Kings & Queens is our right royal collection of movies and shows. From the hallowed halls of Hampton Court Palace to a medieval Christmas in rural England and a gay love affair, this coronation-worthy collection includes titles streaming now.
EDWARD II (1991)
By Neil Baker
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, close relationship with Piers Gaveston and a far less intimate one 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.
THE LION IN WINTER (1968)
By Agnes 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 designating one of his three sons as his successor. 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 riveting. It has an almost Game of Thrones air in its political scheming, with 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 carried by a cast who were, and would become, cinema legends.
At times, 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 whether anything has changed since Christmas 1183. In my opinion, The Lion in Winter is one of the greatest films of the 1960s.
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A MAN FOR ALL SEASONS (1966)
By Neil Baker
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 Thomas More’s trial and execution.
The role of the individual in shaping society while speaking truth to power is vividly placed centre stage through Scofield’s More, who refuses 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.
WOLF HALL (2015 – 2024)
By Neil Baker
Based on Hilary Mantel’s sumptuous novel, 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, unpredictable King Henry VIII (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 down to the wick at Hampton Court Palace.
Simply put, 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). But as Cromwell tries to navigate the moral complexities and shifting 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 defied and defined his age.
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MARGRETE: QUEEN OF THE NORTH (2021)
By Neil Baker
Inspired by the historical events of 1402, Queen Margrete’s peaceful union of Denmark, Norway, and Sweden faces its deadliest 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 compelling and fascinating as the film delves into a period of Nordic history many will be unfamiliar with. While it may not quite reach Elizabeth’s heights, Margrete: Queen of the North remains a fascinating historical drama, stunning in its vision and depth.
ELIZABETH (1998)
Few historical Royal dramas capture the darkness and light of majesty as well as Shekhar Kapur’s Elizabeth. Cate Blanchett portrays a woman transformed, through commitment, betrayal and fear, into a leader who shuns sex and love in favour of power and prestige. Her character’s growth is inspiring, intriguing, and compelling alongside standout performances from Geoffrey Rush, Joseph Fiennes, and Richard Attenborough.
However, Kapur’s stunning visuals 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.
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MARY QUEEN OF SCOTS (2018)
By Neil Baker
Josie Rourke’s 2018 film, based on the book “Queen of Scots: The True Life of Mary Stuart”, is strongest when it explores 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.
THE FAVOURITE (2018)
By Neil Baker
Wickedly sharp, endlessly entertaining, sultry, sexual, and emotionally complex, Yorgos Lanthimos’ The Favourite, from a screenplay by Deborah Davis and Tony McNamara, takes 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 behaves like a spoilt child while screaming internally.
But far from a scathing takedown of Queen Anne, her fickle affections and cruelty conceal deep pain as her body fails and her beauty fades, making The Favourite a complex, 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 brings, as Lanthimos joyously dissects gender politics and explores how women are often made to compete against one another for power rather than support one another in dismantling the male-dominated world around them.
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