15 Kings and Queens in a right royal collection of films and shows

1. MARY & GEORGE (2024)

History is full of remarkable stories; many are so fascinating and rich that when they come along, you can’t help but wonder why they haven’t been adapted for the screen sooner.

In British history, Tudor England (1485–1603) has long been the focus of lavish dramas from Wolf Hall to The Tudors. However, with over 1,000 years of history, our nation has countless stories to tell, and the House of Stuart, from 1603 to 1714, is among the most fascinating. The Stuarts ruled a “United” Kingdom for the first time. However, in reality, the kingdom was far from united.

Their rule would see the gunpowder plot, Catholic oppression, and a civil war that would lead to the beheading of Charles I, the son of King James. However, after a brief republic under Oliver Cromwell, Charles II would return to rule in a nation with a parliamentary democracy and a monarchy. Two people sat at the heart of King James and Charles I’s court, a mother and son whose names have long been sidelined: Mary & George Villiers.

Mary & George’s remarkable journey would see them travel from Brooksby, Leicestershire, to the heart of King James’ court in London. While much discussion remains as to whether George was indeed King James’ lover and true partner for many years, one thing is clear: Mary was a woman who knew what she wanted and saw her son George’s beauty as an opportunity to make it happen.

Based on Benjamin Woolley’s novel, “The King’s Assassin: The Fatal Affair of George Villiers and James I” DC Moore’s (Killing Eve) adaptation is sumptuous, enthralling, witty and devilishly horny as the exquisite Julianne Moore, the dashing and brilliant Nicholas Galitzine and the masterly Tony Curran lead a truly delectable ensemble in this tale of deceit, love, lies, poisoned prunes, desire and power.

Every second of Mary & George is to be savoured like a fine wine, as it pays homage to the sexuality of The Tudors, the deadly game of cat and mouse in The Favourite, and the political intrigue and gameplay of Wolf Hall. It is, in short, a glorious, proudly queer and fascinating exploration of King James’ court and the events, relationships and deals that would ultimately lead to civil war and the beheading of his son Charles I.

2. SPENCER (2021)

WORDS SAB ASTLEY

Told over Christmas at Sandringham, Spencer shows us its heart from the outset: a fictional tale of a real tragedy. This is not to be taken as historical gospel, partially because of the Royal Family’s iron-clad silence. Instead, this is an emotional excavation of her psyche, honing in on the suffocating claustrophobia of Royal life and the knife-edge she danced on daily.

Spencer’s title shot is reminiscent of The Shining’s opening, as the inescapable scope of Sandringham is set against Diana’s microscopic vehicle. It’s beautifully haunting, impounding us with this Gothic sentimentality that Larraín plays with throughout.

This is our last breath of space, as cinematographer Claire Mathon (Portrait of a Lady on Fire, Atlantics) pushes us closer and closer to Diana with an erratic, unstable anxiety. Here, Spencer feels like a Royal version of Shiva Baby. 

There’s a strong psychological bond between Mathon’s camera and Kristen’s Diana that creates intimacy and helps to disconnect us from everyone else. With moments like Timothy Spall’s Major Gregory or Sean Harris’ Chef Darren, the camera is impossibly still, as though frozen out of fear of acting out. It’s a talented marriage of style and substance that uplifts the Gothic sentimentality instilled in this feature by Larraín.

As Diana pushes on, Mathon’s camera becomes more erratic, at times flying around Diana like a cinematic phantom, surrounding her with little to no escape. This emotional intimacy becomes suffocating, creating a physical reaction of panic. For a moment, you no longer just watch Diana; you feel her feelings.

Spencer is secretly a psychological Gothic horror, but in an understated manner. Larraín flirts with the genre by taking us directly inside Diana’s mental snap at unexpected moments. Our closeness to Diana equally makes her an unreliable narrator, but Larraín skillfully plays on our trust to craft some unsettling visual discordance. People appear and disappear at will, and dinners become nightmares without warning.

