‘The Handmaid’s Tale’: The Revolution Doesn’t Want to Get to Gilead

Actress Elisabeth Moss in a scene from the dystopian series 'The Handmaid's Tale'.

The actress Elisabeth Moss in a scene from the dystopian series ‘The Handmaid’s Tale’.

After two years of absence, the maids in the red dress have returned to Gilead. The fourth season of ‘The Handmaid’s Tale’ has been released this week around the world and in Spain from the hand of HBO. The series said goodbye to us in the middle of the summer of 2019, before we had heard of the covid, promising us a revolution. The pandemic left the series fallow, as has happened with other titles and many other things in our lives. But after watching the first three episodes, we don’t know if we’ll ever see that revolution. They promise us that yes, this time it is serious. But they have done the same other times. The series continues to play with turning everything upside down so that, in the end, things end up as usual. One day we came across June dispensing Justice against the tyrants of the patriarchy and to the other they subject her to all kinds of bullshit, undoing the road traveled. Great historical changes often come slowly. The good thing about this delay in the fourth season of the series is that, if the production rhythm had been maintained, we would have had to suffer the episode of June’s torture during confinement (Elisabeth moss) and I don’t know if many of us had the body at that point for that.

‘The Handmaid’s Tale’ adapted a novel by Margaret Atwood that presented us with a dystopian society that he had stripped women of any rights. A society in which it was not very difficult to find parallels and metaphors about the situation of women in the world. The premiere of the series a few months after Donald Trump became president of the United States turned his message into something terrifying, as we watched fully consolidated democracies collapse overnight, snatching rights and extolling tyrants. to the peak of power. The success surprised those responsible for what was to be a one-season miniseries and that it ended in exactly the same way that the book did. New ways had to be thought of on how to continue the plot. And they did.

The big problem with many series is that, in order for the story to continue, it needs things to stay the same. Playing the revolution card in ‘The Handmaid’s Tale’ is the trick that, as soon as it is used, will launch the count down to its end. We don’t know yet at this point if they are serious this time or, once again, all the characters will regain their status quo at the slightest opportunity. Week after week we sit in front of the television to see what new evil the scriptwriters have come up with to torture one of the protagonists. The noose of a rope on which to hang them, take one eye out, throw them from the top of a building … As we said, there is an hour-long episode, the last of the three aired in this week’s premiere, dedicated to tell us how they torture June. It is neither Offred, nor Dejoseph, nor Denadie. The character has forever embraced the identity of June Osborne and explores in this martyrdom what are the limits of her suffering and what could break her will to iron. Elisabeth Moss herself is the director of the episode, alternating her interpretation with the look behind the camera to tell us the story. She is also one of the executive producers of the series, which shows her involvement in the project.

The fourth season offers two great novelties apart from its plot, From these episodes, Disney is the producer of the series, Metamorphosis operated after the purchase of Hulu by the media giant. It is assumed that the series happened to be one of the contents of Disney star, the part of the platform destined to offer adult content, but in Spain HBO is still in charge of releasing the new episodes. The second change is that Donald Trump is no longer in the White House. The Handmaid’s Tale had become a banner of anti-disruption and feminism, as was ‘The Good Fight’. Neither of these two circumstances is reflected in the argument. There is a total and consistent style continuity with the previous seasons. It is becoming increasingly clear that the Gilead regime is clearly on the decline and wallowing in its decrepitude, yet it still has the ability to be fierce and relentless when it comes to hurting its enemies. As with cornered beasts. The maids dealt the patriarchy a brutal blow by kidnapping the children at the end of the previous season and it was to be expected that there would be consequences.

At the moment, the series is guaranteed its continuation in a fifth season, which we do not know if it will be the last; While the publication in 2019 of a new Margaret Atwood novel set in the future Gilead, launched the production of a new spin off. So we have maids for a while, as long as it does not end up dying of success as happened to ‘The Walking Dead’. For now, we will continue to sit in front of the television every week to see if this time the revolution is serious. June has had such a hard time throughout the series that she would deserve a happy ending in Canada in her family rather than being a martyr to her cause. Although the series has rarely opened the doors to optimism. June still has accounts to settle with Aunt Lidia and the Waterfords. Ann dowd has created with Aunt Lidia one of the most terrifying villains in the series. Aunt Lidia is the perfect embodiment of a fanatic. As well as another of the best baddies of the show has a woman’s name: Serena (Yvonne Strahovski) is the great manipulator. At different times the series has opened the way to her redemption, but she has chosen to continue with her ways. Her husband Fred Waterford (Joseph Phiennes) promised to be the great villain of the story, but in the end he turned out to be a bit of a wimp. I’d bet June will have a reunion with the Waterfords in Canada. It will be necessary to see if this time it is serious that the countdown has begun.


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