Following the death of his father, Prince Hal is now Henry V.

Time to be king

In this final instalment of The Hollow Crown, brilliantly narrated by John Hurt, Prince Hal has now risen to power as King Henry V (though thankfully without abandoning the red leather jacket). Following his rebellious shenanigans as a prince, his strategy of seemingly transforming himself has brought mixed results. While some of his advisers note the brilliance of his reformation at the start of the film, there are still those that remain skeptical of his abilities to be an effective King. This comes to a boiling point when Dauphin, the eldest son of King Charles of France, sends him a "gift" of tennis balls to poke fun at his past reputation. The insult of this gesture is enough to ignite Henry's will to invade France in order to claim it as his.

But God said so

Yet again, the role of religious superstition must be noted in understanding the motives of various characters. Though Henry believes that his position as King has been divinely chosen, he is still haunted by the manner in which his father acquired the throne. We see a touching moment of vulnerability when he prays to God to not be punished for the sins of his father. This is, of course, quite contradictory but throughout each of the Hollow Crown plays, it is often difficult to determine whether the actions of certain characters lean more towards being just or self-serving. Not only does Henry see his invasion of France as just, he believes it is ordained by God. However, these complexities are part of the appeal and legacy of Shakespeare's plays.

Let me see you climax

This play shows Hiddleston at his finest. There are countless moments that showcase his talents and he weaves his self-proclaimed love of Shakespeare into the delivery of his lines. Both the "We few, we happy few" and "Once more unto the breach, dear friends, once more" speech are delivered to inspire his soldiers, and the delivery of these speeches is so outstanding that the inspiration has overflowed into the army of the actor himself. The fact that the "Once more" speech was the first thing that Hiddleston filmed for the series makes the performance even more incredible, given that it is arguably the character's most climactic moment of all the plays in which he appears. As a bonus, viewers are treated to the immense pleasure of seeing Henry lay on the charm to coax Princess Catherine into marrying him. Putting aside the crude innuendos made afterwards between Henry and the Duke of Burgendy, the scene of him professing his "love" is one that will send many hearts a flutter. Bravo, Hiddleston, bravo.

The complete series of "The Hollow Crown" is already available for DVD purchase.

Previous post on Richard II: http://www.museled.com/2013/09/the-hollow-crowns-richard-ii-triumph-in.html

Previous post on Henry IV (Part 1): http://www.museled.com/2013/10/the-hollow-crowns-henry-iv-part-1.html

Previous post on Henry IV (Part 2): http://www.museled.com/2013/10/the-hollow-crowns-henry-iv-part-2-rise.html

Henry IV (Part 2) is available for viewing within U.S. territories on the PBS website until November 5: http://video.pbs.org/video/2365090800/

Henry V is available for viewing within U.S. territories on the PBS website until November 7: Henry V

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The gluttonous Falstaff (left) and an intoxicated Prince Hal (right)

In the second instalment of "The Hollow Crown," Henry IV (Part 1), the audience is re-introduced to King Henry IV, who was previously seen in Richard II as claiming the throne for himself and passive-aggressively allowing the overthrown Richard to be murdered. This time around, the role is portrayed by Jeremy Irons, whose portrayal conveys the heaviness of the guilt and self-doubt of the misdeeds of his past. He finds himself further stressed by the Percys, who claim to be owed a debt for the assistance they provided in the overthrowing of Richard II, and the misbehaviour of his first-born and heir to the throne, Prince Hal.

A Prince's Moral Ambiguity

The Prince Hal we see in this play is no Prince Charming. Though he has charm, wit, and a sharp mind, the morality of his actions is often questionable. His actions that are done in jest are often at the expense of others, such as the teasing of the slow bartender, Francis, and the practical joke on Falstaff. We also learn early on that he claims to be associating with low-lifes and misbehaving so as to impress the kingdom by dramatically reforming his ways, and being highly revered when he becomes King. Is this deceit too morally repugnant for a future King? Is his misbehaviour the result of a lowered morality due to the company he keeps or is he acting selfishly for his own amusement?

