After a prolonged decade of anticipation, fans can finally rejoice as the acclaimed television adaptation of Wolf Hall returns to the BBC this coming Sunday. This much-anticipated revival promises to guide audiences through the perilous and intricate political landscape of King Henry VIII’s court. Yet, the journey is tinged with a sense of profound loss, as director Peter Kosminsky must navigate this path in the absence of Hilary Mantel, the late author of the original novels.
“It has been much harder, because Hilary is gone,” Kosminsky shared with the Observer in an interview, expressing the emotional toll that her passing has taken on the production.
“When she died two years ago, I lost my collaborator and a good friend. During the making of the first series, her door was always open — ‘Call me, night or day’ was her mantra. She was never protective or defensive, and I anticipated an even deeper collaboration this time around, having been involved with the last book since its very beginning.”
Kosminsky, who notably directed the first series that premiered on BBC in January 2015, had developed a strong rapport with the Booker Prize-winning author as they adapted the first two novels, Wolf Hall and Bring Up the Bodies, for television. During the writing of the final book in the trilogy, Mantel would send him 100-word snippets, eagerly seeking his insights and feedback.
“This was terrifying and bizarre,” he recounted, “She was a double Booker Prize-winner, so I had to approach my responses with care, as I certainly didn’t want to mess things up.” The unexpected loss of Mantel at the age of 70 not only robbed him of “the person I respected almost more than anyone,” but also left him grappling with an immense responsibility and a lack of the collaborative discussions he cherished with “the best living writer in the English language.”
“I don’t say this lightly; I believe she was the only genius I have ever met, and I’m now 68,” Kosminsky reflected, emphasizing the extraordinary brilliance he witnessed during their time together. “Whenever I was in her company, it was evident she was operating on a completely different intellectual plane.”
His own grief, while profound, is something he understands pales in comparison to that of her family and her husband, Gerald, with whom she shared 50 years of marriage. Yet, Kosminsky admits finding it challenging to cope with the fear of disappointing Mantel’s legacy: “Thankfully, we were exchanging detailed emails while she was writing the last book, and then afterwards as the adaptation was unfolding. However, I was hoping for a lot more back-and-forth as we entered production.”
The upcoming final installment, once again penned by Peter Straughan, follows the cunning strategist Thomas Cromwell, portrayed by Mark Rylance, as he struggles to retain his influence in the increasingly unpredictable world of King Henry, played by Damian Lewis. The character of Cromwell’s deceased mentor, Cardinal Wolsey, hauntingly resurfaces in his study to provide counsel and guidance.
Kosminsky confesses that he yearned for the same kind of guidance from Mantel, a source of reassurance that, unfortunately, is absent this time around: “We could not consult her on any potential changes.”
The last book, aptly titled The Mirror and the Light, unfolds a narrative that inexorably drives readers towards a desolate conclusion. Adapting the story into a gripping six-part drama became a substantial challenge, not only for Kosminsky but also for Rylance: “The narrative culminates in a profoundly dark manner, and my responsibility was to share that harrowing journey with my actor. Mark delivers an astonishing performance; he fully immerses himself in this role, which presents an arduous challenge.”
“He is portraying a man who began life as a boy in Putney, subject to daily abuse from his father, and who later becomes entwined in a toxic power dynamic with the king. In Hilary’s interpretation, their relationship evolves into a form of love or at the very least, a deep co-dependency from which Cromwell finds himself unable to escape.”
Mantel had articulated to Kosminsky that “the mirror” in the title represented memory, while “the light” symbolized Henry: “She emphasized that this was a more introspective conclusion, focused on reflection, as it pertains to looking back at history.”
A significant consideration was how to resume the narrative, given the lengthy hiatus since the last series. “The story picks up seamlessly from where we left off, yet a decade has passed, and everyone—including the audience—has aged. That’s when I realized the trilogy spans the ten-year period that Cromwell served the king until 1540. Consequently, at the series’ outset, we present an age gap, and through the medium of flashbacks, we can seamlessly weave together past and present.”
