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Hindustan Times
4 days ago
- Entertainment
- Hindustan Times
The Handmaid's Tale Season 6 is a beautiful, but a bleak farewell to Gilead
Based on Margaret Atwood's iconic 1985 novel, The Handmaid's Tale imagined a dystopian theocracy called Gilead, born from the ashes of a crumbling United States. The novel served as a chilling warning against authoritarianism, and when it got adapted it into a series in 2017, the show quickly became a cultural touchstone — eerily echoing rising global anxieties. Over the last eight years, the show has expanded well beyond Atwood's original material, chronicling a brutal struggle for freedom in a world that doesn't easily allow it. Now, with its sixth and final season, the series reaches a sobering, if not entirely satisfying, conclusion. The final season of The Handmaid's Tale attempts to tighten its narrative and steer the sprawling chaos of earlier seasons toward closure. While visually stunning and often emotionally resonant, the show continues its frustrating cycle of pain and resistance. It is a powerful end, but one that also reminds us of the show's own narrative loops. As the last chapter begins, June Osborne (Elisabeth Moss) and Serena Joy (Yvonne Strahovski) find themselves fleeing Canada, boarding a train to Alaska — one of the last safe havens in what remains of the United States. Their temporary alignment is both tense and oddly reflective, as both women carry scars and babies from their time in Gilead. Meanwhile, back in the regime, Commander Lawrence (Bradley Whitford) presses ahead with New Bethlehem — a so-called reformed Gilead — while Nick (Max Minghella), still torn between duty and love, rises in the ranks. The ever-elusive goal of rescuing June's daughter Hannah looms, still painfully out of reach. As characters navigate betrayal, false hope, and fleeting alliances, the show pushes toward a reckoning — not with Gilead itself, but with what freedom truly means. Even in its final stretch, the show retains the high production values and haunting cinematography that have defined it. Elisabeth Moss delivers yet another layered, powerful performance — one that captures June's weariness, rage, and dogged resilience. Moss also directs several episodes, including the finale, bringing a sharp, personal lens to the show's emotional core. The visual symbolism remains striking, if heavy-handed — light for hope, shadow for despair. Scenes between June and Serena crackle with tension, their twisted history and shared motherhood offering moments of psychological complexity. And the season's focus on systemic compromise — like Canada's willingness to appease Gilead for trade benefits — adds timely political nuance. These instances of moral grayness are among the show's sharpest. And yet, The Handmaid's Tale continues to suffer from a lack of forward momentum. The sixth season opens with the promise of change, even self-awareness, as the characters head toward a new frontier. But almost immediately, the narrative falls back into its familiar loop: moments of escape followed by new, soul-crushing obstacles. June's path, once revolutionary, now feels cyclic and exhausting. Likewise, Serena's arc, despite Strahovski's excellent performance, circles back to ambiguity rather than resolution. The show often teases evolution only to retreat to well-worn tropes — children as symbols, men plotting in shadowy rooms, women clinging to slivers of sunlight. Subplots, like those involving Moira or the colonies, often feel like afterthoughts. The series' emotional brutality remains unrelenting, and after six seasons, it borders on numbing. Season six of The Handmaid's Tale is as elegantly crafted and agonizingly grim as ever. It reflects a world where hope is not a climax, but a flickering light barely kept alive. While the final episodes offer glimpses of closure, they are not interested in catharsis. That's both the show's strength and its greatest weakness. As a farewell, it's fittingly bleak — a mirror held up to our own troubled times. But for a series that once felt like urgent prophecy, its ending may leave viewers not so much stirred as simply relieved that the nightmare is finally over.
Elle
24-05-2025
- Entertainment
- Elle
'The Handmaid's Tale' Season 6, Episode 4 Recap: June Makes A Dangerous Move
Spoilers below. It didn't take long for June Osborne (Elisabeth Moss) to join the Mayday rebellion in the final season of The Handmaid's Tale. June's history of fighting against the oppressive Gilead regime ensures her voice is heard, but it is at the cost of others like Luke (O-T Fagbenle) and Moira (Samira Wiley). Conflict brews between June and her loved ones when the next stage in the rebels' plans reveals potential issues and June discovers another friend will get caught in the firing line. Gilead continues to get its branding makeover after the positive response to New Bethlehem last week. More lenient rules and excellent fertility services make countries like the UK and Mexico feel better about booting American refugees out of their countries. To celebrate the early success, Commander Lawrence (Bradley Whitford) graduates to a higher role, Serena (Yvonne Strahovski) gets more positive attention from a new admirer, and even Rita (Amanda Brugel) steps back into the country she previously fled. FIND OUT MORE ON ELLE COLLECTIVE Not everyone is making strides in 'Promotion', and for those like Janine (Madeline Brewer), the challenges of her current position mean there is very little hope. But even the women at Jezebel's might have something to celebrate if the Mayday plan comes to fruition and there is no holding back in the final season. 'We're gonna blow some shit up,' Luke excitedly tells June. The targets are a comms tower, an ammunition warehouse, and the Federal task has been made easier thanks to the new trade route (with less security) that will aid the entry into Gilead. June seems less enthused, but before she can object too much, they are interrupted by Mark Tuello (Sam Jaeger), who comes bearing good news. Luke is no longer facing criminal charges (the intel from Gilead helped), and they can officially go to Alaska. June is ecstatic about this update, but Luke is noticeably quiet regarding the relocation. Luke doesn't wait long to tell June that he needs to see through the bombing mission. He can't think about building a life together when he has to see this through. June's objections are rooted in how rag-tag the Mayday operation is, which lacks the professional firepower of Gilead's military. June has been through hell and back, so she can't keep quiet when Jezebel's is named the place where the commanders are most vulnerable. the warhogs who shot down their planes won't be the only ones caught in the crossfire, there are plenty of innocent women who work at Jezebel's too. The plan is for sharpshooters to take the commanders out, then detonate the bombs and let the military role in. Of course, June immediately finds flaws in the plan, but her concern is genuine. Much to June's horror, Moira volunteers to go in ahead of time to coordinate with those forced to work there. Moira reasons that, as the only former Jezebel within Mayday (she knows the penthouse like the back of her hand), she should be the one to do the recon mission. June forbids Moira from going back to Jezebel's. 