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    Jeannette Charles, Who Doubled for the Queen, Is Dead at 96

    She bore a startling resemblance to Elizabeth II. In “The Naked Gun” and other movies, and in comedy sketches on TV, she wore the crown lightly.Jeannette Charles, who transformed a portrait rejected by a royal art show into a career as a Queen Elizabeth II look-alike in movies and on television, died on Tuesday in Great Baddow, England. She was 96 — the same age as the monarch when she died two years ago.“Mum was a real character and a force of nature,” her daughter, Carol Christophi, said in announcing Mrs. Charles’s death, in a hospice. “She had an amazing life.”Mrs. Charles first acted in small repertory roles in regional theater. But her uncanny resemblance to the queen distracted audiences, who giggled and guffawed when she appeared onstage.That led to her playing the queen professionally — and for laughs — launching her on a career that lasted decades (until she retired in 2014 because of arthritis), if not quite as long as Elizabeth’s.Mrs. Charles with Leslie Nielsen in a scene from “The Naked Gun” (1988).Maximum Film/Alamy Stock PhotoShe played the queen in films like “The Naked Gun,” “National Lampoon’s European Vacation” and “Austin Powers in Goldmember.” She appeared in character everywhere from an episode of “Saturday Night Live” to supermarket openings.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Portrait of the Queen’ Review: Seeking Fresh Angles on a Familiar Face

    This documentary attempts to give a unique look at Queen Elizabeth II by speaking to photographers who took portraits of her.Endless is the stream of programs that have, over the last 70 years, documented the life of Queen Elizabeth II. Yet “Portrait of the Queen” takes on a unique angle, examining the creation of the queen’s public image by, in its most effective moments, speaking to a handful of photographers who have taken her portrait throughout her reign.It’s a relatively interesting perspective to use in considering a monarch who remained obstinately inscrutable from her coronation in 1953 to her death in 2022, at 96. Indeed, the documentary’s most illuminating beats come from the photographers’ recollections of private moments with the queen, when they observe her guarded persona punctuated by flickers of vulnerability.Unfortunately, these scenes are few and far between in a film bogged down by superfluous sequences and formal inconsistencies: an overused, tonally confused score; two narrators (one of whom is a too-moodily-shot Charles Dance); and talking-head interviews that flit between ordinary citizens and seemingly random celebrities, including Susan Sarandon and Isabella Rossellini. (Fabrizio Ferri, the film’s director and a fashion photographer, clearly called in a favor or two.)Elements that could have made for a somewhat intriguing documentary get lost in what amounts to a tedious piece of agitprop that ultimately regurgitates the dutifully respectful picture of Elizabeth we’ve seen time and time again.Portrait of the QueenNot rated. Running time: 1 hour 20 minutes. Rent or buy on most major platforms. More

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    King Charles’s Coronation: A British TV Spectacle for the Digital Age

