logo
‘Handmaid's Tale' author Margaret Atwood coming to Hamilton

‘Handmaid's Tale' author Margaret Atwood coming to Hamilton

The author of 'The Handmaid's Tale' will be in Hamilton in November.
Local shelter Interval House of Hamilton will hold 'An Evening with Margaret Atwood' at the Hamilton Convention Centre on Tuesday, Nov. 25 at 7 p.m. to boost funding for women and children escaping abuse.
TVO's Steve Paikin will host the hour-long conversation, which will touch on themes of power, gender, justice and the evolution of feminism and women's rights.
Ticket prices are $75 for general admission and $125 for preferred seating and an exclusive VIP reception from 8:30 p.m. to 10 p.m.
Tickets are available at
intervalhousehamilton.org/event/an-evening-with-margaret-atwood
.
Interval House
is hosting the event in recognition of the International Day for the Elimination of Violence Against Women and 16 Days of Activism Against Gender-Based Violence.
All proceeds will go to organization, a 26-bed shelter for women and children fleeing violence.
The proceeds will fund shelter operations, counselling, transitional housing and programs for survivors.
Hamilton Convention Centre is located at
1 Summers Lane
.
Cheyenne Bholla is a reporter at The Hamilton Spectator.
cbholla@thespec.com

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Nick's Betrayal In 'The Handmaid's Tale' Proves When Push Comes To Shove, Men Will Only Help If It Serves Them
Nick's Betrayal In 'The Handmaid's Tale' Proves When Push Comes To Shove, Men Will Only Help If It Serves Them

Elle

timea day ago

  • Elle

Nick's Betrayal In 'The Handmaid's Tale' Proves When Push Comes To Shove, Men Will Only Help If It Serves Them

This article contains spoilers for Handmaid's Tale, Season 6, Episode 6. If, like me, you've spent the last few years watching The Handmaid's Tale trying to figure out who the good guys really are, clinging to the idea that maybe, just maybe, Nick (Max Minghella) was one of them, then I hate to break it to you, but you should probably stop watching Season 6, Episode 6 before the final scene. Because, spoiler alert, in the final few minutes of the episode we finally see it: Nick might love June (Elisabeth Moss), or at least his version of love, but what he loves most is himself and his power. And he will protect that at all costs, including June. FIND OUT MORE ON ELLE COLLECTIVE The episode begins and once again, we're hopeful. Nick is helping June retrieve letters from Jezebels, could this be the moment Nick does the right thing? Is he going to Jezebel's to help? To free the girls? Can he keep her secret of the May Day plan to bring down the commanders? Will we finally see that his love for her, for Nicole, is stronger than the grip Gilead has on him? The whole episode builds on that belief. It feeds the fantasy that maybe, just maybe, he's different. That he's not like the rest of them. But as the saying goes: the greater the expectation, the greater the disappointment. And by the time the truth unravels, I was forced to admit it, maybe Nick isn't the man we wanted him to be. Maybe he never was. Before the truth is revealed we hear Nick tell June, 'Sometimes I think you're the only good thing in my life,' and she believes him. I believed him. We've seen how their story started. In the darkest of times, they found each other. There was that small flicker of light, a moment of joy, of normality, of freedom and for a long time, that's what Nick symbolised. Unlike the other men in Gilead, he seemed to offer something different: autonomy, kindness, risk. He had put his life on the line for June. He had protected her. He had made us believe he was doing it for her, maybe even for all women. And I had held onto the idea that he wasn't just another cog in Gilead's machine. That he was the exception. That he symbolised some kind of hope. When Nick says without Gilead, he'd be nothing, an uber driver or a delivery guy, we see how little he truly values himself. It is this belief that leads him to say he wouldn't be around people like her. And the painful part is, I think she believes that too. Gilead, for all its horrors, has given Nick something he never had - a sense of value, of structure, of identity. After a traumatic upbringing and a life of fending for himself, he didn't have a choice. And I trusted him. I wasn't alone in my misguided trust, as the episode continues, June still sees that version of him too. She sees the man she loves as trapped, not complicit. She sees someone vulnerable, someone who's in this position because he has to be, not because he wants to be. And deep down, she still believed he would always choose her. As he tells June, 'I love you, it has always been you,' Once again I feel that flicker of hope, that love really can conquer all. Could this be the happy ending? Would June choose Nick over Luke (O-T Fagbenle) once and for all? That, maybe, just maybe he is the good guy after all. But if the last five seasons of The Handmaid's Tale have taught us anything, it's that life in Gilead is no romcom. As the episode comes to a close we find out that whilst Nick has been promising June the world he has sacrificed her secret to save himself. This confession changes everything. It strips away the fantasy and forces us to see him for who he really is: not a hero trapped in the system, but a man who needs the system in order to feel significant. Nick didn't just survive in Gilead, he thrived. He rose through the ranks, built a life, took a wife, fathered a child, and carved out a status that would've been unreachable for him in any other world. Even if that world meant true freedom. And that's the tragedy. Because June, despite everything she's endured, still believes in the possibility of redemption, that love could be a reason for change. Until she realises he is the same as all the others. Nick used to represent something different. A man who loved her. A man who listened. A man who chose her, over and over, when she was at her most powerless. But as this episode shows, love alone isn't enough, not when it competes with power, comfort, and control. Not when survival becomes identity. What's clever, and often disturbing about The Handmaid's Tale is how the unthinkable mirrors real life in its most disturbing truth. So many women, like myself, have clung to the hope that someone will change for them, that love will be enough to pull someone out of their toxic patterns or away from systems that benefit them. The belief that this time it will be an exception. That our connection is strong enough to be the thing that turns a bad boy good. But more often than not, people show us exactly who they are and we just don't want to believe them. Maybe that's the real heartbreak here: not that Nick chose Gilead. Not even that he chose himself. But that deep down, we always knew he would, we were just hoping he wouldn't. Well, I was anyway. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE.