Known for his expertise in crafting political dramas, Kosminsky first collaborated with Rylance on a film focusing on the tragic death of Dr. David Kelly, a government weapons inspector.
However, he pointed out that Mantel steadily reinforced to him that these novels were “not an allegory” for contemporary politics. “Nevertheless, I believe that they serve as a challenge to oversimplified narratives. After all, Hilary took a crucial historical figure and reinterpreted his story. She exhibited the courage and audacity to transform a man traditionally viewed as an irredeemable villain and assert, ‘Wait a moment, this individual has a narrative of his own.’”
The concluding episodes of Wolf Hall: The Mirror and the Light will be aired consecutively on Sundays until Christmas, after which Kosminsky will pivot to another grim project. For the past seven years, he has been developing a serialized drama centered around the Grenfell Tower fire disaster: “Although I frequently explore dark themes, my primary goal is to encourage viewers to revisit these difficult topics using this incredibly powerful medium. It’s a privilege, and I feel fortunate to engage in this work.”
**Interview with Peter Kosminsky: Navigating the Legacy of Hilary Mantel in the Adaptation of *Wolf Hall***
**Interviewer:** Peter, thank you for joining us today. After a decade-long wait, *Wolf Hall* is returning to the BBC. How does it feel to bring this story back to life without Hilary Mantel, especially given her profound impact on the series?
**Kosminsky:** Thank you for having me. It’s an emotional experience, to say the least. Hilary’s passing has left a significant void in our process. She was not just a collaborator but a dear friend. The first series was a product of our deep discussions, and I had hoped for even more collaboration during the adaptation of the last book.
**Interviewer:** You mentioned in a previous interview that you felt a responsibility to honor her legacy. Can you elaborate on what that means to you?
**Kosminsky:** Absolutely. Hilary was a genius by any measure. Her insight and creativity brought life to *Wolf Hall* and *Bring Up the Bodies*. I often find myself grappling with the weight of her absence; the fear of disappointing her legacy is a real challenge. Thankfully, we had extensive communication while she was writing her last book, which has offered me some guidance, but it’s not the same as having her here to discuss the adaptation in real-time.
**Interviewer:** How did your relationship with Hilary influence your directorial choices in this new installment?
**Kosminsky:** Our discussions were always enlightening. Hilary had a way of illuminating the characters’ depths, especially Thomas Cromwell. The exploration of his relationships with Henry and Cardinal Wolsey requires a delicate handling of the narrative’s darker themes, something we often discussed. Her interpretation of their connection as possibly loving or mutually dependent adds a lot of nuance that has influenced how I approached this adaptation.
**Interviewer:** Mark Rylance is back as Cromwell. What challenges did you face in guiding his performance through such a dark narrative?
**Kosminsky:** Mark is an extraordinary actor, and he really immerses himself in the role. Portraying Cromwell’s journey, from a troubled boy to a master strategist entangled in court politics, is no easy feat. My job was to share the weight of that journey with him, especially knowing that the conclusion is quite grim. It required open discussions about how to convey that emotional arc authentically.
**Interviewer:** Can you tell us about the deeper themes you aimed to capture this time around?
**Kosminsky:** One of Hilary’s insights that has stuck with me is that “the mirror” reflects memory and introspection, while “the light” symbolizes Henry. This last installment is very much about looking back and understanding history through the lens of personal reflection—something that we’ve worked hard to capture in the adaptation.
**Interviewer:** As we anticipate the series’ return, what do you hope viewers take away from this adaptation of *The Mirror and the Light*?
**Kosminsky:** I hope audiences feel the emotional truth of Cromwell’s story, as well as the complexities of loyalty, power, and memory. It’s a harrowing journey, but it’s also deeply human. I want viewers to reflect on how history shapes us, and perhaps, to engage in their own reflections on power and relationships through the lens of this story.
**Interviewer:** Thank you, Peter, for sharing your insights with us. We wish you the best of luck with this powerful adaptation.
**Kosminsky:** Thank you. It’s been a privilege to work on this story, and I’m looking forward to sharing it with everyone.