    King Charles III’s coronation will be disseminated across numerous platforms to a less sympathetic public than when his mother was crowned in 1953.The mystique around the British royal family — so essential to the nation’s acceptance of its hereditary and privileged first monarchy — has always drawn its power from a blend of secrecy and symbolism that combine in impeccably choreographed spectacle.On Saturday, the regal alchemy will be conjured anew at King Charles III’s coronation at Westminster Abbey in London. The spectacle has been years in the planning, not simply as an event in its own right, but also as a moment in history intimately entwined with its onscreen projection around Britain and across the globe.The coronation will be the first since Charles’s mother, Elizabeth II, who died in September, was crowned in June 1953. Hers was the first coronation to be transmitted live and in full at a time when televisual broadcasting was still a novelty, and it initiated a long era of increasingly close coordination between Buckingham Palace and the BBC, Britain’s public broadcaster.Areas for the media to use during Charles’s coronation have been erected in front of Buckingham Palace. The event will be projected around Britain and across the globe.Press Association via AP ImagesAnti-royalists have complained bitterly that, as Graham Smith, the head of a campaigning organization called Republic, said in a recent statement: “The BBC routinely misrepresents the monarchy and public opinion. They suggest the nation is celebrating major events when that simply isn’t the case.”While the BBC rejects these claims of partiality, there is little doubt that as digital technology has advanced over many years, the broadcaster’s royal coverage has become ever more sophisticated and comprehensive. The medium, in other words, has facilitated a kind of blanket coverage of a message that would not have been possible in the 1950s.In 1953, the queen’s coronation unfolded in a nation in thrall to a newfangled miracle called television. British baby boomers, many of them small children at the time, like to recall that television in those days meant a small black-and-white screen in a large wooden cabinet broadcasting a single channel. The British establishment — including its nobles and priests, as well as the BBC — wielded exclusive control of the monochrome footage that would mold a generation’s memory of the event.Makeshift antennae were thrown up on hilltops to link the various parts of the British Isles to the central broadcast unit in London. In the presatellite, predigital era, British Royal Air Force bombers flew raw film of the coronation across the Atlantic for broadcast on American networks.In New York in 1953, crowds gathered around televisions broadcasting the queen’s coronation. British Royal Air Force bombers flew raw film of the event across the Atlantic for American networks.Getty ImagesSome members of the British hierarchy wished to keep cameras out of the inner sanctum of Westminster Abbey, where the queen was crowned. “The world would have been a happier place if television had never been discovered,” the Most Rev. Geoffrey F. Fisher, then the archbishop of Canterbury, who presided over the queen’s coronation, was quoted as saying.Even today, King Charles has resolved to follow his mother’s example by banning cameras from what is considered the most sacred part of the coronation service, in which he is anointed with what is called the oil of chrism.But much else has changed. When Elizabeth was crowned, “Britain was marked by extreme deference,” Vernon Bogdanor, a constitutional expert at King’s College, London, said in a recent interview. “The monarchy was thought to be magical and untouchable.”Since then, the royal House of Windsor has changed radically from “a magical monarchy to a public service monarchy,” Bogdanor said, and “is judged by whether it contributes to society, and if it doesn’t, people won’t have it.” King Charles, he added, seems “well aware of that.”For the king, a helter-skelter technological revolution has transformed every smartphone owner into a pocket cinematographer, hooked to a multiplex world of apps and platforms, uploads and downloads. Where his mother’s crowning bathed the monarchy in uncontested splendor, Charles’s challenge is to focus a much more diffuse spotlight.While Elizabeth’s coronation required only around 20 cameras, Charles’s crowning is set to be broadcast on the BBC’s hi-definition iPlayer streaming service, alongside television coverage. In advance of the coronation, other television offerings — including a soap opera, a sewing program and a show usually devoted to rural life — will be broadcast with coronation-themed episodes “to mark history with an unparalleled breadth of programs,” said Charlotte Moore, the BBC’s chief content officer. Regional affiliates of the BBC, its many radio channels and rival commercial television broadcasters will also have programming on regal matters.With her sparing television addresses and her tight adherence to the royal script, the queen seemed to generally balance the monarchy’s need for visibility with its enduring aversion to scrutiny. But the rest of her family has fared very differently onscreen.“The public eye is grown more unforgiving, its gaze, like its judgments, more relentless,” Catherine Mayer wrote in “Charles: The Heart of a King,” a biography updated last year after its initial publication in 2015. “Even so, if the Windsors wish to see the biggest dangers to the survival of the monarchy, they need only look in the mirror.”From left, Queen Mother Elizabeth, her grandson Prince Charles and his aunt Princess Margaret at Queen Elizabeth II’s coronation. Charles was 4 at the time.Intercontinentale, via Agence France-Presse — Getty ImagesSince the mid-1990s, when the estranged Prince Charles and Diana, Princess of Wales, gave television interviews to seek sympathy for their divergent versions of their marital woes, culminating in divorce in 1996, efforts by members of the royal family to advance their agendas on television have proved ambiguous at best.In 2019, Prince Andrew, Queen Elizabeth’s second son after Charles, gave a lengthy television interview to try to rebut accusations related to his friendship with the convicted sex offender Jeffrey Epstein. The interview set off a public relations disaster, leading to Prince Andrew’s withdrawal from public life.Then, in March 2021, Meghan Markle and Prince Harry appeared in a joint interview with Oprah Winfrey, screened in the United States and then in Britain, after their decision to live in California and step back from their roles as senior royals. The interview touched on a range of topics including mental health issues, intimations of racism in the House of Windsor, and the couple’s sense of dislocation, betrayal and vulnerability.But cumulatively, the airing of grievances, like Prince Andrew’s litany of self-exculpation before it, bolstered the sense of a dysfunctional and anachronistic institution held in place by a fickle mix of public tolerance, inherited privilege and fabled wealth. In the run-up to the coronation, one question eagerly pursued by British newspapers was whether Harry would attend the most important public event in his father’s life on May 6. The answer: he would, but without Meghan and their two children.For Charles, the recent redrawing of the media landscape and the public mood offer perils that were barely dreamed of when his mother was crowned.Charles and his son Prince Harry in 2019. After much speculation in the British press, it was announced that Harry would indeed attend the coronation, but without his wife, Meghan Markle, and their two children.Samir Hussein/WireImage, via Getty Images“Because the royals have ended up co-opted into the culture wars,”‌ Mayer, the author, said‌ in an interview, “one word out of place — and, let’s face it, that’s a family that specializes in words out of place ‌ — will have gone round the world and back in a way it never would have before.”‌ More

