I almost forgot this Elizabeth Moss You can smile. The main actress at “The Hulu’s Tale’s Tale”, now in her sixth and last season, spent most of her screen in distorting her face in distress because she played June Osborne, one of the “maids” that was imprisoned, disturbed, and disturbed, and forced to carry children in the exhibition world, which was seized by America. Moss eyebrows were raised in the terrifying pleading because they begged to various Gilead employees for their mercy, secret, or helping them while they are able to escape. Her mouth is twisted in terror and anger because she was subjected to creative and violent penalties from the system, which were filmed in thorny scenes of women who suffer from amputation, receiving eyes, singing, disruption, frustration, genital mutilation, drowning, suspension, and surface dumping. She trembled her jaw in the tiredness of shocking as she watched her comrades who captured, tortured and killed.
With the progress of the series, with June’s escape in the end, and became a rebel leader seeking to land the regime, Moss has increasingly wore expressions of angry determination: unacceptable forehead; Difficult eyes, harsh jaw. The “tale of maids” has been on the air since 2017, and the Moss’s character appears to be a melting with her personality. When the actress speaks politely to one of the interview or bend towards a microphone stretched on a red carpet, it is strange to see her happy and comfortable after a woman played on the party for many years.
If Moss seems outside the place outside the “tale of maids”, it may be because the offer, for the better or for the worst, has become in an era. The series benefited from an unfamiliar timing: it was shown in the first season after only five months Donald TrumpIn the first elections, it was immediately successful, as they were afraid of liberal Americans, especially liberal women, from the future of Trump. Women began to appear in Trump’s counter-protests wearing fashion-inspired costumes-long red maids and white-edges with snow edges that work as symbols for their political discontent. Soon the first season ran over episodes through the source article, in 1985 a novel By the Canadian author Margaret AtwoodBut the chain was renovated again and again.
After nearly a decade, “Handmaid’s” keeps his distinctive violence, but completely exhausted his narrative buildings. The characters have repeatedly takes options that are not in line with their values or motives, and return to relationships – and sites – which have long have destroyed all their capabilities. As since the first season, a lot of conspiracy depends on the attractiveness of magnetism in June Nick, the Gilead driver turned into a leader played by Max Minghella who does not control, and she is an enthusiastic, and transparent character who does not seem to be able to inspire all the self -destruction required by the story. Writing, which is now far from the original book, is the familiar laziness at the end of the season for the TV book they move on. (One in particular of the dialogue, it appears as two characters discussing the effects of the massacre, conveying them to discuss whether there is anyone more hot than Rihanna.)
The biggest book problem is to find reasons to keep the mousse character in Gilead. In the early seasons, June refuses repeatedly to leave the country when it is given opportunities to do so; After finally fled to Canada, in the fourth season, the book must continue to invent new ways to return it. With the opening of the sixth season, the growing citizen of Toronto forced her to against the opposing and supportive of the army in June in Toronto, to go to the West with Nicole, her young daughter, who gave birth to her in the second season, to an American refugee camp in Alaska. (In this chain, Alaska and Hawaii are the two insanitanianananananananananananananananananananananananananananism that were not overlooked by Gilead; science flies two small stars) deserves), planning to lead the rebel process inside the Gilead region. Fear of their safety, June starts to stop them. Inevitably, it ends with joining their efforts instead. Soon after, June finds herself in Gilead, and she is now returning to her famous red robe.
When writing in the years of Reagan, Atwood imagined the repressive Christian diversity. The sexual politics of our conservatives of our time is the most hidden and incense: it says women’s hatred in Gilead “Blessed Fruits”; “Getting off wearing.” However, sadism in the world of fictional show finds wide comparisons in our region. In an interview with Washington mailYaesen Zhang, a current exhibitor of “The Handmaid’s Tale”, talked about the consultations of psychologists and the United Nations to a scene in the second season, where for the month of June it is allowed for a ten -minute secret visit with Hana, her kidnapped daughter. “A week after its broadcast,” mail He wrote, “Trump announced his policy of families on the border.”
You may expect “maids” to be more confident, and even severe, as creators’ vision is justified. But this is not the offer made by Holo. If there is anything, each season has become a consecutive season, less guarantee, and the treatment of its subjects – especially its primary topic, motherhood – contradict. Almost as if she apologized for depicting forced pregnancy and childbirth, “maids” are constantly insisting on the feelings of the motherhood of their characters. After her escape, the impartial motivation for June to return to Gilead over and over again, in a great personal danger, is a consuming desire to reunite her with her stolen daughter, Hana. Janine, a troubled maid, was paid crazy for several seasons of her love for the girl who gave birth while she was ready – but her return to the mind is also, driven by her love for her child. The love of the mother makes women able to anything, and any action, no matter how violent, can be justified through her moral strength. Even the less sympathetic characters with the offer benefit from this motherhood vision. In the memories of the past to the pre -ice -era, Serena Joy Watford (played by the excellent iPhone Straovsky), before becoming the June mistress, is a general bars conservative in Willis Shalafli’s style, and her ambition is taken as evidence of Narsia and fragmented emotional. But the show becomes sympathetic to her after she gave birth to a son.
