Wolf Hall’s second season is missing only one thing

As a devoted fan of historical dramas who has spent countless hours delving into the intricacies of Tudor England, I can confidently say that “Wolf Hall” is a masterpiece that truly transports viewers to the heart of the court during Henry VIII’s reign. The first season was a captivating journey through the political machinations and personal struggles of Thomas Cromwell, brilliantly portrayed by Mark Rylance.

During its inaugural season, BBC’s Wolf Hall brought to life the first two novels penned by Hilary Mantel, focusing on Thomas Cromwell’s ascent to power under King Henry VIII. Mark Rylance’s captivating portrayal, complemented by Damian Lewis as Henry and Claire Foy as Anne Boleyn, resulted in a masterful, multidimensional depiction of the struggles between power and morality, allegiance and affection.

Nine years later, season two adapts Mantel’s final Cromwell book, The Mirror and the Light.

In a way that’s consistent with his reputation, Rylance presents a compelling argument for his global top rank as an actor, demonstrating superiority in terms of weighted performance: His portrayal of Cromwell is marked by intelligence, fervor, restraint, and constant strategizing. It seems as if the quick flashes of thought dance across his eyelids without a sound.

Lewis skillfully portrays Henry, an aging, ill, and tyrannical ruler, demonstrating the magnetic charm that once earned the devotion of a figure like Cromwell. Yet, his performance unveils the decay brought about by a loosening hold on absolute authority.

After Bernard Hill’s passing, the role of the grumpy Duke of Norfolk has been taken over by Timothy Spall. Although he may not possess Hill’s impressive build, he brings a strong dose of elderly grudge to the character.

Alex Jennings steps effortlessly into the shoes once filled by Mark Gatiss, portraying Cromwell’s cunning adversary Stephen Gardiner with equal skill. Similarly, Lydia Leonard exhibits an equally subtle yet powerful presence as courtier Jane Rochford, much like Jessica Raine did previously.

Regrettably, it seems Tom Holland exchanged his Tudor attire for a Spider-Man jumpsuit, but Charlie Rowe does an impressive job playing Cromwell’s son instead.

however, a character conspicuously absent is Saskia Reeves portraying Johane Williamson – Cromwell’s late sister-in-law who managed his household following her sister’s demise and was romantically involved with him (as depicted in Mantel’s narrative).

In the game world, it wouldn’t make sense for character Williamson to appear after her real-life counterpart had already passed when Season 2 unfolded. It’d feel quite peculiar, like having a ghost pop up in my virtual home.

But it’s not specifically Reeves’ character that we miss, a warm and thoughtful presence though she was, revealing an aspect of Cromwell we might not have otherwise seen. What’s missing is a female force of equal stature to Cromwell’s.

In Tudor society, women like Lady Mary (who would become Queen) and Bess Oughtred, Cromwell’s daughter-in-law, certainly leave a lasting impact, yet it’s important to note that due to the societal norms of the time, their lives as young women are heavily influenced and controlled by men.

Fate holds sway over them, and they often find themselves at the mercy of powerful gusts that more influential individuals can withstand better.

Regarding Lady Jane Rochford, despite her notable position at the court and an equal measure of cunning like many men of her time, her influence remains confined within the boundaries of her social rank.

In simpler terms, Reeves’ character Johane presented a female counterpart who was on par with Cromwell. Essentially, Claire Foy’s Anne Boleyn could be described as Cromwell’s intellectual and political match, but it was common knowledge that she was younger and ultimately destined to face consequences.

In their home environment, Johane managed to keep pace with him, offer counterarguments, and present viewpoints that no one from the intelligent minds at the court had been able to do.

Although Wolf Hall authentically portrays – and masterfully conveys – the patriarchal society of the British Reformation era, in which men held power and women were considered possessions, its second and concluding season seems to fall short in presenting the depth of character development that was evident in the initial season.

As a devoted fan, I must say that this show remains one of the most impressive television accomplishments of the century, and I eagerly anticipate its conclusion. I’m hoping for an uplifting ending – no decapitations, divorces, or excommunications – as those would certainly dampen the mood.

Wolf Hall’s final episode airs on BBC1 on Sunday 15 Dec at 9pm, and the series is available to stream on iPlayer.

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2024-12-09 18:49