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    What We Learned From ‘Harry & Meghan,’ Part Two

    The second collection of episodes of the couple’s Netflix docuseries landed on Thursday. It dives deep into mental health and royal drama.LONDON — The second and final installment of “Harry and Meghan,” the highly anticipated Netflix docuseries, was released on Thursday, capping a week in which the couple’s personal lives were once again catapulted into the spotlight.The first three episodes of the series, released last week, dove into the makings of the couple’s relationship, their ongoing battle with the news media, the details of Meghan’s challenging family connections and more. Three more episodes were released Thursday.Love them, hate them or simply can’t live without them, people tuned in. The first set of episodes earned a staggering 81.5 million viewing hours, the most of any documentary in a premiere week, Netflix said on Tuesday. More than 28 million households had seen a part of the first collection of episodes in the first four days, the streaming platform added.Episode four picks up at Harry and Meghan’s wedding in May 2018 and quickly tackles a number of matters, including Meghan’s connection to Queen Elizabeth II, the barrage of negative headlines she faced and her mental health challenges.If you don’t have time to watch, or if you enjoy spoilers, here are the main takeaways from the latest episodes.The wedding was a family affair, although it was an international spectacle.The fourth episode kicked off by reliving the couple’s star-studded wedding in May 2018. Although thousands of people were on the street hoping to catch a glimpse of the couple, and perhaps billions more were watching on television, the couple described it as a family affair, with numerous personal touches that seemed to make all the difference.Harry chose the song (Handel’s “Eternal Source of Light Divine”) that Meghan walked down the aisle to. “It was so beautiful,” she said. It was also revealed that Charles, Harry’s father, who was the Prince of Wales at the time and is now king, helped choose the orchestra for the ceremony.More on the British Royal FamilyBoston Visit: Prince William and Princess Catherine of Wales recently made a whirlwind visit to Boston. Swaths of the city were unimpressed.Aide Resigns: A Buckingham Palace staff member quit after a British-born Black guest said the aide pressed her on where she was from.‘The Crown’: Months ago, the new season of the Netflix drama was shaping up as another public-relations headache for Prince Charles. But then he became king.Training Nannies: Where did the royals find Prince George’s nanny? At Norland College, where students learn how to shield strollers from paparazzi and fend off potential kidnappers.Because Megan’s father, Thomas Markle, did not attend the ceremony, she asked Charles to walk her down the aisle. “Harry’s dad is very charming,” Meghan said. “I said to him like, ‘I’ve lost my dad in this.’ So him as my father-in-law was really important to me.”Meghan’s connection to the queen seemed to be strong, normal even.The episode dwells on Meghan’s first official royal engagement with the queen, about a month after the wedding. She and the queen took the royal train to Cheshire, England.“I treated her as my husband’s grandma,” Meghan said, remembering her private time with the queen. “When we got into the car in between engagements, she had a blanket,” Meghan said, and that the queen placed the blanket also over her knees. “I recognize and respect and see that you’re the queen, but in this moment I’m so grateful that there’s a grandmother figure, cause that feels like family,” Meghan said.The constant and negative tabloid headlines had a dramatic effect on Meghan.The fourth episode also underscored the mental health challenges and suicidal thoughts Meghan had, in part because of negative headlines shortly after they wed and during much of her pregnancy.“All of this will stop if I’m not here and that was the scariest thing about it — it was such clear thinking,” Meghan said.Doria Ragland, Meghan’s mother, recalled an emotional conversation in which Meghan expressed suicidal thoughts. “That’s not an easy one for a mom to hear,” she said, wiping away tears. “And I can’t protect her. H can’t protect her.”Harry said he was devastated by the toll the negative press coverage took on his wife and said he didn’t deal with it well.“I had been trained to worry more about what are people going to think,” Harry said. “And looking back at it now, I hate myself for it. What she needed from me was so much more than I was able to give.”The couple’s war with the media reaches a fever pitch.The fifth episode begins with the couple’s continued war with the news media and efforts to dodge paparazzi photographers while spending Christmas 2019 away from the royal family.The headlines about Meghan appeared to be incessant, pushing the couple to a breaking point. “I realized that I wasn’t just being thrown to the wolves,” Meghan said. “I was being fed to the wolves.”The couple described creating a plan that they hoped would bring them both safety and peace of mind. “The toll was visible, the emotional toll that it was having on both of us, but especially my wife,” Harry said. “We’re going to have to change this for our own sake.”They described plans to relocate to New Zealand or South Africa before they ultimately settled on Canada. They later moved to California.Harry said his grandmother, the queen, was aware that he and Meghan were having difficulties with their public roles and made plans to discuss it in early January 2020 when he returned briefly to Britain. However, that plan was thwarted, they said.“I remember looking at H and going, my gosh, this is when a family and family business are in direct conflict because they’re blocking you from seeing the queen, but really what they’re doing is blocking a grandson from seeing his grandmother,” Meghan said.Strained family ties take center stage.In a family meeting to discuss the couple’s decision to reduce their roles as working members of the royal family, Harry said he was presented with several options but quickly realized no agreement would be reached.“It was terrifying to have my brother scream and shout at me, and my father say things that simply weren’t true and my grandmother quietly sit there and sort of take it all in,” Harry said.Harry described that meeting as hard and said that it finished without a solid action plan.“The saddest part of it was this wedge created between myself and my brother so that he’s now on the institution side,” Harry said, acknowledging Prince William’s perspective.The couple announced in January 2020 that they were stepping back from their royal duties. The decision sent shock waves around the world and drew headlines that seemed to blame Meghan for the split.“How predictable that the woman is to be blamed for the decision of a couple. In fact it was my decision,” Harry said.The queen later said she was “supportive” of the couple’s decision.This story is being updated. Check back for more. More

