴上这顶王冠，固然成了英国教会的首领、被人民敬仰爱戴的王，但也就此被绑上了无法卸载的responsibility。

而原本，伊丽莎白公主，其实只想做一个普通的英国农妇，做一个有着幸福婚姻的女人、妻子、母亲，而不必活在万众瞩目、也同时严苛的审视之下。

这也曾是她父亲的“小盘算”，可历史的轨迹，从来自有天意，不乏戏剧性的转折。

1936年底，伊丽莎白的伯父、也就是著名的“为美人弃江山”的爱德华八世，因坚持要娶离异两次的妇人华莱士为妻，引发严重的宪政危机，遭到英国教会、王室与内阁的一致反对。

最终，以爱德华八世退位、远走海外，伊丽莎白的父亲约克公爵继承王位而告终。

就是《国王的演讲》中那位口吃的国王——在二战与王族危难之际继位、成功克服口吃、并带领英国最终赢得战争胜利。

乔治六世的英雄形象，备受王室、教会、政府、人民的颂扬。

其母、著名的玛丽王太后盛赞他的无私与奉献，“他心里有所有人，却唯独没有想过他自己。

”有这样一个完美ROLE MODEL的父亲、前任，年轻的伊丽莎白被寄予厚望：“这个国家，有盛产杰出女王的传统，您也不会是个例外。

”

虽然，自父亲继承王位后，伊丽莎白便被作为未来的女王在培养，跟随当时伊顿公学的校长沿习英国宪法多年，但她并未预料到自己会在25岁那年就不得不脱离父荫，独挑大梁。

她得知父亲去世的噩耗时，尚与菲利普亲王在肯尼亚出访，沉浸于非洲的异域风情、难得的快乐二人世界中——哦，彼时的年轻公主，还会抓起相机，悄悄拍下正在裸睡的丈夫，全然一副幸福娇妻的模样。

成为一国之王，她无论在能力、智识、经验，还是在心理上，都未准备好。

可这世界上，有些“职位”，是因你的能力被后天赋予；而有些“岗位”，却只由出身决定。

比如王位。

君权神授，是血统，是上帝的旨意。

前有伯父爱德华八世的弃位阴影，后有父亲作为英雄国王的榜样，伊丽莎白没有临阵退缩的空间与余地。

3.由人到王，从小我中生出大我人的成长，都无法逃脱自身的历史局限性，女王也不例外。

任何成长，都没有真正的捷径可走。

只是悟性不同，脚力有快慢而已。

女王初继位，遇到的第一个大问题是：自己与孩子，随父姓，还是随夫姓——这意味着，是延续温莎王朝还是开启一个新的蒙巴顿王朝，这可事关大体。

她深爱的丈夫菲利普.蒙巴顿以及蒙巴顿家族，自然是强烈要求她随夫姓，所谓遵循英国当时“妻随夫姓”的社会习俗，幻想英国历史上从此留下“蒙巴顿王朝”一笔。

此外，菲利普还要求她去提议，继续留住在新装修的温馨家中，不搬去冷、硬的白金汉宫，只将那儿做为官方行政办公处所。

当时的女王，尚未学会用“王”的思维权衡大局，“人”的思维明显占据上风。

她惦记自己卧房内的安定，甚至不惜与当时的首相丘吉尔谈起利益交换。

“我是女王，但我同时也是一个女人、一个妻子。

我渴望有一个成功幸福的婚姻。

我不得不辩驳，这个小家的稳定，也与国家的利益息息相关。

”

伊丽莎白二世有多看重菲利普呢？

按照剧中呈现，菲利普亲王是女王此生最爱。

13岁那年，她初遇他便一见钟情，此后鸿雁往来八年，终于在21岁那年如愿与之结为夫妇。

据该剧编剧Peter Morgan考证，这对新婚夫妇婚后最初几年甚为恩爱，经常享受夫妻共浴的罗曼蒂克。

所以，在剧中出现了年轻的伊丽莎白女王语带“威胁”地要求德高望重的丘吉尔，你不是去与内阁“商议discuss”，而要将她的诉求作为最后的决定“告知inform”内阁。