Tom Hiddleston's portrayal has many gleaming moments. Fan-favourites may include the Danny-Zuko-like removing and re-dressing of a Thrilleresque red leather jacket, a very real slap from a large-ring-wearing Jeremy Irons, or perhaps the repeated need to duck when passing in and out of a tavern doorway. More seriously, the transformation from playing a mischievous under-achiever engaging in drunken shenanigans to a regal prince that gains honour on the battlefield and in the eyes of his father is achieved spectacularly. A particularly tremendous moment is the shift in Hiddleston's countenance when a joking game of roleplay leads to a heartfelt plea from Falstaff to not ever be banished from Hal's company; the emotion is virtually tangible.

Gluttony at its finest

The character of Falstaff is likely to also leave a lasting impression. He is a boisterous fellow that believes that the common definition of honour is absurd, for what good is honour when one is dead? He is a hedonistic man, seeking only to gain money through theft, and spend it on food, drink, and sex. His lies are wild and self-serving. Even when caught in a lie, his quick wit and ability for twisting words are immediately used to manipulate the situation to his advantage. Simon Russell Beale's performance is not only strong in delivery, but in physicality. Beale brings one of Shakespeare's most famous comedic characters to life in spectacular form.

Facetious Queries

• - What does a person need to do to get their hands on their own red leather jacket of such fine quality?
• - Was Tom Hiddleston asked to tone down the accuracy of his Jeremy Irons impersonation due to his skilled impersonation-abilities?
• - Is there a massive warehouse with a ton of crowns lying in wait to be used or perhaps some sort of crown-making factory hidden somewhere in London used by the BBC for all its period pieces?
• - Was that tavern girl telepathic? How did she know to climb atop Prince Hal as a means of misdirection?
• - The lengthy post-robbery scene in the tavern showed a highly damp Prince Hal; did someone have to run around spritzing Tom Hiddleston to maintain an optimum level of dampness?

I dare say at least one query has been answered.

Richard II is available within U.S. territories till October 18 on the PBS website:

http://video.pbs.org/video/2365083796/

Henry IV (Part 1) is available within U.S. territories till October 25 on the PBS website:

http://video.pbs.org/video/2365088720/

Henry IV (Part 2) airs on October 11, and Henry V on October 18. Check your local listings.

Previous post on Richard II: The Hollow Crown's "Richard II" - A triumph in America!

The complete series of "The Hollow Crown" is already available for purchase on DVD.

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The complete series of "The Hollow Crown" is already available for purchase on DVD.

Coming to America

On September 20, the first instalment of the BBC hit, "The Hollow Crown," aired on PBS as a part of its long-running "Great Performances" series. This debut was long awaited by Shakespeare fans in America, as well as those who have pledged their allegiance to the army of Tom Hiddleston. Promotion for The Hollow Crown's move to America included a viral video of the man himself instructing Cookie Monster on the merits of delayed gratification:

#TomNomNom hit a million views in a matter of days.

History by Shakespeare 

The first of this Shakespearean tetralogy, Richard II, is a tale that demonstrates parallels to Greek mythologies of doomed protagonists undone by their own hubris. For those unfamiliar with English history, Richard II is a historical figure who reigned as the King of England from 1377 to 1399.

Great Performances, Indeed

Ben Whishaw's BAFTA-winning portrayal of King Richard II is both mesmerising and enigmatic. Several characters demonstrate a propensity for speaking in rhymed couplets to convey heightened emotional intensity, though none indulge in such fanciful speech patterns more so than Richard. As Richard finds himself losing allies, his title, and arguably, his mind, Whishaw's performance only becomes more gripping. His mannerisms, hand movements, and overall delicacy all aid his bringing to life a character that has led a life of privilege and been consumed by it.

Yet another performance worth mentioning is that of Sir Patrick Stewart's. Though John of Gaunt is not present past the second act, he still manages to deliver one of the most famous speeches of the entire play. Stewart commands the screen with eloquence and ease.

Final thoughts

Overall, Richard II is aesthetically pleasing and paints a portrait of a King undone by his lack of compassion for his people, selfish concern for his own well-being and luxury, and lack of understanding of the politics of his royal position.

Viewing aides 

• - During this time period, a King was believed to be divinely selected by God. To go against a King or make efforts to overthrow him was seen as a form of blasphemy. Such religiously rooted fears greatly influence the decision-making processes of the characters.
• - If one character curses another, or speaks of their inevitable downfall (or hardships to come), it should be taken seriously. Shakespeare is highly fond of such curses being used as tools of foreshadowing. (Think back to Romeo and Juliet, as Mercutio's dying words, "A plague o' both your houses," foreshadow the play's ending).
• - Foreshadowing in general runs abundant not only throughout the confines of Richard II, but spanning from this play into the instalments that follow: Henry IV (Part 1), Henry IV (Part 2), and Henry V. 