By buying back her early music, Taylor Swift once again inspired women
By buying back her early music, Taylor Swift once again inspired women

Fast Company

time2 days ago

  • Fast Company

By buying back her early music, Taylor Swift once again inspired women

I was at a conference on, of all things, male allyship when the notice popped up on my phone. Taylor Swift had successfully purchased back all her early masters and related material. For an alleged cost of around $360 million, the artist now fully owned everything she had ever created including her first six albums, their videos, and all their related art and album covers. Her community of friends and fans, the Swifties, erupted with elated joy and messages of encouragement online. News outlets rushed to cover the story. Within 24 hours, her early albums hit the top ten on streaming charts with Reputation, the album most anticipated as a rerelease, coming in at No. 1 as fans exercised their economic might. It seemed the universe was celebrating. Even savvy businesses got on the celebratory train. Delta Airlines posted, 'Fly like a jet stream, high above the whole scene. Keep Climbing Taylor 💚💛💜❤️🩵🖤.' Starbucks said, 'and in a cafe on a Friday, we watched it begin again . . . congrats Taylor 💚💛💜❤️🩵🖤.' And, to no surprise to anyone, the crafty social media gurus at the Empire State Building sent out a message, ' We love you Taylor,' above a picture of Taylor from the top overlooking New York. Mesmerizing Taylor has mesmerized us. Antagonists might argue she has aligned all her hex cruces. It reminded me of the Hulu series The Handmaid's Tale. I had recently watched seasons four and five to catch up for the season six release. These later seasons have been criticized. The audience seemed bored of the mistreatment of fertile women and then confused when these same women sought plots for angry hot revenge. Is this what Taylor has metaphorically done, used the allies around her and her anger to fuel a strategic masterminding of a long game just like June, the protagonist of The Handmaid's Tale? As if sending a signal, Taylor's song, 'Look What You Made Me Do (Taylor's Version),' became the anthem for season six – days before she announced buying back her early art. Piles of money Taylor has acquired piles of money, enhanced by the success of the Eras Tour. She had become financially powerful enough to buy back her name and reputation, leaving those who crossed her in some metaphorical no-man's-land. She didn't do it alone, and she isn't the first. For decades, centuries, and, perhaps, even since the beginning of time, underdogs have fought to be seen, heard, accurately estimated, and risen from the ashes to reclaim that which was theirs. For example, half a century ago, Dolly Parton moved past the entertainment industry dominance that minimized women's empowerment and claimed her own space driven by her talents. In 1974, Parton walked into Porter Wagoner's office and told him she was leaving the show bearing his namesake that had given her a rise to stardom. She sang him a goodbye song titled, ' I Will Always Love You,' as a sign of respect to Porter for being her mentor. Dolly had outgrown her sidekick role alongside Porter, but it took effort, strategy, and bravery for her to break free. Porter sued her, a tactic commonly employed by those in power, but through discussions, compassion, and a large sum of money (reportedly around $1 million), Dolly settled the case. Independence How have a select set of women throughout history acquired enough resources to buy their independence? Some look all the way back to the early 20th century and the suffrage movement. Even that, however, involved women's collaboration with men. In August 1920, a conservative Tennessee legislator, Harry T. Burn, cast the deciding vote for the suffrage movement's proposed 19th Amendment, giving women the right to vote. In his pocket, Harry carried a letter from his mother, Febb E. Burn, ' in which she asked him to 'be a good boy' and vote for the amendment. ' This legislation, decided by Harry's unexpected vote, has driven women's economic agency and freedom over the past century. Throughout history, women and underdogs have been harnessing their positions to mastermind their way into influence, power, and self-determination. At a moment in time where human rights are being challenged, whether through challenges to the right to due process, reproductive freedoms, or just the right of children to not be separated from their parents, Taylor has once again shown us a way, that by harnessing our best talents deep within our souls, we can move mountains. We can speak deep into the souls of others, nudging them into a movement—a desire to be a part of something bigger than themselves. Something with meaning and grit and soul. And, just as I learned from the conference I was attending at John Hopkins University, working with unexpected partners forging allyships has real and meaningful benefits.