从“王”的高度去看这种“人”的行为，当然不妥当、不合适；可站在“人”的立场去换位思考，伊丽莎白的想法又能被理解与同情。

甚至，这才是一个“正常”的人。

首先允许自己是个人，承认自己有人的欲求甚至是弱点，但最终又能站得更高，克服掉袖笼里的“小”，这就了不起，也更是健康、合理、自然的成长。

谁，生来即为圣为王呢？

最终，在伯父温莎伯爵（爱德华八世退位后被授予“温莎伯爵”的称号）的建议下，年轻的伊丽莎白女王在“王”与“人”之间，选择牺牲“人”的利益与乐趣，担负起“王”的责任与承担，选择了国家稳定，而不是保全小家太平。

所谓，识大体、顾大局。

此后几十年，伊丽莎白二世也不得不时常面对人性与王性、私情与制度之间的冲突。

在第一季中，最典型的一例便是她要处理妹妹玛格丽特公主的棘手婚姻。

年轻漂亮又任性骄纵的玛格丽特，在少女时期便爱上了父亲乔治六世最信赖的侍卫官PETER TOWNSEND。

他不仅大她16岁，还已婚。

之后，侍卫官妻子有外遇，与他离婚，公主一心要正式嫁给心上人，并来寻求女王姐姐的支持。

然而，英国教会不允许王室成员与离婚且离异配偶仍在人世的人员结婚，女王陷入两难之境。

一边想信守对父亲的承诺，爱护、成全自己唯一的亲妹妹，另一边却是冷硬不可变通的rule，是来自教会、来自内阁的强烈反对。

两难之境，温莎伯爵建言伊丽莎白：“作为君王，你将终身饱受为人、为王之间的挣扎与痛楚。

但是作为君主，你必须保护你的kingdom。

”

女王再一次选择以大局为重，站在了王冠与制度那一边。

事实上，女王继位后，基本就没再滑过边儿，做过什么脱离轨道的事儿。

她谨遵玛丽王太后对她的教诲：个人私利面前，The Crown must win, it must always win.

我们普通人，自然不必经受此等烈火灼心般的严峻考验，但身为一个职场中人、社会中人，“小我”与“大我”的冲突，个人利益与集体利益的冲突，却必然会遭遇。

如董明珠那样只认制度不认亲、始终能置公司利益于个人利益之前的，成就了格力这样的超级制造企业和中国企业家里最著名的女强人。

而普通如你我呢，通常情况下，更能考虑大局、有志于成就“大我”的女人，的确更容易活得有气象、有格局，见天地、见众生。

4王之路，是虚心向学、不偏听偏信允许自己是个人，承认自己有弱点，是对人性的正视，也是成长的必由之径。

先承认自己有弱点，才有虚心向学的意愿与动力，才有进步的可能与机会。

作为一名“职场新手”，伊丽莎白二世就是一名谦虚谨慎、虚心好学，并且不偏听偏信的好同学。

这几点，对普通人而言，都不易，对君王，则尤其难。

居高位者易自得。

即便是靠个人努力而身居要职者，飘飘然、自命不凡的，都不鲜见，何况是诞于王室之家，贵为一国之君者。

而偏听偏信，几乎算是人的一种天然劣根性。

伊丽莎白女王，至少剧中表现的她，却不是。

每遇有难题，她便不耻下问。

她的老师、或者说参谋与顾问，包括她身边最亲的丈夫菲利普、母亲伊丽莎白王后（是的，女王的母亲也叫伊丽莎白）、祖母玛丽王太后、退位的叔叔爱德华八世（温莎公爵），当时的首相丘吉尔，以及她的秘书，后来的私人教师，等等。