Henry IV (Part 1) has aired as of September 27, Henry IV (Part 2) is set to air October 3, and Henry V on October 10, on PBS. Check your local listings.

Post on Henry IV (Part 1):
http://www.museled.com/2013/10/the-hollow-crowns-henry-iv-part-1.html

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– Superheroes: A Never-Ending Battle to be shown in one three-hour programming block, beginning at 8pm ET (check local listings) –

Host and narrator Liev Schreiber Credit: Courtesy of Stephanie Berger

ARLINGTON, VA;  SEPTEMBER 5, 2013 – PBS announced today that Tuesday, October 15, 2013, is “Superheroes Night,” featuring a three-hour block dedicated to the groundbreaking program SUPERHEROES: A NEVER-ENDING BATTLE.  The newest film from Emmy Award-winning producer/director Michael Kantor (BROADWAY: THE AMERICAN MUSICAL; MAKE ‘EM LAUGH: THE FUNNY BUSINESS OF AMERICA) will premiere at 8:00 p.m. ET and include insightful interviews from Stan Lee; actors Adam West (TV’s “Batman”) and Lynda Carter (“Wonder Woman”); Geoff Johns (chief creative officer, DC Comics), Jeph Loeb (head of television for Marvel Entertainment); Pulitzer Prize-winning author Michael Chabon (The Amazing Adventures of Kavalier & Clay) and cartoonist/author Jules Feiffer (the long-running strip “Feiffer”), as well as appearances by the late comic book icons Joe Simon (co-creator of Captain America) and Jerry Robinson (who helped create the Joker). A full list of interviewees who appear in the show is located at the end of the release.

SUPERHEROES, cowritten by Kantor and Laurence Maslon, was initially to premiere October 8 and play over three weeks, but the series will now be a one-evening event of super entertainment.

Narrated and hosted by Liev Schreiber (X-Men Origins: Wolverine, Showtime’s Ray Donovan), SUPERHEROES: A NEVER-ENDING BATTLE is the first documentary to examine the dawn of the comic book genre and its powerful legacy, as well as the evolution of the characters who leapt from the pages over the last 75 years and their ongoing worldwide cultural impact. It chronicles how these “disposable diversions” were subject to intense government scrutiny for their influence on American children and how they were created, in large part, by the children of immigrants whose fierce loyalty to a new homeland laid the foundation for a multi-billion-dollar industry that is now an influential part of our national identity.

 

“SUPERHEROES: A NEVER-ENDING BATTLE is one of the most comprehensive surveys of the vibrant comic book industry ever created; it explores cultural histories in an entertaining and educational way — just as PBS viewers have come to expect,” said Donald Thoms, Vice President, Programming and Talent Management for PBS. 

SUPERHEROES will be presented in three one-hour parts:

PART ONE, 8 PM: “Truth, Justice, and the American Way” (1938-1958)
During the Depression, the popularity of dozens of superhero characters opens the door for a new generation of artists and writers. World War II creates a patriotic fervor for star-spangled adventurers to represent the American spirit at war and on the home front, but in the 1950s, superheroes are caught in the fire of government scrutiny and regulation. When the thrilling “Adventures of Superman” is broadcast on the new medium of television, America’s first and greatest superhero leads the entire comic book industry to renewed strength.

PART TWO, 9 PM: “Great Power, Great Responsibility” (1959-1977)

In the 1960s, a new breed of superhero emerges in the pages of Marvel Comics, inspired by the age of atomic energy and space travel and, in turn, inspiring the pop culture and pop artists of the time. Spider-Man, the Hulk and others are the first to have “problems” with which an adult audience can identify, and contemporary social issues make their way into comic books. Black powerhouses such as the Black Panther and Luke Cage appear on the scene, and the pages of “Green Lantern/Green Arrow” explode with relevant storylines as comic books are forced to confront the reality of an increasingly complex world.

