We sing a song in your head of another phreaky Phantom! In this seldom-seen shocker, Maximilian Schell dons the mask and pursues the woman he believes to be his lost love (it’s Phantom by way of “The Mummy”). In gorgeously gruesome makeup designed by Stan Winston, the Phantom brings down the house… well, the chandelier, anyway! Listen to the haunting music of “The Phantom of the Opera,” the 1983 TV version!
“Paradoxically, however, although Mary’s pregnancy appeared to strengthen Philip’s position and power, linking discussions of his coronation with the imminent birth of an heir placed him in a position not unlike that of former queen consorts: except for Catherine of Aragon, whose coronation took place at the same time as that of Henry VIII,plans to crown Tudor consorts were usually connected with the proof of their fecundity. For example, King Henry VII’s wife Elizabeth was crowned only after she had borne a son. According to Charles T. Wood, the fact that Elizabeth had a better claim to the throne than Henry VII meant that ‘before a non-threatening coronation could take place, Elizabeth had first to produce a son, a male whose rights would supersede her own’. Of Henry VIII’s wives, Anne Boleyn’s coronation took place during her pregnancy, plans to crown Jane Seymour after the birth of Edward were thwarted only by her untimely death, and rumours of Katherine Howard’s imminent coronation circulated during a progress to York when it was believed she was with child. Although Renard believed that ‘in England the coronation stands for a true and lawful confirmation of title, and means much more here than in other realms,’ he presented the case for Philip’s coronation to Mary by citing ‘the precedent of Queen Catherine, her lady mother, who was crowned,’ implying that it would give Philip no more power than that enjoyed by a queen consort.”