比如，她听从丈夫菲利普的建议：顺应时代，通过电视直播自己的加冕典礼，在王权与民众之间建立起更深的情感链接。

比如，她自觉学识浅陋，因自小未经过正式的学历教育，除了英国宪法、养马，似所知甚少，于是，不顾母亲反对，给自己请来一位私教，想学习哲学、历史、艺术等等。

为的是，在各种会面场合中，她能做到谈吐有物、应对自如，以更好地履行女王职责。

而在同一件事情上，她也不偏听偏信。

她听来自不同立场者的意见，权衡利弊，得出自己之结论。

不因人废言，也不因言废人。

并且，就事论事。

不得不说，这是一个领导者所能具有的最核心的领导力之一。

丘吉尔是女王继位后经历的第一位首相，这位“英国之父”在二战之后再度入主唐宁街10号。

女王刚继位时，对他敬中有怯，第一次会面时，竟忘了行礼。

日后，在重多要事上，她都征询并听从了丘吉尔的建议，但是，当年迈的丘吉尔联手同僚，刻意对她隐瞒自己中风的病情时，她也能勇敢地搬出宪法，“教训”他“罔顾王权信任，置政府的执政效率于不顾”。

“作为王权的代表，我无权干涉政府，却有权确保政府有效行使职责。

”也正因此“一役”，年过八旬的丘吉尔，含泪哽咽，“女王陛下，我终于可以放心辞职。

您已就绪，不再需要我的辅佐。

”

虚心向学、谦虚求教、不偏听偏信、处事有礼有节、进退有据，女王自1952年继位到1955年丘吉尔辞职，仅仅用三年时间便完成了“女王成长记”的第一部曲。

而这些通用之则，我们直接学来即可。

5王之体面，是情绪管理与克制女人普遍感性，也容易将私域内的事情与感情，不经意间就带到公域中，影响工作，影响他人。

不能在私域内妥善处理情绪，做不到公私、内外有别，是身为女人最容易有的一大bug。

可，如果你刚和丈夫吵完架，转头就要面对媒体、或者坐在首相府的辞职告别宴上发表致辞，你真的不太有“任性”的空间。

分分钟，都事关大体。

是王，你就得有异于常人的情绪克制与管理能力。

坊间一直流传菲利普亲王年轻时生性风流，绯闻甚多。

据称，他的绯闻名单上列着30多名女子，还和其中的一些有私生子。

但至今，这些传闻，并没有实锤。

严肃的电视剧，当然不会为了追求收视率，在没有实证的花边情事上无边铺陈。

补充一句，这部电视剧请了八个一等一的史学专家，把关史实的准确性。

而这部电视剧选择确实呈现的是，菲利普亲王的频繁外出、屡屡醉归，有着与身份不符的嚣张醉驾，甚至是放浪。

很长一段时间内，他几乎每周都与好友参加绅士俱乐部的聚会，剧中也颇有深意地“顺带”了一笔镜头，扫过菲利普对俱乐部中美丽女侍应的“打量眼神”——不节制的失礼男性看见漂亮女性，通常会有的那种眼神。