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    Luke Parker Bowles, the Queen Consort’s Nephew, on Life in New Jersey

    The film and television producer, who works with the British Consulate, is also committed to saving small-town movie theaters in the United States.Last month in New York City, the outpouring of grief over Queen Elizabeth II’s death mostly happened in a handful of English specialty shops and inside many, many apartments. But there was at least one public memorial service, which took place at the Queen Elizabeth II Garden in Lower Manhattan.“Long live the king,” proclaimed Luke Parker Bowles, a film and television producer and one of a few individuals who helped create the garden in 2005 to honor members of Commonwealth nations who died on Sept. 11.As a New Jersey resident and the nephew of Camilla Parker Bowles, Mr. Parker Bowles suddenly finds himself a diplomat, of sorts, for the crown in the metropolitan area. “I do like being an ambassador for her and His Majesty in New York,” he said. “I am the Parker Bowles who is here.”Besides his day job — he works with the British Consulate to promote British talent and owns a film-production company, Odd Sausage — he and Patrick Wilson, the actor, started and now help to run Cinema Lab, an initiative that rescues struggling small-town movie theaters and turns them into sophisticated venues for eating, drinking and taking in the latest blockbuster. The group currently owns five theaters, including several in New Jersey and one in New Canaan, Conn. “These theaters are metaphorically and literally the heart beats of certain towns,” Mr. Parker Bowles said.Mr. Parker Bowles, 44, lives with his wife Daniela Parker Bowles, 47, and their three children in Montclair, where he helps oversee the town’s film festival, scheduled this year for Oct. 21-30.Ahead of the Montclair Film Festival, Mr. Parker Bowles spoke with The New York Times about his work and mission. The following interview has been edited and condensed.What inspired you to move to New York?I was visiting New York City from London for a long weekend with two friends. We went to this club named Spa that was located right next to Union Square. That night P. Diddy jumped onstage and started playing this impromptu performance. I thought this is just how New York is and this happens every night.Some Key Moments in Queen Elizabeth’s ReignCard 1 of 9Becoming queen. More