Kristen Stewart’s Diana remarks that to the Royals, the past and present are one and the same – there is no future. Just like the Overlook Hotel, Sandringham seems to prey on the vulnerability of Diana’s mind to play host to a menagerie of horrors personally tailored for her. 

3. RED, WHITE & ROYAL BLUE

All good relationships start with cake! If you don’t believe me, look at Alex Claremont-Diaz (Taylor Zakhar Perez) and Prince Henry (Nicholas Galitzine) and the incident that opens Matthew Lopez‘s delightful and proudly queer rom-com Red, White & Royal Blue. It’s as if Alex and Henry took the misquote attributed to Marie-Antoinette by shouting, “Let them eat cake!” before toppling a giant wedding cake and swimming in the richly decadent sponge, much to the disdain of onlookers. This sweet, buttery, sugar-filled opening sets the scene nicely for Lopez’s movie, bathing us in a rich, luxurious, feel-good story.

Like all good cakes, Red, White & Royal Blue, based on Casey McQuiston’s bestseller, will have you asking for more after the first slice. Its sugar-glazed story may not appeal to all tastes, but there are some award-winning ingredients in this confident, bold and thoroughly entertaining rom-com.

For those who haven’t read the book, Alex Claremont-Diaz is the first son of the incumbent President Claremont in the United States (Uma Thurman). Meanwhile, across the Atlantic in the United Kingdom, Prince Henry’s life is a day-to-day ritual of royal duties as he navigates his role as a heavily controlled Royal pinup. Alex and Henry met before the infamous cake incident at Henry’s brother’s lavish wedding, and it’s fair to say they didn’t hit it off. Henry thinks Alex is brash, loud and utterly annoying, while Alex believes Henry is stuck up, rigid and boring. But things are about to go from bad to worse as the Royal wedding descends into chaos.

As the tabloids circle, the Royal household and the White House enter a period of damage control by staging media interviews and hospital visits with Alex and Henry in tow. But as the staged events unfold, the ice between the first son and the Prince thaws, and an unspoken attraction bubbles to the surface. But can two male public figures, one political and one Royal, ever embrace their love in a world that denies their ability to be out, proud and free of the historical bullshit and rules surrounding them?

Not long ago, most gay love stories ended in tragedy, disappointment or loneliness, but that is changing, and it’s about time! Red, White & Royal Blue joins a list of new films that positively embrace gay love, so get out the bunting, crack open the fizz and celebrate the adorable union of Alex Claremont-Diaz and Prince Henry. Oh, and don’t forget the cake!

4. EDWARD II (1991)

Was Edward II gay? There is almost no way for us to answer that question with any certainty; after all, our modern labels of sexual orientation didn’t even exist in 1307. However, Edward did have an intense and close relationship with Piers Gaveston and a far less intimate relationship with his wife, who would depose him.

It’s clear that Edward I felt the need to banish Gaveston to France in 1306, despite Piers and Edward having been ‘very’ close friends since boyhood. Of course, Edward II reversed this decision as soon as he was crowned.

Derek Jarman’s exquisite, bold, and brave drama, starring Steven Waddington and Andrew Tiernan, is bathed in homoerotic visuals as Jarman takes us down an unconventional narrative path. Jarman uses Edward’s story to explore the homophobia and alienation still rife in Britain at the start of the 90s: just look at how Gaveston is strangled by a modern-looking policeman with a baton.

As a result, while the narrative may be historical, Jarman suggests that Edward’s story would unfold similarly in 1990s Britain, rendering it a cutting and challenging work of cinematic art.

5. THE KID WHO WOULD BE KING (2019)

The Kid Who Would Be King is a highly creative delight that didn’t get the attention it deserved at the time of its release. Joe Cornish weaves together the anxieties of modern childhood, BREXIT Britain, and Arthurian legend in a truly wonderful fantasy adventure. Alex (Louis Ashbourne Serkis) thinks he’s just an average kid, and his life is a mundane set of trials and tribulations.

However, Alex’s life is about to change when he stumbles upon the mythical sword in the stone, Excalibur, after escaping his school bullies (Lance and Kaye). The interface between the legend of King Arthur and contemporary Britain may seem unlikely, but it works through a delightful screenplay and a superb young cast. 

