The Journey of *The Mirror and the Light*: A Sequel Against All Odds
Upon its release in the U.K. last year, *Wolf Hall: The Mirror and the Light* was met with an overwhelmingly positive response from critics, who described it as “breathtakingly beautiful”and “a complete triumph.”However, director Peter Kosminsky revealed that the production faced considerable financial struggles that almost led to its cancellation.
Last-Minute Sacrifices to Save the Project
Recalling a critical moment six weeks prior to production, Kosminsky shared, “We were shutting down. There was no way around.”The momentum behind this sequel, which adapts the final novel of Hilary Mantel’s trilogy focusing on Thomas Cromwell, was at risk due to budget shortfalls. In a dramatic late-night meeting, Kosminsky and an executive producer made a pivotal decision to forgo portions of their fees. Screenwriter Peter Straughan and lead actor Mark Rylance also stepped up, agreeing to substantial salary cuts to keep the project alive.
U.S. Premiere and Production Challenges
Thanks to their sacrifices, the camera began to roll, and audiences in the U.S. will be able to catch the series starting this Sunday on PBS Masterpiece, almost a decade since the debut of the original season. This six-part series showcases stunning period drama, featuring authentic Tudor-era filming locations and meticulously crafted costumes that reflect the magnitude that earned *Wolf Hall* numerous awards, including a Golden Globe and eight Emmy nominations. Yet, the financial struggles experienced during production highlight the growing difficulties faced by high-end British television dramas, especially those that fall outside the streaming landscape.
A Complicated Relationship with the Source Material
When the first season of *Wolf Hall* aired in 2015, the third novel, *The Mirror & The Light*, was still in progress. Mantel was candid about her struggles in capturing this final phase of Cromwell’s life. While presenting Cromwell as a complex figure, Mantel’s interpretation offers a sympathetic portrayal of his journey from a poor blacksmith’s son to a key figure in the royal court. Executive producer Colin Callender had initially expected that once the final book was ready, they would move forward with a sequel, especially since the first installation had been so well-received.
Collaboration Between Mantel and Kosminsky
The collaboration between Kosminsky and Mantel deepened during the production of *Wolf Hall*. As she completed her novel, she invited Kosminsky to become more actively involved. “Can you imagine?”he quipped, recalling how she sent him extensive excerpts, asking for his feedback, which he promptly provided. Remarkably, some of his suggestions, such as additional scenes depicting Cromwell’s conflicts with William FitzWilliam, made their way into the manuscript.
Turning Heartache into Tribute
Tragically, the production faced a significant blow when Mantel passed away in September 2022, shortly after the writing was nearly complete. Following this loss, there were serious discussions to halt production out of respect for her. Ultimately, the creative team decided to move forward with the series as a tribute to her legacy. “If it hadn’t been for the BBC and Masterpiece at that point, our morale was pretty low,”Kosminsky explained, indicating the support they received during this trying time.
Rising Costs in British Television Production
The financial difficulties that nearly derailed *The Mirror and the Light* are indicative of broader issues affecting British television producers. Callender observed that the costs associated with production have soared, exacerbated by the entry of U.S.-based streaming services, which have dramatically increased the financial expectations from crew, cast, and vendors. These challenges have left many high-end dramas, particularly those created for UK public broadcasters, in peril, highlighting a trend toward unsustainable budgeting.
Production Economics and the Future of British Dramas
According to Callender, the budget for *The Mirror and the Light* was nearly double that of its predecessor, with the BBC and Masterpiece contributing significantly but still falling short. As creatives considered how to make ends meet, Straughan reflected on the universal loyalty to Mantel as a motivating factor in taking pay cuts to ensure the series was made. Kosminsky emphasized the strenuous efforts needed to meet production demands, describing the second season as “five times harder” than the first due to financial constraints.
A Look Ahead to the Series
The narrative in *The Mirror and the Light* resumes from the end of *Wolf Hall*, depicting Cromwell, portrayed by Rylance, amid growing challenges following Anne Boleyn’s execution. As Jane Seymour (played by Kate Phillips) struggles to produce a male heir, tensions rise with the king, played by Damian Lewis, amplifying Cromwell’s vulnerabilities. While many familiar faces return, the series also sees the notable absence of Bernard Hill and Tom Holland, who was unavailable due to his burgeoning career as Spider-Man. Early reviews in the U.S. have been promising.
The Bigger Picture: Challenges for British Television
Despite the successful launch of *The Mirror and the Light*, the production’s experience underscores significant obstacles faced by the industry. Kosminsky, in his testimony to a UK parliamentary committee, asserted that projects like this are becoming increasingly challenging to finance. The competitive landscape, with changes in production dynamics and costs, continues to place British dramas in jeopardy.
The future of productions like *The Mirror and the Light* hangs on the shifting economic landscape of television. Kosminsky aptly stated, “The truth is the BBC and Masterpiece moved heaven and earth to get this show made… I wouldn’t have said this in front of the House of Commons if I didn’t mean it: It wouldn’t get made now, and neither would a number of shows.”
Source: Hollywood Reporter