'I don't think you realize how psycho you sound right now, so I am going to give you a beat,' Moira rightly tells her. June has just gotten Moira back and is scared about the danger, but this is not enough reason to talk to her like she is a child. Moira has spent so long following June's path, and she cannot live her life anymore. The disagreement is put on pause when the pair find out that Janine has been reassigned to Jezebel's, but it also means June feels like this is her fight now. Rather than talk to Moira, June goes behind her back to the Mayday leader. June wants to go in Moira's place, and uses her get-out-of-jail-free commander card (Nick) as leverage that she will have an out if anything goes wrong. Plus, June has been to Jezebel's many times. Luke is furious when June tells him, calling her disrespectful and 'goddamn infantilising.' Moria is angry at her best friend and how little June thinks about their abilities. It is impossible not to side with Moira and Luke on this one. June uses their recent mission issues to prove her point that they are out of their depth, but Luke thinks the truth is that June wants to go in. But this is his chance to fight for Hannah. It feels like we will go in frustrating circles, but husband and wife hit a compromise. 'If you want to fight, then let's fight together,' says Luke. Rather than push back, June agrees, and the subject of Hannah comes up again. Their family is broken, and has been ever since Hannah's been gone. Luke remains hopeful they will be reunited, saying he already had an 'impossible dream' come true when June returned. 'This is who we are now: two lunatics going into Gilead on a wing and a prayer,' Luke says. Serena greets Rita at the New Bethlehem gates and is genuinely thrilled to see her former Martha. Once again, Serena is rewriting the past as if she weren't integral to Rita's oppression. Serena mentions that both she and Nick (Max Minghella) pulled a lot of strings to make it happen, and there is an undertone of wanting Rita to thank her. Rita and her sister Gia have an emotional reunion; this is the dream of New Bethlehem working in action. When Rita visits Nick, she mentions his new (to her) role as commander, and he says it is 'the safest thing to be'. Rita wants to know if New Bethlehem is better than the rest of Gilead, and it is his job to make it this way. The former Martha wants Nick to guarantee he will eventually be able to get her family out, and he says it will take time (a year or two). I believe his intentions, but Nick is walking a tightrope at the moment and Rita should have a contingency plan. Meanwhile, Serena and Nick's father-in-law, Commander Wharton (Josh Charles), continue their flirty tête-à-tête about the future of Gilead. Wharton explains that he was skeptical about New Bethlehem, but Serena's faith in reforms is giving him food for thought. Wharton mentions his wife dying when Rose was young, and he exudes girl dad vibes. But in Gilead, even a commander who seems enlightened probably has some skeletons. How did he get to be so powerful in the first place? Wharton seems taken by Serena, and reveals this crush is far from new. He once had to pray for forgiveness for coveting another man's wife at an event in Washington D.C., when he saw Serena dancing with Fred. In the middle of the deserted street, Wharton asks Serena to dance, and she says yes. It is a little cheesy, but the best moment comes when Aunt Lydia (Ann Dowd) happens to walk by this dalliance. They aren't doing anything untoward, but this will surely set tongues wagging. Dowd's delivery of 'Blessed evening' is very funny and it's clear Aunt Lydia is storing this information for future use. One person who is intent on reforming Gilead is Commander Lawrence, who is being made a High Commander. At home, Angela (Janine's daughter) has drawn a picture that Lawrence says his wife would be impressed by before he whispers 'my real wife' (referring to his deceased wife, Eleanor). Lawrence has so much disdain for his current wife, Naomi (Ever Carradine), who is thrilled to wear jewelry from Paris, but also has some advice. She mentions that the men he is about to work with associate power with virility. 'Power will come from reform. They know I'm their man,' he replies. To celebrate the fruits of his labor, the other high commanders have Jezebel's in mind. Wharton is strictly against this vice, meaning Nick gets to avoid this toxic masculinity showdown. Lawrence has no such luck. Commander Bell (Veep's Timothy Simons) treats Janine like a plaything, but will let Lawrence have a turn on his old handmaid as it is his special day. I hope very bad things happen to the latest Handmaid's Tale villain. There is never any intention that Lawrence wants to sleep with Janine and he says they can just talk. Janine is still furious with him that she went from being Lawrence's handmaid to Jezebel's. 'Well, you married a real cunt,' Janine says. She immediately regrets saying it out loud, but he says it is fine. Lawrence has Angela's drawing in his pocket, which he gives to Janine. The conversation turns to Angela's future as Janine knows 'bad things happen to commanders' daughters too.' Lawrence says he will do everything he can to keep her safe, and I believe him. But that doesn't mean he can make it happen. Later, Lawrence reads A Little Princess by Frances Hodgson Burnett to Angela, which he tells her was one of Eleanor's favorite stories (the closing credits also feature Whitford reading this story and it has a very soothing effect). Lawrence has always been driven by self-interest, but this growing bond with Angela could impact how hard he pushes for the reforms. It doesn't make him a hero, but if June has a High Commander she can turn to in times of crisis (and not just Nick), it is another weapon in the Mayday arsenal. With June planning to return to Jezebel's, she could do with all allies on call. 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. Emma Fraser is a freelance culture writer with a focus on TV, movies, and costume design. You can find her talking about all of these things on Twitter.