‘The Handmaid's Tale' Emmy Plans: Elisabeth Moss' Surprise Directing Episode Choice, Alexis Bledel Goes for Guest Actress Despite New Rules (EXCLUSIVE)
‘The Handmaid's Tale' Emmy Plans: Elisabeth Moss' Surprise Directing Episode Choice, Alexis Bledel Goes for Guest Actress Despite New Rules (EXCLUSIVE)

Yahoo

time2 days ago

  • Yahoo

‘The Handmaid's Tale' Emmy Plans: Elisabeth Moss' Surprise Directing Episode Choice, Alexis Bledel Goes for Guest Actress Despite New Rules (EXCLUSIVE)

Blessed be the Emmys rulebook, but it needs some serious updating. With 'The Handmaid's Tale' having taken its final bow, Hulu has confirmed its official Emmy submissions for the critically acclaimed drama, with one entry in particular already causing waves. More from Variety Elisabeth Moss on Saying Goodbye to 'Handmaid's Tale' (for Now), How Motherhood Changed Her Approach to June and That Perfect Ending: 'Television Gold' 'Running Point' Costume Designer on Kate Hudson's Power Suits: 'Why Not Have Her Femininity Be Her Superpower?' Elisabeth Moss on Coming Full-Circle in 'The Handmaid's Tale' Finale: 'I Can't Imagine It Ending Any Other Way' Variety has learned exclusively that the streamer has submitted Alexis Bledel in the guest drama actress category for her appearance in the series finale ('610 – The Handmaid's Tale'), despite a newly enforced Emmy rule disqualifying actors who have been previously nominated in a lead or supporting category for the same show. Bledel won the Emmy for guest in 2017, and garnered two additional noms in the same category in 2020 and 2021. However, in 2018, after appearing in seven of the 13 episodes for a season, she was ineligible to compete as a guest; she was submitted and eventually nominated for supporting drama actress. The one-year recognition for her character, Ofglen, appears to fall outside the bounds of eligibility, but the streamer is hopeful the TV Academy will consider her circumstances. Insiders say Hulu expects the TV Academy to reclassify Bledel's submission to supporting drama actress before ballots are opened on June 12. But as of now, no decision has been issued. The rule aims to clarify what defines a 'guest' star. According to the new guidelines, any actor previously nominated in a lead or supporting role for a series can no longer be considered a guest, regardless of how briefly they appear in the series' new season. The policy has already drawn industry-wide criticism and confusion. Meryl Streep, for instance, was ruled ineligible for guest consideration for her turn in Hulu's 'Only Murders in the Building' — despite appearing in just four episodes — and will instead compete in the supporting comedy actress category due to her previous nom. Meanwhile, Paul Rudd, playing a new character in the same series, was nearly eligible as a guest but was in one episode too many, exposing inconsistencies with the changes. The guidelines have created more ambiguity than clarity. There should be a fundamental difference between a major series lead attempting to go guest and a long-time supporting player who has only occasionally appeared in a new season. Industry voices argue that the change unfairly penalizes performers with limited screen time who have previously been recognized — especially when those appearances are few and far between. Some believe this growing backlash will prompt the