The Kid Who Would Be King believes in the power of young people to change the world and build something better than what we have now, and that’s a belief we can all support.

6. THE KING’S MAN (2021)

The third Kingsman outing takes us back to where it all began as we meet Ralph Fiennes, the Duke of Oxford, and my god, Fiennes has fun with this action adventure. After a visit to South Africa that went tragically wrong when his son was a mere boy, the Duke of Oxford promised to keep Conrad (Harris Dickinson) safe at all costs.

However, as World War I looms, this promise becomes increasingly challenging to keep, and the Duke finally allows Conrad into his secret service. Director Matthew Vaughn delights in playing with British history throughout, creating an action movie that appeals to a wide demographic. Here, the James Bond influence of the first two outings is sprinkled with Indiana Jones, resulting in a delightful mashup of historical fact and fiction that hums with the roar of a Fokker engine.

Plus, if Rhys Ifans’ Grigori Rasputin isn’t one of the best modern-day film villains out there, I’ll eat my hat and his!

7. THE KING (2019)

David Michôd and Joel Edgerton’s story plays fast and loose with Shakespeare’s text, yet maintains its core messages. In The King, the confidence of a newly crowned king is cloaked in insecurity, and the buffoonery and sadness of Falstaff are replaced by an all the more serious story of bravery, mentorship, and sacrifice. This creates a journey that those who love Henry IV may find difficult to swallow, as it places Shakespeare’s work under a far more modern microscope.

Henry or Hal (Timothée Chalamet) is a boy who shuns all the responsibility attached to his name and position as he drinks, parties and sleeps his way around London. He is a 15th-century teenage rebel who hates his father, who just happens to be the King. However, when his father (Ben Mendelsohn) dies, Henry V can no longer run from his destiny as he reluctantly assumes the responsibilities of a young Monarch. However, as war with France looms, time is short for Henry V to prove his place, confidence, and power, as politics, conflict, and loyalties collide on the road to Agincourt.

There is much to be admired in attempting to condense three highly detailed plays into one film, and on the whole, it works, despite Michôd and Edgerton rushing through Henry IV to get to the conflict and internal change of Henry V. However, this rush does lead to a gap in demonstrating Henry V’s transformation from a wayward teen to a celebrated leader.

We are never fully allowed to explore Hal’s wild early years or the significance of the relationships and friendships formed during his party days. Equally, many characters, including Henry Percy “Hotspur” (Tom Glynn-Carney), Thomas (Dean-Charles Chapman) and Catherine (Lily-Rose Depp), feel rushed, with their importance to the overarching story never fully appreciated. But the change that will undoubtedly upset loyal followers of Shakespeare’s work is Edgerton’s Falstaff, who jettisons the roguish brilliance of Shakespeare’s creation for a salt-of-the-earth drinking pal and mentor.

However, despite these weaknesses, the film is held together by its young lead, Timothée Chalamet, whose naive, youthful, and fearful portrayal of the king couples Shakespeare’s Henry V with a far more modern exploration of masculinity, pressure, and purpose. Here, Hal’s new responsibilities uncomfortably sit on his narrow shoulders as he is suddenly forced into the limelight of a toxic political world.

Chalamet’s insecure but stoic young king is still finding his place in the world as the boy held within slowly gives way to the man he will become. Add to this, Robert Pattinson’s gloriously sinister and egotistical Dauphin of France and The King occasionally finds its cinematic feet as a 15th-century “whose dick is bigger” high school clash. Equally impressive is the clunky armour, the filth of battle, and the decay of innocence, as Adam Arkapaw’s assured cinematography bathes us in the stench, violence, and dirt of war. 

The King is, in essence, a Game of Thrones-inspired adaptation of Henry IV and V, joyously exploring the power behind the throne and the power of those who sit on it.

