Handmaid’s Tale Betrays Key Characters?! You Won’t Believe How!

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***Season 6 spoilers ahead***

The TV series “The Handmaid’s Tale” is approaching its conclusion in its sixth and last season, hinting that the society of Gilead may not be far behind. However, it’s important to remember that Gilead represents more than just one individual. It encompasses a nation, true, but it also embodies an ideology, a belief system, and even a lifestyle, although this particular way of living has been known to suppress those who don’t fit within its mold.

To achieve Gilead’s collapse, there’s a multitude of tasks at hand with various components needing careful coordination. Consequently, the last 10 episodes of The Handmaid’s Tale have significant responsibilities, and June Osborne, being at the heart of it all, carries a considerable burden. Despite our eagerness for Gilead’s demise, the process must appear authentic or the show may unravel the impactful narrative it has established thus far.

The opening episode of season 6 continues with intensity, immediately following the suspenseful cliffhanger that saw June and Serena Joy together on a train transporting refugees to Alaska. Given her character, June steps in to safeguard Serena, even after their past tensions.

As a dedicated film enthusiast, I’d say the narrative of this series unfolds smoothly, primarily taking place within their carriage, but when the train arrives at Alaska, things take a sudden leap forward in regular jumps throughout the following two episodes. In this manner, the writers of The Handmaid’s Tale make it apparent that some crucial characters are not spared from unexpected turns, metaphorically speaking, as if they were run over by a train.

By the end of the episode, Serena, who was once an outcast in Gilead and a target for scorn by even the toughest individuals, has transformed into a spokesperson for New Bethlehem and is now determined to mend this fractured world. This change is so dramatic that it would astonish even the most jaded or hardened of people. In the beginning, her eyes were only able to see beyond Gilead’s false front, but by the end, she has grown bold enough to take action and strive for a better world.

With just a single discussion between the two commanders, Yvonne Strahovski’s character manages to regain enough influence that she finds herself at odds with June yet again.

From a movie enthusiast’s perspective, it feels like the screenwriters took a shortcut by rapidly advancing the storyline two months ahead at the beginning of the episode. This hasty transition seems to undermine Serena’s character growth, skimping on the intricate details that shape her development, merely to establish the foundation for where this season concludes. The occasional, fleeting glimpses into Serena’s past with her father didn’t quite make up for it (and I should note, these moments were never revisited throughout the remainder of the season).

Similarly, Moira Strand (June’s friend) and Luke Bankole (June’s husband), key characters of color in this series, have not received enough attention or development so far, which is concerning since they are crucial figures in the show. The previous seasons had a tendency to skimp on their storylines, and unfortunately, that trend continues in these first three episodes as well.

In the second episode, Luke, who had been abruptly apprehended at the end of the last season, surprisingly finds himself reunited with June right away. His release from custody seems to have been hastily arranged. It appears as though the arrest scene in the final moments of the previous season was more for dramatic effect than for any significant plot development.

In episode 3, it appears that Luke and Moira find themselves stranded in the disputed territory between Canada and Gilead. This might initially seem like a step forward for their characters, as they are finally taking an active part in the resistance movement. However, we don’t get to witness their involvement directly. Instead, we follow June’s journey, and only encounter Luke and Moira again when she visits the no man’s land with her.

Indeed, the significant events affecting these primary characters for quite some time have primarily occurred off-camera until their presumed savior enters the picture. Later installments endeavor to address this ongoing criticism by delving into meaningful dialogues between June and Moira, but it’s regrettable that these discussions come too late in the series, leaving the broader exploration of race in “The Handmaid’s Tale” somewhat incomplete.

How exactly did June manage to rescue both her friend and her spouse? By making swift trips to the forbidden territory, akin to the challenges faced during travel from Canada to Gilead, which used to be a significant aspect of the series.

As a film critic, I find myself at odds with the ease of transition that June experiences these days. The support from Nick and even the government is undeniably beneficial, but it seems the borders between life and death have blurred more than they should. It used to be that venturing into dangerous territories was an arduous journey, akin to scaling a mountain or delving into the depths of the unknown. Now, it appears, it’s as simple as nipping down to the corner store for a pint of milk. This casual approach is disconcerting, given the stakes involved, but it seems it must be so, if the intricate puzzle pieces are to fall into place for what lies ahead.

As a movie critic, I found myself sharing June’s mother’s dismay, given the hurried pace of the final season that left characters like Cherry Jones’s character feeling underdeveloped and relegated to a caretaker role for her granddaughter, Nichole. The revelation of Holly’s survival was indeed surprising, but its impact on the overall narrative felt minimal, leaving me yearning for more substantial engagement with this critical character.

While it’s not accurate to label the entire final season as unimpressive, it’s true that the initial three episodes move at a rapid pace without necessarily delivering substantial content yet. However, these first episodes do have some standout moments, such as the climactic events on the train in episode 1.

The outcome presents a fragmented and at times monotonous revisit to this future that bears an uncanny resemblance to our own world. Regrettably, this is disappointing as The Handmaid’s Tale, when at its peak, is a fiery, relentless powerhouse, strikingly similar to the character of June.

Here’s hoping that the upcoming episodes fully address this intensity as we approach the end of the series, and perhaps, just perhaps, the very core of Gilead itself.

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2025-04-08 20:04