丈夫频繁夜归，且总带回一身放浪、酒气，纵是女王，也夜不能寐、寝卧难安。

她终于听到汽车回府的声音，静静站在窗前，冷冷注视着对方的玩世不恭、自我放纵——是的，该剧中的菲利普亲王神形之间都颇有点playboy。

顷刻，她转身上床、关灯，佯睡。

强压内心波涛汹涌。

难道，要全王宫的人，在深夜被女王夫妇的激烈争吵骇醒吗？

女王把爆发选择在了一个很“合适”的时机。

丈夫疑心她与马官、有世交之情的portchy之间有私情，甚至恶语惊人。

她说portchy于自己，是亲人般的朋友，就像家中的一件家具（part of the furniture）。

他回，只要你不会很快随时坐在它（他）身上（as long as you don’t sit on him anytime soon）。

最后，女王心碎、情真、也凛然地回他：我没有任何事情需要对你隐瞒。

portchy是朋友。

也确实，曾经有一些人希望她能嫁给他。

很可能，和他结婚，婚姻确实会容易得多，也甚至比我们现在的婚姻更幸福，但让所有人遗憾以及受挫的是，我此生唯一爱过的人，只有你。

而你，能够很诚实地看着我的眼睛，说出同样的话吗？

是女王的真情告白，也是一次硬碰硬的质疑，还是一次妻子对丈夫的warning。

这是一场戏剧冲突与情感张力十分强的戏，而紧接着下一刻的画面，她坐在丘吉尔的身边，起身就首相的辞职离任发表官方演讲。

强烈的情绪冲击之后，她得体、镇定发言。

并且，几次强调：“我和我的丈夫。

” 丈夫也在席间用口型对她说了“sorry”。

英国社会对的女王素有严谨、稳重，情绪不外露的评价。

是的，也许生动有趣不足，也许不够人情味，但身为王，身为君主立宪制政体下的女王，“克制”、“中立”却是一个女王应尽之责、也是毕生功课。

伊丽莎白登基后不久，玛丽王太后便告诫她谨记遵循英国宪法精神，始终保持王权对政府的中立，不干预、不表态、不妄评：“无为才是为王之道，也最难为！

因为保持中立并非人性之自然，人们总是期待你或微笑、或同意，或皱眉。

而在你这么做的那一刻，你也就宣告了你的立场、你的观点。

然而，这却是身为君主最不该做的事。

越无为、越少言、越少认同、越少微笑，越好。

”

我们普通人，当然不用这么极端，我们幸而可以追求率性、真实，但这不意味着因此就可以不问时间地点的放纵情绪，不加节制。

于公于私，都不利。

而女王作为一个女性，对自己情绪的管理与控制能力，尤值学习。

不是没情绪，没脾气，而是放得出去，也能收得回来。

人之体面，很重要一条，便是：不做情绪的奴隶，不失态。

作者非非马：媒体人、影评人、创业者。

欢迎关注微信公众号“非非马”（ feifeima-uk）：影视艺评，严肃时尚；理性文艺，心灵成长。

新浪微博：非非马UK

如题,2022重看这部剧,感触和几年前太不一样了.这挺好.说明这几年看的书没白看啊....然后看到了这一段.我的天,惊为天人.把衰落中的那种帝国心态,简直写活了啊.这作者真是吃透了帝国的衰落史了....

唯一可惜的是那几句最后的翻译有点不够达.我重翻译一下:"....于是,只要这行头还照样堂皇,只要这头冠还照样闪亮,只要那头衔还照样荒诞,只要那神学还照样艰深,那么,一切就都肯定还挺好的吧?"我的天....这刻薄,这吐槽,这一针见血,这无能为力.啧啧啧.作者这是真的吃透了大英帝国的黄昏心态了啊......以前,书看得少的时候,好奇大英帝国是如何一步一步走向衰落的.后来,书看得足够多了.开始意识到,哦,是自己问错了问题.....问题根本不是大英帝国是怎么一步一步走向衰落的...问题是,大英帝国,这种小破玩意,怎么可能,竟然还走了那么大狗屎运,帝国过??????然后,整个历史才一下在自己面前,彻底洞开了,一切都清晰起来了......整个大英帝国,说难听点,不过区区一个小岛罢了.....大小才和广西省差不多.......区区一个省罢了,你们才几个人,你们才几杆枪?你们,怎么,竟然,还曾经帝国过??????这,才是正确的看历史的方法......用这个思路去看历史,才能看懂的.......于是意识到,战胜西班牙无敌舰队这件事,对英国人来说,多壮丽,多辉煌.于是才看懂大航海时代,英国是如何一步登天,占领了那么多殖民地.于是才明白,整个大英帝国的兴盛,都是建立在殖民地之上的.......整个大英帝国,皆出于此,罢了.....于是能否维持殖民地,就成了大英帝国的命脉问题.于是,当美帝独立,当拿破仑崛起,当俾斯麦崛起....这一系列世界变化,对大英帝国国运的那个明显威胁性,也就能理解了.于是能理解为何玩的一手好挑拨离间的大英帝国,竟然就不顾身家性命,非要头铁,非要亲自上场去打一战二战了......不打,还怎么维持殖民地?可是打了,就那么个小破岛,就那么几个人,几条枪,今天死一死,明天伤一伤,就算打赢了,还有能力再稳住殖民地么?回答肯定是就不成了啊................命啊.真的都是命啊......进退维谷,左右为难啊......前进也是衰败,后退也是衰败,甚至就是站在原地不动,还是个衰败.....大英帝国,真是从来没有过机会的.....不管往那个方向走,都是死路一条.根本就没有过机会的........一个注定昙花一现的,注定衰败的帝国罢了.....这种心态,真真是给这一大段台词写活了.写透了啊.......作者真牛逼.....佩服.佩服,拜读,拜读.那有什么大英帝国啊......大英谢顶认命国罢了.......

