The television series, adapted from Hilary Mantel’s novels "Wolf Hall" and "Bring Up the Bodies," recounts events at the court of King Henry VIII (Damien Lewis) as he becomes captivated by Anne Boleyn (Claire Foy). Because she won't become another one of his affairs, the king must find a way to end his twenty-year marriage with Katherine of Aragon (Joanne Whalley). Convincing the Pope to grant an annulment is the difficult task assigned to Wolsey (Jonathan Pryce), the Chancellor who has numerous enemies hoping for his downfall. Thomas Cromwell (Mark Rylance), an ambitious and intelligent lawyer, is one of the few people consistently supporting Wolsey, but as the Cardinal’s position becomes more vulnerable and the king's obsession grows dangerous for anyone who opposes it, the stage is set for intense political maneuvering. This version presents a different timeline than what audiences are accustomed to, and shifts focus away from the king himself. The story is largely told through Cromwell’s perspective, as he quickly learns how to navigate the precarious environment of the Tudor court. The actors perform admirably; the constant struggle for power demands it—Bernard Hill's Duke of Norfolk is a formidable presence, and Anton Lesser portrays a less sympathetic Sir Thomas More than in Robert Bolt's "A Man For All Seasons." Lewis effectively embodies the lovelorn and increasingly desperate monarch who relies more on his new advisor. Rylance delivers a measured, subtly threatening, and calculating performance as events escalate. The script by Peter Straughan is a faithful adaptation that offers a speculative but amusing look at a group of powerful people—or those striving for power—who are not to be trusted, and often aren’t given the chance to prove otherwise! A weakness lies with Foy; while she delivers her lines competently, her portrayal lacks depth, making Charlotte Rampling's performance in "Anne of the Thousand Days" (1969) seem more compelling. The production values are characteristic of BBC period dramas—meticulously detailed costumes and locations, including Penshurt Place, previously used in 1971 for "Elizabeth R." Although we know from history who succeeds and who suffers, the narrative still unfolds with enough intrigue and complexity to demonstrate the pervasive culture of fear, superstition, and violence that defined 16th-century England.

Source on TMDB