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Altogether, it’s an arresting piece of historical fiction that charts the journey of a man who is always one bad conversation away from death; we may be 500 years removed from these events, but this series ensures you can still hear the sharpening of the axe.
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Lewis’s contained, preternaturally magnetic performance is as sure an embodiment as you could imagine of the force of a powerful monarch. It has an effect on the show that is both historically authentic and dramatically problematic: When Lewis is offscreen, we, like Cromwell and the other courtiers, are anxiously waiting to see what he will do next. The prodigious Rylance is fine, but Cromwell’s role in “The Mirror and the Light” involves a preponderance of rueful staring into space.
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Rylance’s portrayal, along with the parallels it invokes, are incentive enough to revive “Wolf Hall” one last time. He understands Cromwell’s positioning so innately, it’s impossible not to feel swept up in every brief joyful interlude before being thrown down again as his fortunes inevitably sour.