PART THREE, 10 PM “A Hero Can Be Anyone” (1978-Present)
Modern enthusiasm for superheroes has been embraced in all forms of media and by all demographics, beginning with the historic Superman movie featuring Christopher Reeve as the Man of Steel. In 1986, Batman is overhauled as The Dark Knight to reflect the nocturnal underside of his character, and Watchmen bring new sophistication to comic book narratives, illuminating a violent and politicized world. In the burgeoning new millennium, superheroes have taken over popular culture with feature films, television shows and video games complementing a new generation of web-based comics that bring superhero adventures to every corner of the world. 

A new book based on SUPERHEROES: A NEVER-ENDING BATTLE, titled Superheroes!: Capes, Cowls, and the Creation of Comic Book Culture and penned by series co-writer Laurence Maslon and filmmaker Michael Kantor, will be available October 1, 2013, from Crown Archetype, a division of Random House. This stunning companion volume tells the story of the superhero in American pop culture, with interviews, character biographies and more than 500 illustrations both essential and rare.

PBS Distribution will release the DVD and Blu-ray version of SUPERHEROES: A NEVER-ENDING BATTLE on October 15, 2013, coinciding with the PBS broadcast. The DVD will be available for a suggested retail price of $24.99 and the Blu-ray will be available for a suggested retail price of $29.99. The running time is 180 minutes and will include exclusive extra features. 

SUPERHEROES: A NEVER-ENDING BATTLE is produced by Ghost Light Films in association with Oregon Public Broadcasting. Along with PBS, major funding for the series was supplied by the National Endowment for the Humanities. Founded in 1996, Ghost Light Films created the critically acclaimed and Emmy-nominated six-part PBS series Make ‘Em Laugh: The Funny Business of America, which was hosted by Billy Crystal and produced by Thirteen/WNET New York, in association with BBC-TV. In 2005, Ghost Light Films produced three hours of documentary material to accompany the 40^th anniversary re-release of the film The Sound of Music, including a documentary hosted by Julie Andrews. That same year, Ghost Light garnered the Primetime Emmy Award for Outstanding Nonfiction series for Broadway: The American Musical with Thirteen/WNET New York, NHK Japan and BBC in association with Carlton International. Most recently Ghost Light created Broadway Musicals: A Jewish Legacy (narrated by Joel Grey) for the GREAT PERFORMANCES series on PBS. For more information, visit www.ghostlightfilms.net

In addition to the names listed earlier in this release, the full list of interviewees who appear in SUPERHEROES includes: artist Neal Adams, Ed Catto (Bonfire Agency), writer Chris Claremont, writer Gerry Conway, writer Paul Dini, writer Mark Evanier, writer and editor Danny Fingeroth, historian William Foster, artist Ramona Fradon, artist Irwin Hasen, the late artist Carmine Infantino, writer and artist Phil Jiminez, writer Gerard Jones, publisher Jenette Kahn, the late artist Joe Kubert, artist and co-publisher of DC Comics Jim Lee, comic store owner Mike Malve, artist/writer Todd McFarlane, screenwriter Ashley Miller, writer Grant Morrison, writer Gary Phillips, writer/editor Denny O’Neil, writer Trina Robbins, chief creative officer of Marvel Entertainment Joe Quesada, casting director Andrea Romano, artist/designer Arlen Schumer, writer Louise Simonson, writer/artist Walt Simonson, Man of Steel director Zack Snyder, artist/writer Jim Steranko, writer J. Michael Straczynski, colorist Christina Strain, writer/editor Mark Waid, writer/editor Len Wein, writer Marv Wolfman and author Bradford Wright. The SUPERHEROES website is online at PBS.org/superheroes.

About PBS

PBS, with its over 350 member stations, offers all Americans the opportunity to explore new ideas and new worlds through television and online content. Each month, PBS reaches nearly 120 million people through television and over 29 million people online, inviting them to experience the worlds of science, history, nature and public affairs; to hear diverse viewpoints; and to take front row seats to world-class drama and performances. PBS’ broad array of programs has been consistently honored by the industry’s most coveted award competitions. Teachers of children from pre-K through 12^th grade turn to PBS for digital content and services that help bring classroom lessons to life. PBS’ premier children’s TV programming and its website, pbskids.org, are parents’ and teachers’ most trusted partners in inspiring and nurturing curiosity and love of learning in children. More information about PBS is available at www.pbs.org, one of the leading dot-org websites on the Internet, or by following PBS on Twitter, Facebook or through our apps for mobile devices

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