论认命,英国人说自己是第二,没人敢说自己是第一.....瞬间觉得鸦片战争的仇已经报了啊...

我终于跑完了“观看〈Crown〉（《王冠》）”马拉松，到现在它更新到第四季，待播第五季，从乔治六世在位一直到伊丽莎白二世掌权至中年，女王把这条路越走越坚定，家庭中各个成员却迷失各自的迷失。

第一季其实是我最喜欢的一季，它把每个人物的自由和骄傲之间的挣扎讲得太好了。

为了完成婚姻的自主选择，被迫退位的温莎公爵有多爱损女王的继位仪式，就有多舍不得这本属于自己的王权，平衡自由与骄傲的方式，他选择了以无视、嘲讽的姿态对抗向往和遗憾。

这像人世间的任何事，它不仅会停留在王室里，它停留在任何地方，接受每一个选择的另一面，有的时候太难了，道理应是好事不能你一人占全，但落在真实生活时，平复我们的也许是激愤的情绪，是嘲弄的意味，总不会是那条谁都懂的道理。

玛格丽特公主这条线的故事，我看的时候，难过，鼻腔和眼睛都成了被堵塞的通道。

玛格丽特公主作为一个基督徒和王室成员，为自己和Peter的婚姻争取了些年，但四面八方的压力、威胁，最终还是将她压死在白金汉宫的森严之中。

她没有办法离开王室带给她的一切，最多她只能做到在内部进行对抗，她无法做任何外部的进攻。

接受，看似是一个平和地将往事压于箱底的姿态，但它反噬的力量却极大。

玛格丽特公主一生都在寻找有别于规则，最接近自由的情感和人，但她一生都没有得到。

自由当然会生长在被控制的环境中，但如果它冲不破这藩篱，它就一生都是被控制的自由。

也只有第一季对Mother Queen的挣扎做了表达，她想要在海边花100磅买下年久失修的城堡，和城堡主人的交谈中，她抛去头衔的交流最终被白金汉宫对自己的急召打断，城堡主终于知道她是谁的时候，Mother Queen哭着说，你终于想起来了。

这句话里有期待被认出，期待被俯首称臣，也有被认出后，对突然在彼此之间竖起铜墙铁壁的无奈。

最平凡的情感和最高的王权它大部分时候肯定是相悖的，我们是人类，所以无法真正生活在哪一个绝对的立场，我们只能生活在这个夹缝中。

Mother Queen在这个夹缝中，玛格丽特公主、温莎公爵、菲利普亲王、查尔斯王储，包括女王自己，他们每一个人都在。

在这四季中，他们每个人都会对王权更坚定，会更冷静，会讲些残酷的道理，但也并不影响他们总有那么几个时刻，是没办法说服自己的。

不仅是他们，我们也一样，没有一条铁律可以说服我们的一生，我们要不然不断被不同的东西说服，要不然不断用同一个理由去辩驳。

原文链接Series one, episode one: Wolferton SplashThe 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 CornerEpisode 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: WindsorBack 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 GodThis 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 MirrorsThere 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: GeligniteThe 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 EstIt 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 JoyThe 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: AssassinsIn 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: GlorianaThe 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.

