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.

当严肃的乔治六世以如此不正经的方式叫醒裸睡的菲利普亲王， 当菲利普亲王毫不吝啬的将圆润光滑的屁股直面镜头的时候， 我彻底爱上了这部剧，觉得之前的担心都是多余的， “奈飞”完全掌控了英剧的精髓。

上次欣赏到马特的肉体，还是在BBC的《克里斯托弗及同党》中。

这种一本正经中的不成体统，太对我的调调。 英国王室对现代人来说，一直是神秘和高贵的象征，之前海伦·米伦主演的电影《女王》，以及把科林大叔推向奥斯卡影帝宝座的《国王的演讲》，都将温莎王朝的故事客观的呈现给观众，甚至连《唐顿庄园》也涉及到了爱德华八世早期的恋情！

而这次奈飞野心勃勃的要将女王的一生都拍出来，号称要换三位主演，并花费上亿英镑，不得不令人期待，尤其见到一大票熟悉的不能再熟悉的英剧演技派熟脸陆续现身，简直兴奋到极致，天知道我多爱他们！ 小杜丽从卑微的女仆摇身变为伊丽莎白二世，

烛镇的Pratt姐妹中的妹妹当上了王太后，

而《克兰弗德》中朱迪丹奇刻板保守的姐姐成了玛丽皇后，

《皇家律师》中正直严明的大法官成了女王的机要秘书，

而女王未登基时候的秘书则是《唐顿庄园》里二妞最后的归宿。

论场面更是让人震撼，伊丽莎白夫妇走访非洲夜观动物迁徙，

乔治六世带菲利普在烟波浩渺中猎野鸭，

简直美得不像话，实打实的大片范儿。 还有我最欣赏英剧的一点是，感情从来都是隐忍的，完全没有国产剧中大哭大嚎，刻意煽情的场面。剧中两个老男人的默默流泪，轻描淡写地把内心最深处无法和别人诉说的悲伤展现的淋漓尽致。 乔治六世意识到自己生命即将走到尽头，在生日会上，面对众人的祝福，悲从中来。

温莎公爵在美国和朋友一起看女王登基仪式的电视直播，一边解说一边吐槽，表面上不屑一顾，冷嘲热讽，而众人散去，他却在清晨穿上传统的苏格兰裙子，拿起苏格兰风笛，面对故乡的方向吹奏，在朝霞的映衬下，满眼的泪水。是祝福，是嫉妒，是悔恨，是遗憾，是忏悔，都留给观众自己体会！

人生注定是艰难和无奈的，就算你生于王室，居庙堂之高，也不能事事如意，一个重病缠身，难逃生老病死，一个为了爱人放弃王位，背井离乡！ 总之前半段看的热血沸腾，酣畅淋漓，终于有一部值得一看的好剧出现了耶，鼓掌撒花，奔走相告！ 可是，可是后半部的节奏和剧情急流直下，高潮刚过就让人昏昏欲睡。 为了凸显女王王冠的沉重，编导费尽心机的制造女王和周遭人的矛盾，让我一度想弃剧。 先是夫妻矛盾，菲律普和亲随经常出去寻欢作乐，虽没直接表现，但无时无刻不在暗示这一点。为了加深冲突，更是直接把女王的初恋情人搞了出来，女王还专门为了他增设一条专线，然后还把这位初恋情人的老婆也搞了出来和菲利普一起泼醋，真是酸到不行！而冲突的爆发点竟然设在了女王为丘吉尔退位所设的宴席上，真说不上来这算巧思还是算狗血！

第二个矛盾是母女矛盾，女王因为教育问题莫名其妙的和母亲发火，而王太后由于压力过大竟然任性的“离家出走”，跑到海边想买下一个房子养老，和卖房老汉华丽丽的装了一大把B！