In the previous seasons, Serena, the architect of the political movement that made Gilead explained to life, was essential for June’s experiences in the “ceremony”, which is a monthly rape by maid leaders during the fertile periods of women, during which the maid’s wives decrease. In subsequent seasons, the exhibition is making a firm effort to give the human character to Serena: It is unhappy, as the script book suggests, strangled its ambition and stabilizing the unity. In the second season, Serena invites Gilead to allow girls to learn to read, and then the leaders cut one of her fingers. By the sixth season, she found herself in Canada, and she is – unlimited – something like friends: all of the June rape by leaders, which Serena was a party, seems to be receding in the mind of June. Instead, the show emphasizes the importance of Serena’s redemption. It is a fantasy of the moral strength of the women’s movement, a dream that the mistake of women hated will make itself clear to all women – even women who have become the most revolutionary in women’s hatred. The exhibition follows this dream to the point of tampering, and reserves the hope of Serena’s forgiveness, which has long been going through the point that a reasonable observer had abandoned.
This imagination of reconciliation is particularly strong in the subsequent seasons in the chain, written and released in the wake of #Too. In the fourth season, after June fled to Canada, she managed to attract her old and rapist master, the leader of Gilead Fred Waterford, into a forest, where she and a group of previous maids to death struck him. In the aftermath, with June wrestling with disgust and despair of its ability to violence, the show becomes an example of the moral void of revenge. (In this regard, it appears to follow the progress of Atwood, Voice critic From #Metoo, who condemned what you see as a surplus of revenge.)
In his early seasons, “The Handmaid’s Tale” was criticized when some saw it indulged in themselves. The exhibition, his criticism, was ridiculous, the shocking porn of middle -class women who wanted to see themselves victims of Trump. (Some of these criticisms have been justified: in a country with a very real history of systematic rape and forced childbearing among black worshipers, it is clear that the victims of the main exhibition of forced proliferation are largely excessive.
When you see the show now, with clarity of the distance, the most attention is not a hysteria but the lack of condemnation. It seems that many of her world’s features that have a brand day are now realistic. Democracy has really eroded in the shadow of Donald Trump. (A. Flashback From the second season, in 2018, June and Look appear watching news coverage of an attack on the uninterrupted Capitol building. January 6.) ROE V. Wade has really turned. The frank and sadistic women truly returned to the cultural lead, represented by the Vice President who once criticized “non -childish cats” and explosive popularity of influencers such as Andrew Tate, who seem to celebrate rape as an expression of male dominance.
However, instead of struggling with these events, the offer takes a look at the femininity that differs more from the Gilead style than the material. She chants her heroes when they behave on behalf of their children, their men, or the principle of forgiveness. He does not trust them when they behave on behalf of themselves. In her simultaneous embrace of women’s aspirations for women and distorting what will be required to fulfill them, “maids” may be understood as a product of liberal feminism after conditions and fear of subjugation.
In the first days of Trump’s second state, a group of articles and comments noticed that there was no widespread protest movement, and the anti -Trump forces faded. What happened to the resistance? “The Handmaid’s Tale” provides the lowest idea: its supporters have fallen through attacks from the allies, unable to deal with the strength and power of their enemy, and in the end they became very tame, very interests, very afraid that they are unlucky, and isolated them from the roots of the radical movement. The demonstrators who are still making a serious effort to defeat Trumpism, because, like the series, no longer know exactly what they believe in.
Early in the sixth season, when June arrives at the Alaska refugee camp, she discovers a terrible discovery: her mother, Holly, is supposed to be dead, alive. Cherry Jones, a former abortion provider, was in the previous seasons in the reserve position of the type of extreme feminism that many viewers saw in the same show. (In one of their appearances to the pre -ice days, June and Luk are alone complaining that Holly wants to all go to a vegetarian restaurant. Now, in Alaska, she and June are looking at each other with caution, in an attempt to decipher what the other had to do to escape and survive. Can they love each other after they were forced to become? The scene is one of the strongest this season, but Holly quickly wrote: It takes the child Nichole and watches it in Alaska, leaving free in June to return to Gilead. It is the jurisdiction of the melodrama to revive dead characters in this way. But Holly, the amazing actor for the second wave, has no much to say to him, “I told you that.” ♦