PhilsumyNetflix的新剧王冠刚刚上线（11.4），我用了不到两天就追完了10集。

如果是别的电视剧，我或许会打个“剧透”提示；可是这部剧好像打不打都无所谓，毕竟"历史"已经书写完毕，我们欣赏的只是“故事”。

历史剧的好处之一就是它的连续性，以及背景的真实性，毕竟，“历史”。

就像莎士比亚的经典四部曲一样：理查二世，亨利四世，亨利五世上、下；王冠也有前传，如果看过《国王的演讲》的各位，根本就不需要做什么多余的背景介绍：为了美人放弃天下的爱德华八世；为了责任接任王位乔治六世；还有伊丽莎白·鲍斯-莱昂，乔治六世的王后，伊丽莎白二世之母，以及爱德华夫妇口中的“Scottich cook”“苏格兰厨子”；当然还有两位主角，或者说，主角与准主角，女王夫妇。

如此的人物放在一起所展现的剧情张力是巨大的，让人身临其境，感受他们之间的故事。

（当然这部剧还没有续集，因为。。。

女王还在“超长待机”。

）如果说“历史”更着重于光辉的、伟大的一面，那么"故事"则更喜欢聚焦于那些光明背后的阴影、脆弱。

比如说王夫：菲利普亲王，爱丁堡公爵。

很多人喜欢他的高大帅气，与女王的完美爱情。

这部剧里则更多聚焦与他的“脆弱”。

很多人知道他是希腊王子，可很多人都没注意到希腊是个“共和国”。

他的父亲，安德鲁王子（安德烈阿斯王子）是希腊国王乔治一世的第四子，很显然，继承顺位靠后。

1922年，希腊在与土耳其的战争遭遇惨败，安德鲁王子与政府大臣、军队指挥被关入大牢，等待枪决，最后英国派军舰前去协商，安德鲁一家才得以获释，而当时1岁的菲利普亲王是躲在橘子箱里，离开了他的“故土”。

安德鲁亲王对菲利普亲王也不怎么关心，喜欢花天酒地。

菲利普亲王更多的时候是与舅舅蒙巴顿勋爵在一起，当然，最后，他也把自己的姓氏改成了”蒙巴顿“所以当故事进行到公主大婚前夕，他放弃希腊国籍与王位继承权，改姓“蒙巴顿”，英王乔治六世赐予他那一连串头衔的时候，剧中的表现出他的轻松以及他感觉仪式的繁复，忙于应付。

我想现实中的菲利普亲王放弃的很轻松，因为他的那些希腊头衔就真的只是“头衔”而已。

他是一个没有家，没有故土的“孤儿”。

女王陛下：在故事开始的时候，女王其实很小女人，与在皇家海军服役的丈夫在一起，拿着摄影机拍着自己的丈夫，带着“迷妹"的小眼神，我想女王与其他"迷妹"不同的是，她真的与"男神"在一起了。

在乔治六世去世的时候，在丈夫的要求下，她正在给她的父亲写信，请求与丈夫一起回到马耳他，殊不知早已天人永隔。

到了决定女王尊名的时候，也正是预告片里所展现：“我的名字就是“伊丽莎白”，我们就别在这搞得过于繁复了”私人秘书站起身，对她说道：“女王万岁”从此，她不再是丈夫的迷妹，不再是众人宠爱的公主，而是女王陛下。

就像我之前提到的，这部剧展现的是历史之外的“脆弱”，也正是人的部分。

理论上大权在握，其实什么也做不了，总想发表意见，然后又不能发表。

“一事无成是最难的事”作为英国国教会的领袖，请大家不要忘记是亨利八世为了离婚而创建的，不仅不能用这个头衔去要求别人，反而经常被人限制。

连“爱情”都无法做主。

爱德华八世为了“爱情”放弃了王位，玛格丽特公主一心想跟父亲的秘书在一起，最后。。。

女王即位之前，跟工作人员说，我能不能把王冠借走，回家练练，工作人员一脸懵逼，“这本来就是您的”。

女王把5磅的王冠戴在头上，看着镜子中的父亲，那个准备加冕礼的父亲，两个人就这样看着彼此。

我认为一个非常重要的配角就是先王爱德华八世，温莎公爵。

公爵为了“爱情”放弃王位的故事，已经众人皆知。

这部剧里的公爵经常出现，回到伦敦，回到痛恨他的家庭身边，要求妻子的尊号，要求妻子能够与自己一起参加典礼，要钱；而我们的先王的要求总是被拒绝，然后他曾经的仆人们开始跟他提条件，先王勃然大怒，说你们这些奴仆敢跟我蹬鼻子上脸。。。

