Presented by Dr Clare Jackson of Cambridge University, this new three-part series argues that the Stuarts, more than any other, were Britain's defining royal family.

自1603年起到1714年，斯图亚特王室统治英国达三百多年，在其统治期间，出现了许多残酷无情的暴君，阻挡了历史的发展进程。而斯图亚特继承的三个独立王国——苏格兰王国、英格兰王国和爱尔兰王国——深陷于动乱和杀戮之中，相互之间战争不断，难以和谐共存。在这部系列纪录片中，克莱尔·杰克森博士诠释了斯图亚特君主如何帮助建立大不列颠、决定大不列颠的发展以及他们如何让这个国家给世人留下至深印象的。

多尼采蒂《玛丽·斯图亚特》是意大利作曲家葛塔诺·多尼采蒂(Donizetti Gaetano，1797—1848年)创作的歌剧作品。早在这部歌剧开始写作与首演之前，多尼采蒂就指望靠《玛丽·斯图亚特》造成轰动。但著名的编剧家罗马尼退出后，整个计划跟着走样。 　　席勒的原剧巧妙地将复杂的政治阴谋与心理的挣扎结合成一体，但替代编剧的律师巴达里将整个悲剧简化成两个女王之间的争权夺爱。由于那布勒斯国王亲自下令禁演，多尼采蒂被迫在彩排之前的简短时间内重新改写全剧，新的版本有不同的情节，并改名《波德蒙特》(Buondelmonte)，但1834年在那布勒斯演出时却是一大惨败。为米兰演出而写的另一个新版本还是失败，多尼采蒂只好束之高阁。 　　曾是苏格兰女王的玛丽亚·斯图亚达因叛国罪被关在城中。英国女王伊丽莎白认为，她超越政治竞争对手，在与心爱的男性罗伯托的关系上也是情敌。玛丽亚跪在地上请求宽大处理，但被嫉妒蒙蔽双眼的伊丽莎白却对玛丽亚进行指责和侮辱。对此，玛丽亚也勃然大怒，用可耻的话来还击伊丽莎白，称她为“玷污英国王座的卑劣私生子”。最后，伊丽莎白在死刑执行书上签字，玛丽亚听到了宣布自己死亡的大炮声.......

Two-part documentary telling the story of the Stuarts' attempt to reclaim the throne.

Two-part documentary telling the story of the Stuarts' attempt to reclaim the throne.

拳击手斯图尔特（马克·沃尔伯格 饰）因受伤而结束了他的职业生涯。从一场死亡车祸幸存后，他决定把握生命第二次机会，立志做一名牧师。 　　根据真实人物故事改编。

拳击手斯图尔特（马克·沃尔伯格 饰）因受伤而结束了他的职业生涯。从一场死亡车祸幸存后，他决定把握生命第二次机会，立志做一名牧师。 　　根据真实人物故事改编。

墨西哥超现实吸血鬼片，导演Juan López Moctezuma是JODOROWSKY大师的好友，曾经参与杨大师多部经典CULT片的拍摄工作。 　　A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who's also a vampire. Model and future TV host Christina Ferrare is a lesbian vampire whose victims are dying to quench her thirst for blood. Mexican authorities and her father (John Carradine) try to come between Ferrare and her next target's neck in this horrifying shockfest. 　　Juan Lopez Moctezuma's MARY, MARY, BLOODY MARY (1975) is one of those movies you watch and, after mentally cataloging all the things wrong with it, realize how cool it really is... mostly because of all the things you thought were wrong with it. Cristina Ferrare is such a Pamprin headache of an actress, as stiff as a celluloid collar, and yet she does create one of cinema's most interesting vampires. In many ways, Mary couldn't be worse at what she does - while the early murder of a man interested in more than her paintings goes off smoothly (Miss Thing slyly sliding a hairpin out of her chignon during female superior sex and using it to lay open his jugular), her next victim (a fisherman, whom she has attempted to drug) nearly fends her off until she takes him down in one of the most ungainly vampire attacks of all time. 　　Elsewhere, Mary proves herself a complete chicken shit in moments of tension, as when she breaks down in big boo-boo tears when confronted on a country road by a mysterious figure clad in black. She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks... what a perfect portrait of an Ugly Americana spreading the white man's poison south of the border. It's in this context that the cheapness of the production, the harsh 70s decor, the cold, perfunctory performances and the wall-to-wall Muzak score actually begin to seem like grounded artistic choices and have a lot to do with why I keep coming back to this one. 　　MARY, MARY, BLOODY MARY ends in a surprisingly cynical bloodbath of ultraviolence that leaves only the pathetic title character standing... or in reality on her knees sucking the life out of the one person whose love she had relied on to point her to some kind of normalcy. Not enough vampire movies use awkwardness and incompetence as character traits to define their bloodsuckers and that's too bad. George Romero had similar ideas for MARTIN (1976) a year later but portraying vampires as just folks is definitely the horror road not taken.