8. THE LION IN WINTER (1968)

WORDS AGI SAJTI

With a fascinating mix of film and theatre, Anthony Harvey’s adaptation of the celebrated stage play The Lion in Winter offers us a lavish portrait of a medieval Christmas. The festive celebrations of 1183 serve as a mere backdrop as Henry II of England brings his family together, with the secret intention of announcing his successor among his three sons. One outstanding attribute of The Lion in Winter is its brilliant combination of political and personal turmoil. Here, the question of royal succession dovetails with a family’s irreparable dysfunctionality.

Thanks to the masterful screenplay (written by and based on James Goldman’s play of the same name), The Lion in Winter remains a riveting watch. There is almost an air of Game of Thrones in the political scheming alongside a dash of medieval Succession. However, a strong screenplay also needs a great cast to reach its full potential, and here, there is no denying the sheer strength of Harvey’s film.

The Lion in Winter boasts one of the greatest ensemble casts of any 1960s movie (and yes, I am aware How the West Was Won was also released in this decade). Peter O’Toole and Katharine Hepburn’s natural chemistry and magnetism are glorious as they bicker relentlessly. And given that O’Toole portrays a middle-aged character while being 36 years old and 25 years Hepburn’s junior, this on-screen relationship is even more remarkable.

Add the feature debut of Anthony Hopkins and Timothy Dalton as Richard Lionheart and Philip II of France, and The Lion in Winter becomes a striking example of stage meets screen. Its dramatic power was held aloft by a cast who were and would become cinema legends.

There are times when The Lion in Winter feels slightly too stagey with a few too many static shots. However, this was a common problem in many 60s and 70s historical dramas. But trust me, this minor flaw never distracts from the sheer talent on display or the outstanding screenplay. Its royal drama is awash with family disagreements, backbiting, and one-upmanship; in fact, you may question if anything has changed since the Christmas of 1183. In my opinion, The Lion in Winter is one of the greatest films of the 1960s.

9. A MAN FOR ALL SEASONS (1966)

Directed by Fred Zinnemann, A Man for All Seasons is often remembered for Paul Scofield’s portrayal of Sir Thomas More and Robert Shaw’s portrayal of a volatile Henry VIII. But from Orson Welles to John Hurt and Vanessa Redgrave, the ensemble makes this one of the best Tudor dramas ever.

Written by Robert Bolt, A Man for All Seasons explores themes of loyalty versus morality and power versus pride as it examines the events and politics leading up to the eventual trial and execution of Thomas More.

The role of the individual in shaping society while speaking truth to power is vividly placed centre stage through Scofield’s More and his refusal to compromise his beliefs in the face of authority and friendship.

Through a muted palette of colours, only occasionally broken by vibrant hues, Zinnemann’s movie’s almost sombre tone reflects the shadows, plots, and swaying allegiances of Tudor England as Henry stamped his image and his beliefs on a changing nation.

10. WOLF HALL (2015 / 2024)

Based on Hilary Mantel’s sumptuous book, the 2015 BAFTA Award-winning BBC series Wolf Hall was as hypnotic as it was beautiful, as the truly brilliant Mark Rylance guided us through Thomas Cromwell’s rise under the gaze of a fiery and unpredictable King Henry VIII (played by Damian Lewis).

For Cromwell, his rise and his neck are only secure by dealing with the tricky problem of one Anne Boleyn (Claire Foy) while seeking guidance from Wolsey (Jonathan Pryce), a man who knows just how quickly Henry can turn on those he once called a brother. It’s an age-old tale of politics, deception, and power that we are all familiar with. But Wolf Hall handles the historical drama that changed a nation and a monarchy with such humanity and intelligence that it becomes a slice of history where you can feel each emotion and almost smell the candles burning to the wick at Hampton Court Palace.

To put it simply, Wolf Hall is one of the best TV dramas of the past fifty years and one of the most beautiful.

Reuniting the creative team from Wolf Hall, nearly ten years after the first series, The Mirror and the Light, once again directed by seven-time BAFTA award winner Peter Kosminsky and adapted by Peter Straughan, may have been a long time coming, but it was worth the wait.

