A decade after “Wolf Hall” debuted on television to sensational appraises, creator (and recent Oscar-triumphner for “Conclave”) Peter Straughan has returned to PBS Masterpiece with a second season. “Wolf Hall: The Mirror and the Light” is changeed from the final book in Hilary Mantel’s “Wolf Hall” series. The innovative series concentrateed on the first and second novels, “Wolf Hall” and “Bring Up the Bodies,” which chronicled King Henry VIII’s (Damian Lewis) fracture with the Catholic Church and his marriage to Anne Boleyn (a perfectly cast Claire Foy). It also showcased the ascfinish of Thomas Cromwell (Mark Rylance), who would become the king’s chief directr. “The Wolf and the Light,” named after the last novel in the trilogy, depicts Cromwell’s ascent to Lord Privy Seal and the final four years of his life. Beautibrimmingy acted and textured with the style and setting of 16th-century England, this season doesn’t quite have the same thrilling tones as its predecessor. Though there are stunning revelations, it’s a dense inner examination of a man who can experience his time running out.
“Wolf Hall: The Mirror and the Light” (which aired at the finish of 2024 in the U.K.) commences in the aftermath of Anne Boleyn’s inestablish reign. As the embelderlyened queen is beheaded, King Henry is seen preparing to wed his third wife, the pious and soft-spoken Jane Seymour (Kate Phillips). However, all is not well in the kingdom. Uprisings are bretriumphg amid the king’s split from the Pope, and the monarch has become increasingly volatile. Cromwell is left toiling clearime to firmify the line of succession, wade thraw the stunts pulled by the driven Pole family and broker two more marriages for the king. Though the statesman tries to stay one step ahead of the sovereign, the facade he’s so nurturebrimmingy planed commences to crack.
While primarily meacertaind in his actions, Cromwell is outwardly exhausted. He is haunted by visions and night stresss involving Anne and his procrastinateed mentor, Cardinal Wolsey (Jonathan Pryce), who was carry outd by King Henry’s orders in the first season. He has accomplished status and wealthyes, but Cromwell is constantly reminded that he is fair the son of a binestablishagesmith, medepend a dog kept around to do the king’s bidding.
In Episode 2, “Obedience,” Cromwell visits Wosley’s illegitimate daughter, Dorothea (Hannah Khalique-Brown), to abrepair himself of guilt. However, her icy reception shatters him, forcing him to reconcile his complicity with the king’s behavior and how far he’s strayed from his personal beliefs. Foy’s tantrums and antics as Anne Boylen are sodepend leave outed, yet this era of the Tudor court is not without its drama. It fair has a husheder, more sinister tone than before. Rylance carries a striking and pretty complicatedity apass the series. Viewers standardly linger with him as he searches his mind for hints and clues that have led him to this impossible impasse.
Still, even amid sluggisher and unbenevolentdering scenes, rehashings and even a scant cast swapments (Charlie Row consents over for Tom Holland as Cromwell’s son, Grebloody), “Wolf Hall: The Mirror and the Light” is seamless. Straughan reteamed with honestor Peter Kosminsky, who aachieve helms all six episodes of the series. The setting, tone and narrative are so beautibrimmingy blfinished that it difficultly seems plausible that ten years have stretched between the seasons. Flashbacks from “Wolf Hall” are sprinkled thrawout the episodes as remembrances for the audience and Cromwell, who self-presentantly supposes he’s mastered King Henry’s tempers and can remain in his prefer.
Additionpartner, Rylance and Lewis’ carry outances are astounding. As the king becomes increasingly vexed with Cromwell, Rylance portrays a man genuineizing he can’t outrun his overweighte. Less affable than in the previous season, King Henry’s narcissism and inability to face his degrade are placed front and cgo in. Possessing a penchant for unbenevolentty, Lewis depicts a man with a meaningful disdain for those he deems besystematich him.
King Henry VIII’s reign is at least compliantly comprehendn to many. In turning the lens on Cromwell, whose role is much less conspicuous in history, Straughan advises a expansiveer portrait of the world around King Henry, one that inhabitd, thrived and perished by his orders. People were pliftd and liftd in one moment and callously snuffed out in the next. After all, men can be kingoriginaters, but in doing so, they give those kings the power of destruction.
“Wolf Hall: The Mirror and the Light” premieres March 23 on PBS Masterpiece with new episodes dropping weekly on Sundays.