最后在和卖房老汉谈好价钱，打算签约的时候，有人过来接她回宫，她竟然二话没说就跟回去了，留下一脸懵B的卖房老汉，哎，煮熟的鸭子都飞了，早知道早一天签约嘛！

最大的冲突来自女王和妹妹玛格丽特公主的矛盾,这也是全剧最令我恶心的一个地方，为了所谓的喜剧效果，反反复复地制造冲突。最后一集玛格丽特和彼得汤森简直令人反感到极点，最低级的三俗狗血片，一个已婚油腻军官爱上王室年轻公主，明明是荷尔蒙作祟，就别在这美化成什么神圣爱情了，赤裸裸的美剧商业套路，完全丧失了英剧的高冷和内敛。

并不对以后的续集抱有期待，美国出品的片子，为了创造更多的利润，经常狗尾续貂，从不懂得适合而止，“奈飞”已经快把《纸牌屋》毁完了。而英剧大多短小精悍，很多剧集都是在最高峰的时候划下句点，令人虽不舍，但却回味无穷，美国佬真该好好学学这一点！

海报上面的那个女孩，黑白阴影之间，眉目轮廓清淡而凛冽，垂目低视。 这部不像美剧的美剧《女王》，乍一看，似乎是BBC出品，叙事节奏平缓，剧本扎实有力，带有一股浓浓的英伦味道。 虽然两部剧之间没有关系，但是，在第一眼，我即想起了那部《无人生还》。也许是英国的风格太凛冽，但凡有一点相似，便会唤醒脑海中的回忆。

这部剧的故事从菲利普亲王迎娶伊丽莎白女王开始。伊丽莎白二世，在中国，我们习惯调侃她的在位时间。 那位在二零一二年伦敦奥运会上从飞机上一“跳”而下，震惊了所有年轻人的高龄女王陛下。 她的父亲，乔治六世，同样是一位有名的人物，以口吃闻名。 二零一二年《国王的演讲》以大势之姿横扫奥斯卡，讲的便是这位国王的故事。 故事的幕布便是从这位国王身上拉开。 他病了。他咳嗽、咳出了血沫子。紧接着，他被诊断出肿瘤。 《王冠》第一季的叙事，主线其实不是女王与亲王的婚姻，而是这位国王的病。 也恰恰是这位国王的病，暗示了接下来，女王的登基。 在平时的新闻中，我们经常看到有媒体赞颂菲利普亲王与女王的爱情。说，真正爱一个人，是为她放弃继承权，甘心守候在她身后。 那样的深情。 我们习惯了这样的符号。仿佛这样的深情，是与身俱来的。 但是，在《王冠》中，在女王未登基之前，这位深知自己不久于人世的国王与菲利普的一番谈话，证明了菲利普同样是一个普通的男人。他依然困惑，依然有自己的执着。他也不甘愿放弃自己的前途与职责。 但是，他娶的人是女王。 相比起大部分人称颂的说，第一集最后乔治六世对菲利普说的话，是父亲对女儿的爱。 或许是我心太冷硬。那就像是我们古代的王朝，父亲在死之前为儿子留下的一些贤臣。 乔治六世希望用自己最后的力量，帮下一任女王，解决后顾之忧。

比起后来女王的种种传奇，在未登基之前，她其实就像一个普通的女人，只不过，有着皇家的规范礼仪教养。 但是，在教堂里宣誓时，也会紧张得说不出话；在自己的爱情里面，也会不顾周围人的反对，执着地对自己的丈夫说“服从你。” 这个时候的女王，还未展露她的风范。 与其说，第一集是女王登基前的铺垫，不如说，是给乔治六世弹奏的欢送曲。 这样一位不敢在众人面前讲话的国王，“口吃”的国王，他或许是史上最有损礼仪的国王，但是，他一生为了国家而奉献自己。 得知自己肿瘤，即将不久于人世，他几乎连为自己伤心的时间都没有，化妆、掩盖自己的病容，和再度上任的丘吉尔会面。 他在努力维持一个作为国王的尊严。 直到那个圣诞夜晚，他知道了自己的肿瘤，当地的民众们遵从礼仪风俗，举着灯来为国王陛下祷告。 他终于红了眼眶。 大概，那是他一直拼命做好一个国王的铠甲之下，死亡来临之际，破冰而出的疲倦，与对这个国家的眷恋。

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（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。