Roya
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露西·沃斯利
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Lucy Worsley tells the story of Britain’s royals and photography. It’s a tale that begins with Albert and Victoria’s enthusiasm for having their pictures taken – and for taking pictures. Closer to our own time, such figures as Princess Margaret, often photographed by her husband, Lord Snowden, and Princess Diana loom large.
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乔什·布洛林
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伊莫琴·普茨
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莉莉·泰勒
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汤姆·派福瑞
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塔玛拉·波戴米斯基
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刘易斯·普尔曼
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诺亚·雷德
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肖恩·西珀斯
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奥利弗·伊莉丝·阿伯克隆比
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伊莎贝尔·阿雷扎
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威尔·帕顿
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Morningstar
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Angeline
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汉克·罗杰森
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马修·马希尔
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马特·劳里亚
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迪尔德丽·奥康奈尔
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布雷特尼·拉特利奇
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克里斯汀·康奈利
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凯文·张伯伦
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伊尔萨·戴利-沃德
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格雷森·贝里
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巴里·德尔·舍曼
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贝丝·贝利
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克林特·奥本钦
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Mimi
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Fletcher
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扎克·罗斯
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詹姆斯·凯迪
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萨罗·索利斯
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杰克逊·迪恩·文森特
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BradPitt制片公司PlanBEntertainment过去宣布为Amazon开发新剧《外围OuterRange》,这部惊悚剧由BrianWatkins负责,剧集讲述一名待在怀俄明州荒野的牧场主因为发现这儿隐藏着谜团,紧接着他决心为了自己土地及家人而战。JoshBrolin加盟剧组,饰演主角RoyalAbbott。
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GayMeanGirlsiscomingofqueerdramedyabouthowrelationshipsshiftasweredefineourselves.LucyChing,promcommitteememberseekstoestablishGayPromRoyaltyinanattempttocharmherbestfriendMiranda,alesbianYouTuber.
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From the stage of the Royal Shakespeare Theatre in Stratford-upon-Avon, hosts David Tennant and Catherine Tate are joined by Benedict Cumberbatch, Judi Dench, Ian McKellen, Dame Helen Mirren, Meera Syal, David Suchet, Rufus Wainwright, Tim Minchin, Gregory Porter, Joseph Fiennes, English National Opera, The Royal Ballet and Akala for a very special evening. Together they mark the life and work of William Shakespeare on the 400th anniversary of the playwright's death. This unique event takes place in the presence of their Royal Highnesses the Prince of Wales and the Duchess of Cornwall and celebrates Shakespeare's extraordinary legacy and his enduring influence on all performance art forms - from opera to jazz, dance to musicals.
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露西·沃斯利
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Historian Lucy Worsley debunks popular myths and royal as well as anti-royal propaganda about key events from British royal history including the English Reformation, the attack of the Spanish Armada and Queen Anne's forgotten legacy.
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
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JohnReal
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