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    At the End of Her Reign, the Queen Takes a Bow Onstage

    “Handbagged,” a play that opened in London a day after Queen Elizabeth II died, depicts a clever, compassionate monarch. But theatrical depictions haven’t always been so reverential.LONDON — When the Kiln Theater planned its current revival of “Handbagged,” nobody knew how extraordinary the timing would turn out to be.The 2013 play, by Moira Buffini, is one of a long line of dramas to put Queen Elizabeth II center stage. But its reopening during this period of mourning for the monarch turns out to serve the piece well, communicating a respect and affection for her memory that chime with the public mood. (The play’s first preview was Sept. 9, the day after the queen’s death.)Plays can catch a moment, which is what “Handbagged” has done. Seeing Indhu Rubasingham’s production several days before the queen’s state funeral, I felt an audience connecting with the play with an intensity I didn’t sense during its West End transfer in 2014. Theater, a live art, can seem especially vital at times like this. Would it have felt as moving to be watching “The Crown” on TV that recent afternoon? I doubt it.Several other playwrights have given voice to this essentially mysterious figure. Plays like Peter Morgan’s “The Audience” and Alan Bennett’s “A Question of Attribution” revealed the queen to be a great theatrical subject: wry and witty, her onstage intelligence feeding a sense among the public that so private a person always knew more than she let on.Some Key Moments in Queen Elizabeth’s ReignCard 1 of 9Becoming queen. More

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    One Last Broadcast for Queen Elizabeth II