然后想想自己的处境，只好作罢，说，好吧，由我去劝女王，那个钱，你们赶紧汇给我。

剧中的公爵，有一只风笛，公爵夫人还特意向记者介绍，公爵只在思乡时吹奏。

终于，到了女王的加冕礼，公爵义务给身在法国的众人解说。

众人说，这典礼把女王变成了神，你是怎么会放弃成神的机会呢？

公爵答道，我拥有了最伟大的东西“爱情”。

公爵表面上对王位不屑一顾，对爱情崇拜至上。

可公爵真如他所说的那么伟大吗？

他真的把爱情放在祖国，家庭，王位之前吗？

我想公爵肯定也会后悔，也会流泪，也会思乡，因为他跟我们一样，也只是个凡人。

也正如我最喜欢的镜头之一，公爵一个人，在法国，在别墅的外面，吹奏着风笛，泪流满面。

剧中的王族待着无限的光环，可其实啊，他们也只是凡人罢了。

国内的剧，或台湾，日本的电视剧呈现的一般问题，总是考虑用最低制作成本为制剧第一优先，把大多数钱花到演员身上，艺人演员与制作费的比例常常在４：１以上，做出来的影片就像把芭比娃娃放在便利店的萤光灯管下拍摄，明明是粗糙画质与低劣演技却仍沾沾自喜的做了一个剧。

布鲁斯喜欢王冠这个剧的精致感，像电影般的经营剧情与画面。

打一开场就吸睛，不会想休息或转台，终于在这两周一堆烂剧停停看看的呕吐过程中，布鲁斯重生起来。

Crow是一开始就把规格定高了，所以从演员，制景，色调，历史风，重编真实历史事件，在大事件上描绘女王与每个角色的世界，看起来就特别舒服与入戏。

才看到第七集，布鲁斯就等不及要写感想了。

第一季的第七集，伊莉莎白因为对于自己从未受过正式教育而感到无法跟大臣，外国宾使流畅对应辩驳，因此找了个通识的导师，在一个政治的危机之中，伊莉莎白女王以为应该像原本一样，对发生的认识事情都保持沉默，但导师提醒她：你是对的一方，他们是错的去教训别人无关教育水准与才智这是诚信与原则问题你说你没有知识才能去对抗那些聪明人不，你有的。

你从小学宪法，比任何人都懂宪法这是你所有的知识，也是你唯一需要的知识运用宪法来做为你的基础好好的斥训那些大臣与首相

所以剧情结尾就是，伊莉莎白女王首次获得首相与大臣的尊重，有情也有理的把上位者教训了，而不失论点与礼节。

女王踏出的一小步，是她个人生涯的一大步，当然也是历史上的一大步。

最近在一个案子中，有个年轻制片，在事业与事情的处理上有些困扰，问了布鲁斯很多问题。

布鲁斯的回答，跟导师很像的。

做电影，可以是导演想怎么做就怎么做，纪录片是呈现你想呈现的真实，但广告片就要绕在广告核心目的上，我们开会资料最重要的ppm资料上，为什么呢？

广告片最终目的不是吹客户牛逼，抱代理代理商的大腿用的。

广告片是要完成“广告目的”，达成宣传上的目的，而这个目的是我们所有事情的决策与执行指标。

所以ppm资料上广告的核心目的，就是制片手中的宪法。

以之为规矩，画出方圆。

所以在广告片的生产链上，即使只是一个制片，还是可以站得住脚，在大家都该坚守的规矩之内，去跟客户提理由与想法，而不是什么都听客户的。

这想法一点也不反骨，而是诚信与原则问题，是一种敬业精神。

布鲁斯 杨

（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。