Monument to British Maj. Gen. William Phillips (1731-1781) in Blandford Cemetery, 319 South Crater Road in Petersburg, Virginia. Phillips was an officer in the Royal Artillery and fought in the Seven Years’ War, and later in the American Revolutionary War on the British side. During the recapture of Fort Ticonderoga in Upstate New York, when his peers objected to hauling artillery up the nearby mountain, he famously replied: “Where a goat can go, a man can go. And where a man can go, he can drag a gun.” Thomas Jefferson called him “the proudest man of the proudest nation on earth.” He contracted typhus or malaria after the Battle of Blandford and died in Petersburg. He is buried somewhere in the Blandford Churchyard.
Equestrian monument to British Field Marshal Sir John Greer Dill (1881-1944) in Arlington National Cemetery in Arlington, Virginia. Sir John Dill fought in the First World War and was promoted field marshal in 1941. However, he did not get along well with British Prime Minister Winston Churchill, who sent him to Washington, DC as his military representative. This turned out to be a blessing for all involved, as Dill was enormously influential in fostering cooperation between the British and American armed forces in World War Two. He died in November 1944 never witnessing an end to that conflict. The American Joint Chiefs of Staff wrote:
The spirit of Tudor England comes alive at the Mid-Atlantic’s most popular Ren fair.
History and magic comes alive outside Annapolis at the Maryland Renaissance Festival, where a huge crowd turned out for Celtic Day last weekend. I was impressed! Jousting and chariot fights were the highlight of the day, but a menagerie of performers kept fair goers entertained throughout the day.
Welcome to Revel Grove, Oxfordshire, England in the year 1532. King Henry VIII and his mistress Anne Boleyn visit the village as part of their annual summer progress. I didn’t see much of the King and his court, but it’s possible they blended in with the costumed crowd. Visitors were deeply committed to getting into the spirit of the fair.
Rides on a colorfully-painted elephant were one of many amazing experiences for children. The Maryland Renaissance Festival is thoroughly family-friendly, with a huge play area for kids. What a great way to spark children’s imaginations!
Jousting, comedy, and merriment at this slice of Elizabethan England in the American South
Only open for a limited time in early summer, this classic Ren fair has all the charm of its counterparts without all the crowds. Hosted annually at Lake Anna Winery, 5621 Courthouse Road in Spotsylvania Courthouse, Virginia, the Virginia Renaissance Faire is open for five weekends, May 11th through June 9, 2019.
Journey to the fictional village of Staffordshire, where the regal queen and her court will grace the lowly peasants with her presence. Entertainment, food, dancing, and sport re-creates the spirit of Merry England.
Allure Magazine proclaims: “Gemma Chan Wants to End Whitewashing — In Hollywood and in History Books”
Back in January, I wrote an article criticizing director Josie Rourke’s “colorblind casting” choice in her historical film Mary Queen of Scots. Mary Queen of Scots recounts the sixteenth century struggle between Mary I of Scotland and Queen Elizabeth I over the throne of England. The film is largely historically accurate, depending on the source.
However, several black actors and one actress of Chinese decent appear in prominent roles, particularly Mary Seton (Izuka Hoyle), Lord Randolph (Adrian Lester), Bess of Hardwick (Gemma Chan), Andrew Ker of Fawdonside (Nathan East), and the English Ambassador to Scotland, George Dalgleish (Adrian Derrick-Palmer). Being either English or Scottish in the 1500s, of course, all of these people were pasty white.
Defenders of this peculiar casting choice have strained logic past the point of credulity, and once again, writers like Allure’s Jessica Chia have fallen back on that tired cliche “Internet trolls” to dismiss criticism of Gemma Chan’s role as Bess of Hardwick in Mary Queen of Scots.
“Why are actors of color, who have fewer opportunities anyway, only allowed to play their own race?” Chan asked. “In the past, the role would be given to a white actor who would tape up their eyes and do the role in yellowface. John Wayne played Genghis Khan. If John Wayne can play Genghis Khan, I can play Bess of Hardwick.”
An all-star cast weaves a sixteenth-century soap opera in this colorful attempt to breathe new life into a familiar story.
Written by Peter Morgan and directed by Justin Chadwick, The Other Boleyn Girl (2008) was based on a novel of the same name by Philippa Gregory. Billed as a scandalous portrayal of King Henry VIII’s courtship and eventual marriage to Anne Boleyn, this film seems quaint by today’s standards. Its release was timed to capitalize on Showtime’s The Tudors (2007-2010), but lacked that show’s outstanding performances.
The film opens in Tudor England during the reign of King Henry VIII (Eric Bana). Thomas Howard, Duke of Norfolk (David Morrissey) and his brother-in-law Thomas Boleyn (Mark Rylance) learn the King is unhappy with his wife, Katherine of Aragon (Ana Torrent), who has not yet produced a male heir. They sense an opportunity to advance their social standing by installing one of Boleyn’s daughters as the King’s mistress. His daughter Mary (Scarlett Johansson) has already wed William Carey (Benedict Cumberbatch), so they turn to Anne (Natalie Portman).
Over the objections of his wife, Elizabeth Boleyn (Kristin Scott Thomas), Thomas invites the King to his estate to introduce him to Anne. Things get complicated when the King is injured in a hunting accident and he falls in love with Mary when she tends to his injury. Mary becomes the King’s mistress, and Anne is exiled to France for trying to marry an earl without the King’s knowledge.
Anne returns from France a transformed woman, and despite Mary giving birth to a baby boy, she sets her sights on winning the King’s affection and becoming Queen. It’s an all-too-familiar story, which ends in an all-too-familiar way. Unfortunately, the filmmakers chose to continue the story past its logical conclusion, when Anne wins the rivalry with Mary for the King’s affection.
Historic authenticity is cast to the wind in this revisionist costume drama that feels like it was written by a freshman Women’s Studies major.
Directed by Josie Rourke with a screenplay by Beau Willimon, Mary Queen of Scots (2018) was based on the book Queen of Scots: The True Life of Mary Stuart by John Guy. Like many films released this year, it has strong female leads, a diverse cast, and progressive social messaging, but checking all the right boxes on the SJW playlist wasn’t enough to save this film from mediocrity.
The year is 1560, and the young and beautiful Mary Tudor (Saoirse Ronan) returns home, where she is out of place in a dreary Scottish castle. Her half-brother, James, Earl of Moray (James McArdle), has been ruling as regent, alongside a bevy of colorless and perpetually-angry Protestant men. Her appearance in Scotland alarms her cousin, Queen Elizabeth I of England (Margot Robbie). Elizabeth, a Protestant, is not seen as a legitimate ruler by her Catholic subjects. She seeks to gain influence over Mary by arranging a marriage with Elizabeth’s own lover, Robert Dudley (Joe Alwyn).
Instead, Mary marries the charming and charismatic Lord Henry Darnley (Jack Lowden), who pulls a Jeckyll-and-Hyde routine and becomes a drunken lecher on their wedding night. Things get complicated for the childless Queen Elizabeth when Mary becomes pregnant, producing an heir for her dynasty and strengthening her claim to the English throne. Can Mary fend off attacks from her domestic critics and convince Elizabeth to acknowledge her as England’s rightful ruler?
Mary Queen of Scots couldn’t decide whether it wanted to be a film about the rivalry between two queens or a revisionist biopic of its titular character, so it does neither particularly well. This ill-conceived and poorly executed film also missed a chance to let its leading ladies shine. As Queen Elizabeth, the talented Margot Robbie goes to waste as a costumed mannequin who practically disappears for the middle third of the film.