Emmys to consider revisions ahead of future cycles. Despite the rule conflict, 'The Handmaid's Tale' still remains a formidable force in this year's Emmy race. The drama, which concluded its six-season run on Monday, has garnered 76 nominations and 15 wins over its lifetime — including a historic outstanding drama series win in its first season, the first ever for a streaming platform. This year, Hulu submitted 36 entries for the show across both Primetime and Creative Arts categories. Notable acting entries include Elisabeth Moss for lead actress and for helming the penultimate episode, 'Execution,' which is somewhat surprising considering long-running shows often reserve their final episodes for consideration. However, the episode that sees many favorite characters' shocking deaths is more visually striking, partnered with June screaming, 'Don't let the bastards grind you down' as she's being hanged. In addition, Bradley Whitford, Max Minghella, and O-T Fagbenle will vie in the supporting actor race, while Yvonne Strahovski, Samira Wiley, and Ann Dowd will seek love in supporting actress. Guest actress submissions beyond Bledel include Emmy winners Cherry Jones (episode 602) and D'Arcy Carden (episode 608). Hulu's complete 2025 Emmy submission list for 'The Handmaid's Tale' includes: Variety Awards Circuit: Outstanding Drama Series: Bruce Miller, Eric Tuchman, Yahlin Chang, Warren Littlefield, Elisabeth Moss, and others. Outstanding Lead Actress in a Drama Series: Elisabeth Moss Outstanding Supporting Actor in a Drama Series: Bradley Whitford, O-T Fagbenle, Max Minghella, Josh Charles, Sam Jaeger, Timothy Simons Outstanding Supporting Actress in a Drama Series: Yvonne Strahovski, Ann Dowd, Samira Wiley, Madeline Brewer, Amanda Brugel, Ever Carradine Outstanding Guest Actress in a Drama Series: Alexis Bledel (610), Cherry Jones (602), D'Arcy Carden (608) Craft and Creative Arts CategoriesOutstanding Directing for a Drama Series: Elisabeth Moss (609) Outstanding Writing for a Drama Series: 'Exodus' – Yahlin Chang (608) 'Execution' – Eric Tuchman (609) 'The Handmaid's Tale' – Bruce Miller (610) Outstanding Cinematography: Nicola Daley (608), Stuart Biddlecombe (610) Outstanding Production Design: Elisabeth Williams and team (608) Outstanding Contemporary Costumes: Leslie Kavanagh and team (608) Outstanding Makeup (Non-Prosthetic): Burton LeBlanc and team (607) Outstanding Music Composition: Adam Taylor (609) Outstanding Music Supervision: Maggie Phillips, Brittany Whyte (602) Outstanding Sound Editing: Full team listed (609) Outstanding Sound Mixing: Full team listed (609) Outstanding Stunt Coordination: Brian Jagersky Outstanding Stunt Performance: Ensemble (609) Outstanding Special Visual Effects: Mavericks VFX (610) Outstanding Picture Editing: Wendy Hallam Martin (609) Outstanding Casting: Sharon Bialy, Russell Scott, Sherry Thomas, Robin D. Cook Short Form SubmissionOutstanding Short Form Nonfiction or Reality Series: 'The Handmaid's Tale: The End of an Epic' Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? Emmy Predictions: Apple, Netflix Lead the Pack as FYC Events Roll On Including 2,100+ Waiting List for HBO Max's Hit Series 'The Pitt' Emmy Predictions: Guest Acting (Comedy, Drama) - Scene-Stealers, Sleeper Hits and One Lucky Charm With Beau Bridges

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store