    Television introduced Queen Elizabeth II to the world. It was only fitting that television should see her out of it.The queen’s seven-decade reign almost exactly spanned the modern TV era. Her coronation in 1953 began the age of global video spectacles. Her funeral on Monday was a full-color pageant accessible to billions.It was a final display of the force of two institutions: the concentrated grandeur of the British monarchy and the power amassed by television to bring viewers to every corner of the world.“I have to be seen to be believed,” Elizabeth once reportedly said. It was less a boast than an acknowledgment of a modern duty. One had to be seen, whether one liked it or not. It was her source of authority at a time when the crown’s power no longer came through fleets of ships. It was how she provided her country reassurance and projected stability.The last funeral service for a British monarch, King George VI, was not televised. For one last time, Elizabeth was the first. She entered the world stage, through the new magic of broadcasting, as a resolute young face. She departed it as a bejeweled crown on a purple cushion, transmuted finally into pure visual symbol.Americans who woke up early Monday (or stayed up, in some time zones) saw striking images aplenty, on every news network. The breathtaking God’s-eye view from above the coffin in Westminster Abbey. The continuous stream of world leaders. The thick crowds along the procession to Windsor, flinging flowers at the motorcade. The corgis.Viewers also saw and heard something unusual in the TV news environment: long stretches of unnarrated live action — the speaking of prayers, the clop of horse hooves — and moments of stillness. This was notable in the golf-whisper coverage on BBC World News, which let scenes like the loading of the coffin onto a gun carriage play out in silence, its screen bare of the usual lower-thirds captions.The commercial American networks, being the distant relations at this service, filled in the gaps with chattery bits of history and analysis. News departments called in the Brits. (On Fox News, the reality-TV fixtures Piers Morgan and Sharon Osbourne critiqued Prince Harry and Meghan Markle’s media ventures.) “Royal commentators” broke down points of protocol and inventoried the materials and symbolism of the crown, scepter and orb like auction appraisers.The queen was the first British monarch to have a televised coronation, in June 1953.AFP via Getty ImagesBut even American TV fell still during the funeral ceremony. The cameras drank in the Gothic arches of Westminster Abbey, bathed in the hymns of the choirs, goggled at the royal jewels, lingered on the solemn face of Charles III during the performance of — it still sounds strange — “God Save the King.” Finally, we watched from above as bearers carried the coffin step by step across the black-and-white-diamond floor like an ornate chess piece.The quiet spectating was a gesture of respect but also a kind of tourist’s awe. We had come all this way; of course we wanted to take in the sights.Elizabeth’s reign was marked by unprecedented visibility, for better or worse. Her coronation in 1953 spurred the British to buy television sets, bringing the country into the TV age and inviting the public into an event once reserved for the upper crust.This changed something essential in the relation of the masses to the monarchy. The coronation, with its vestments and blessings, signified the exclusive connection of the monarch to God. Once that was no longer exclusive, everything else in the relationship between the ruler and the public was up for negotiation.The young queen resisted letting in the cameras. The prime minister Winston Churchill worried about making the ritual into a “theatrical performance.” But Elizabeth could no more stop the force of media than her forebear King Canute could halt the tide.TV undercut the mystique of royalty but spread its image, expanding the queen’s virtual reach even as the colonial empire diminished. There were other surviving monarchies in the world, but the Windsors were the default royals of TV-dom, the main characters in a generational reality-TV soap opera. They became global celebrities, through scandals, weddings, deaths and “The Crown.”The coronation had worldwide effects too. It began the age when TV would bring the world into your living room live — or at least close to it. In 1953, with live trans-Atlantic broadcasts still not yet possible, CBS and NBC raced to fly the kinescopes of the event across the ocean in airplanes with their seats removed to fit in editing equipment. (They both lost to Canada’s CBC, which got its footage home first.)The next day’s Times heralded the event as the “birth of international television,” marveling that American viewers “probably saw more than the peers and peeresses in their seats in the transept.” Boy, did they: NBC’s “Today” show coverage, which carried a radio feed of the coronation, included an appearance by its chimpanzee mascot, J. Fred Muggs. Welcome to show business, Your Majesty.The one limit on cameras at Elizabeth’s coronation was to deny them a view of the ritual anointment of the new queen. By 2022, viewers take divine omniscience for granted. If we can think of it, we should be able to see it.The hearse was designed to allow spectators to see the coffin as it passed by.Molly Darlington/Getty ImagesSo after Elizabeth’s death, you could monitor the convoy from Balmoral Castle in Scotland to London, with a glassy hearse designed and lit to make the coffin visible. You could watch the queen’s lying-in-state in Westminster Hall on live video feeds, from numerous angles, the silence broken only by the occasional cry of a baby or cough of a guard. The faces came and went, including the queen’s grandchildren joining the tribute, but the camera’s vigil was constant.After 70 years, however, television has lost its exclusive empire as well. Even as it broadcast what was described — plausibly but vaguely — as the most-watched event in history, traditional TV shared the funeral audience with the internet and social media.Elizabeth and the medium that defined her reign were both unifiers of a kind that we might not see again. Though not all of the British support the monarchy, the queen offered her fractious country a sense of constancy. TV brought together disparate populations in the communal experience of seeing the same thing at once.Now what? Tina Brown, the writer, editor and royal-watcher, asked on CBS, “Will anyone be loved by the nation so much again?” You could also ask: Will Charles’s coronation next year be nearly as big a global media event? Will anything? (You could also ask whether an event like this should be so all-consuming. While American TV news was wall-to-wall with an overseas funeral, Puerto Rico was flooded and without power from Hurricane Fiona.)Monday’s services felt like a capstone to two eras. For one day, we saw a display of the pageantry that the crown can command and the global audience that TV can.American TV spent its full morning with the queen. (Well, almost: CBS aired the season premiere of “The Price Is Right.”) The day’s pomp built toward one more never-before-broadcast ceremony, the removal of scepter, orb and crown from the coffin, which was lowered into the vault at St. George’s Chapel in Windsor. Then followed something almost unimaginable: A private burial service, with no TV cameras.Television got one final spectacle out of Elizabeth’s reign. And the queen had one final moment out of the public eye. More