A decade after the success of Wolf Hall, creator Peter Straughan returns to PBS Masterpiece with Wolf Hall: The Mirror and the Light, adapted from the final book in Hilary Mantel’s acclaimed trilogy. The new season picks up where the original left off, focusing on the last years of Thomas Cromwell (Mark Rylance), the king’s chief adviser, against the backdrop of 16th-century England’s political turmoil.
The earlier seasons of Wolf Hall covered the dramatic rise of Cromwell and the collapse of Anne Boleyn’s reign, set against King Henry VIII’s (Damian Lewis) break with the Catholic Church and his tumultuous marriages. In this final chapter, Cromwell ascends to the position of Lord Privy Seal, navigating an increasingly volatile court as his past sins and political machinations begin to catch up with him.
Premiered in the UK in late 2024, Wolf Hall: The Mirror and the Light opens with the aftermath of Anne Boleyn’s execution. King Henry, now preparing to marry his third wife, Jane Seymour (Kate Phillips), faces growing unrest over his religious reforms and the monarchy’s weakening grip on power. Meanwhile, Cromwell, once a master of maneuvering in the royal court, is caught in the ever-widening cracks of the very system he helped build. As the king’s chief adviser, he is tasked with managing succession, quelling uprisings, and securing the throne through two more royal marriages.
But the facade that Cromwell has worked so hard to maintain starts to crumble. Despite his political triumphs, he is haunted by visions and night terrors of Anne and his former mentor, Cardinal Wolsey (Jonathan Pryce), whose execution at Henry’s orders weighed heavily on his conscience. Though Rylance’s portrayal remains measured and nuanced, it is clear that Cromwell is deteriorating under the pressures of his own guilt and the ever-encroaching threat of his inevitable downfall.
In the episode “Obedience,” Cromwell visits Wolsey’s illegitimate daughter, Dorothea (Hannah Khalique-Brown), in an attempt to absolve himself of the past. The cold reception he receives shakes him to his core, forcing a confrontation with the moral compromises that have defined his rise to power. Though this chapter lacks the frenetic energy of its predecessor, the season instead focuses on a deeper, introspective examination of a man facing the bitter realities of his existence.
Rylance’s performance continues to captivate, with subtle yet powerful moments that draw the audience into the depths of Cromwell’s inner turmoil. While the absence of Claire Foy’s fiery portrayal of Anne Boleyn is felt, the quieter, more sinister atmosphere of the later Tudor court is equally compelling. The season, although slower in pace, is rich with the same high-quality writing and production values that defined the first season.
Straughan reunites with director Peter Kosminsky, who returns to helm all six episodes of the series. The visual style remains impeccable, with the same attention to detail that brings 16th-century England to life. Flashbacks from Wolf Hall are interwoven throughout the episodes, offering a sense of continuity for both the audience and Cromwell, who, despite his growing sense of doom, continues to believe he can manipulate the unpredictable Henry to his advantage.
The performances from both Rylance and Lewis are exceptional, with Lewis portraying an increasingly frustrated King Henry, whose descent into narcissism and cruelty takes center stage. Henry’s disdain for those beneath him is palpable, and Lewis captures the king’s refusal to confront his own decline with chilling precision.
Ultimately, Wolf Hall: The Mirror and the Light shifts the focus from the more familiar figure of Henry VIII to the often-overlooked role of Thomas Cromwell in shaping the monarchy’s fate. Straughan’s adaptation paints a broader portrait of the Tudor court—one where men like Cromwell were both kingmakers and instruments of destruction. The season is a poignant exploration of power, guilt, and the relentless pursuit of survival in a world that thrives on betrayal.
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