British actress Ruth Wilson rose to prominence after her breakout in the 2006 miniseries Jane Eyre, and over the years has continued to shine across television, film, and stage. She is widely recognized for her portrayal of tense, unforgettable characters, including iconic psychopaths in acclaimed series such as Luther and Dark Matter, as well as a memorable turn opposite Dominic West in Event. Her career reached another milestone when she stepped into a leading role in The Woman on the Wall, a SkyShowtime series that premiered with a two-part event on Monday the 19th. The series follows a tense, suspenseful investigation into the Magdalene laundries in Ireland, religious institutions run by Catholic nuns where many women, particularly single mothers, were detained and forced into hard labor under harsh conditions.
The interview explores what drew Wilson to The Woman on the Wall and how the production approached a difficult slice of recent history. She explains that telling this story felt essential because the last Magdalene Laundry closed in 1996, yet many people still know little about the injustices these women endured. Wilson is drawn to protagonists who carry resilience in the face of trauma, and she emphasizes how Lorna, the lead character, embodies the struggle for justice while navigating deep, unseen wounds. The role becomes a study of trauma that manifests both inside and outside the body, offering a lens into how survivors process and withstand such experiences.
Asked about the path to inhabiting Lorna, Wilson describes a rigorous preparation process. She conducted extensive research, consuming books and archival material about the period. Her travels took her to the West Midlands of Ireland, including Tuam, where one of the homes for mothers and babies operated during that era. She spoke with survivors and advocates, including researchers who work with Justice For Magdalenes, to ground the portrayal in authentic histories and testimonies. This preparation aimed to capture not only the factual context but also the emotional and verbal landscapes of the survivors who lived through these institutions.
When asked whether it took time to slip into Lorna’s consciousness each day on set, the actress notes that transitioning between daily life and the character is a deliberate process. She highlights the importance of refining the accent to reflect the Northern Irish setting accurately. Immersion goes beyond voice; the physicality of the role is equally crucial. Changing wardrobe acts as a catalyst, shifting her posture, gait, and mannerisms, helping her inhabit the character fully from dawn to wrap. The instinctive aspects of acting—movement, breath, and texture—play a guiding role in reaching the deeper layers of Lorna as filming progresses.
Wilson also shares a broader interest in portraying stories that she does not fully know yet. She often seeks projects she believes deserve to be told and, in addition to acting, produced The Woman on the Wall, positioning herself to bring meaningful narratives to life. Her commitment reflects a desire to illuminate histories that matter and to present them in a way that educates while entertaining audiences. This approach underscores her professional philosophy: prioritize stories with substance and societal resonance.
Regarding her preference for complex, imperfect characters, Wilson argues that people are rarely entirely good or bad. She seeks roles that reveal multiple facets, where even a villain contains a shred of humanity. If a character is intentionally sinister, she looks for the hints of vulnerability or motive that explain why they become the antagonist. This nuanced view allows her to explore the tension between virtue and vice, and to reveal the internal contradictions that define a character’s choices and actions.
The discussion turns to the response to The Affair, a role that sparked some tension when Wilson departed the show under difficult circumstances. She notes pride in the work she contributed to a broader body of television, including the program’s exploration of challenging themes. The experience remains a significant moment in her career, and it continues to resonate with audiences who reflect on the series and its impact.
Fans also ask about I am the lovely creature that lives in this house, a horror project directed by Oz Perkins released a decade ago. Wilson describes it as a standout experience and one of the most distinctive projects of her career. She recalls Netflix’s expansion into original content as a turning point that granted filmmakers more freedom and time. The six weeks of filming for that project felt ample for such a compact production, and Perkins’s script struck her as poetic and musical. Watching the film feels like hearing a single violin note repeatedly, building an intense, taut atmosphere that lingers long after the credits roll.