It is 1536, and Anne Boleyn is dead along with five of her coterie, but Thomas Cromwell has emerged from the bloodbath intact, his power only enhanced. Meanwhile, Henry has settled for a short-lived happiness with his third queen, Jane Seymour (Kate Phillips). However, as Cromwell attempts to navigate the moral complexities and swaying loyalties of a power-hungry King, no one is safe.

Eagerly awaited and years in the making, Wolf Hall: The Mirror and the Light traced the final four years of Cromwell’s life, completing his journey from self-made man to the most feared, influential figure of his time. A politician, a fixer, a diplomat and a father, Cromwell was a man who defied and defined his age.

11. MARGRETE: QUEEN OF THE NORTH (2021)

Inspired by the historical events of 1402, Queen Margrete’s peaceful union between Denmark, Norway, and Sweden is about to face its most deadly challenge as a damaged man returns home, claiming to be her long-lost son and the rightful heir to the throne. Director Charlotte Sieling’s lusciously crafted historical drama takes clear inspiration from Elizabeth (1998).

Queen Margrete is a strong woman in a man’s world, her power held delicately by a golden thread as she battles the misogyny surrounding her.

Like Blanchet’s Elizabeth, Trine Dyrholm’s Margrete is a compelling and fascinating character as the film delves into a period of Nordic history that many will be unfamiliar with. While it may not quite reach the heights of Elizabeth, Margrete: Queen of the North remains a fascinating historical drama, stunning in its vision and depth.

12. ELIZABETH (1998)

Few historical Royal dramas capture the darkness and light of majesty like Shekhar Kapur’s Elizabeth. Cate Blanchett portrays a woman transformed through commitment, betrayal and fear into a leader who shunned sex and love in favour of power and prestige. Her character’s growth is inspiring, intriguing, and compelling, alongside the standout performances of Geoffrey Rush, Joseph Fiennes, and Richard Attenborough.

However, it is Kapur’s stunning visuals that would set a new standard for period drama. Late Tudor England has never looked so real, from costumes to sets and cinematography. Elizabeth unpicked the life of one of England’s most iconic monarchs through the turmoil and sexism of a court about to bow to an extraordinary and complex woman.

13. MARY QUEEN OF SCOTS (2018)

Josie Rourke’s 2018 film, based on the book “Queen of Scots: The True Life of Mary Stuart”, is at its strongest when exploring the power dynamics, internal struggle and external restrictions of two fascinating and complex female leaders. Saoirse Ronan delivers a captivating and emotional performance as Mary, while Margot Robbie explores the vulnerability and conflict at the heart of Elizabeth’s leadership as her long reign begins.

Rourke’s film plays fast and loose with history, skipping many parts of Mary’s later life, including the plot to remove Elizabeth from power. Yet the film maintains a fascinating insight into two women who battled the restrictions of a very male world.

Mary’s journey is intriguing and has long been sidelined in cinema in favour of Elizabeth, but here, she finally gets the screen time she deserves in a movie that isn’t perfect but is thoroughly engaging.

14. THE FAVOURITE (2018)

Wickedly sharp, endlessly entertaining, sultry, sexual and emotionally complex, Yorgos Lanthimos ‘ The Favourite, from a screenplay by Deborah Davis and Tony McNamara, took the misadventures of Queen Anne as its core inspiration. In Lathimos’ deliciously dark world of court gameplay, one-upmanship, and ridicule, Sarah Churchill (Rachel Weisz) and Abigail Masham (Emma Stone) vie for the attention of Olivia Colman’s damaged yet sharp Queen Anne, who acts like a spoilt child while internally screaming.

But far from a scathing takedown of Queen Anne, her fickle affections and cruelty conceal a deep sense of pain as her body fails and her beauty fades, making The Favourite a complex and emotional portrait of age, power, and the fear of knowing one’s time is almost up.

It is a film about female sexuality, beauty, power and the fleeting opportunities for success that age grants, as Lanthimos joyously dissects gender politics and explores how women are often made to compete against each other for power rather than support one another in dismantling the male-dominated world around them.