Latest news with #TheHandmaidsTale
Forbes
an hour ago
- Health
- Forbes
The Sad And Scary Truth About Reproductive Oppression And Black Women
Black woman pregnant. getty Earlier this month, an old clip of Rashida Jones' character on Netflix's #blackAF circulated social media of her referencing Black women being brought to the U.S. to breed babies. The now-viral clip has sparked debate about the accuracy of Jones's claim during the almost 20-second-long monologue. Despite arguments from critics and skeptics who question her comments, it is well documented that Black women were initially brought to the U.S. to perform various physically laborious tasks among those breeding babies -- an act that has since been referred to as reproductive oppression. During the clip, Jones says that while some may wonder what would happen if shows like The Handmaid's Tale were true, they need not look far. The storyline of women being used and valued only as vessels to carry and deliver babies was a bitter reality for Black women in America at one time. During slavery, enslaved Black women in the United States were forcibly impregnated and exploited for their reproductive labor. This was a critical component of the slave breeding industry, which was driven by the economic need for labor and the dehumanization of enslaved people and is now referred to as reproductive oppression, which social scientists and historians refer to as the regulation, exploitation – and even in some cases, the monetization -- of individual's sexuality, labor, bodies, and procreative abilities to exercise control over individuals and communities. In particular, those who are marginalized. Additionally, reproductive oppression is rooted in the historical and ongoing struggle for reproductive rights among marginalized individuals – primarily focusing on how power and control are exercised and enforced over reproduction and reproduction-related choices. The sexual and reproductive exploitation of enslaved Black women was a direct result of their dehumanization and the denial of their fundamental rights as individuals. Enslavers often encouraged and sometimes forced sexual relations between enslaved individuals, particularly between Black women and men, to increase their holdings and, ultimately, the profitability of enslaved people. The slave breeding system was rooted in the economic benefits derived from the labor of enslaved people. Black women's bodies were seen as a source of profit, and their reproductive capabilities were valued for the production of new enslaved people. However, reproductive oppression did not stop after the emancipation of enslaved Black Americans and has been the foundation of eugenics legislation that forcibly sterilized marginalized communities. Other examples of reproductive oppression include limiting access to contraception, discriminatory healthcare practices and bias, and mass incarceration -- which can impact reproductive health and rights, with incarcerated women often facing barriers to accessing reproductive healthcare and discrimination. Some argue that a more recent and more nuanced example of reproductive oppression is currently happening in Georgia, where Adriana Smith, a 30-year-old nurse and mother, was declared brain-dead after suffering a medical emergency. At the time, Smith was nine weeks pregnant. Despite being declared brain dead, Emory University Hospital is keeping Smith's organs functioning on life support until the fetus can be delivered due to Georgia's law banning most abortions after fetal cardiac activity is detected or about six weeks into pregnancy. Smith is currently 22 weeks pregnant and has been on life support for more than 90 days. This has been a heart-wrenching and excruciating experience for Smith's family, who simply wants the choice to act on Smith's behalf in a way that they feel their loved one would have wanted. As the current socio-political climate continues to change in the U.S., some fear the future of reproductive rights and the possibility of reproductive oppression being exercised in more overt and harmful ways, such as how Black women have been treated in the country for centuries.
Forbes
2 hours ago
- Entertainment
- Forbes
Paley Museum In NY Celebrates Six-Season Run Of ‘The Handmaid's Tale'
The Paley Museum in New York is offering an exclusive exhibition about Hulu's The Handmaid's Tale' to commemorate the conclusion of its six-season run. HOLLYWOOD, CALIFORNIA - APRIL 02: (L-R) Max Minghella, Sam Jaeger, Madeline Brewer, Ann Dowd, Samira Wiley, Elisabeth Moss, Amanda Brugel, Yvonne Strahovski, Ever Carradine, Bradley Whitford, Josh Charles and O. T. Fagbenle attend the Premiere Event for Season 6 of Hulu's "The Handmaid's Tale" at TCL Chinese Theatre on April 02, 2025 in Hollywood, California. (Photo by Axelle/Bauer-Griffin/FilmMagic) FilmMagic On display through June 8, this features iconic costumes, props, and artifacts from the drama, including pieces worn by characters such as June Osborn (Elisabeth Moss), Serena Joy Waterford (Yvonne Strahovski) and Commander Lawrence (Bradley Whitford). The museum invites visitors to 'explore June's journey through the dystopian universe of Gilead, where every artifact tells her story of resistance, rebellion, and survival.' It also says 'these powerful pieces honor not only the creative talent behind the scenes but also the lasting cultural impact of this provocative and critically acclaimed drama. On display, it says, are' June Osborn's (Elisabeth Moss) iconic red handmaid's dress, cloak, and white winged bonnet; Serena Joy Waterford's (Yvonne Strahovski) haunting teal dress; costumes worn by other pivotal characters, including Aunt Lydia (Ann Dowd), Nick Blaine (Max Minghella), Hannah Bankole (Jordana Blake), and Rita (Amanda Brugel); and artifacts and props that have become symbols of the series, including Commander Waterford's Scrabble board, Nichole's doll from Nick, Serena's bible, June's Boston map, and Handmaid's muzzle, among others.' Through June 8, the museum also is screening 'The Handmaid's Tale: 'Offred'' (the series' 2017 premiere), which it says. It says this 'describes a dystopian future in which women are enslaved within Gilead, a totalitarian, religion-based society. A woman called Offred ("of Fred") (Elisabeth Moss), is separated from her husband and daughter and forcibly assigned to be a subservient "Handmaid" to a powerful couple, the icy Serena Joy (Yvonne Strahovski) and her husband, Commander Fred Waterford (Joseph Fiennes). Offred privately declares her determination to survive for her husband Luke, her daughter Hannah, and for her true, forbidden self: June.' Also through June 1 it is screening 'The Handmaid's Tale: 'Night'' (the season one finale). In it, the museum says, 'Offred recalls her first pregnancy and Serena Joy takes Offred on a road trip, where she later reveals Offred's daughter, Hannah. Offred pleads to be reunited with her daughter, and Serena Joy assures her Hannah will be safe as long as she maintains a healthy pregnancy. Later, Fred (Joseph Fiennes) assures Serena Joy that they will be a true "family" once Offred delivers their child and departs from the home. Offred is later arrested and prepares for either "her end or a new beginning." Based on the 1985 novel by Margaret Atwood, The Handmaid's Tale, the museum said, is. 'set in a dystopian United States following the Second American Civil War, The Handmaid's Tale paints a dark picture of life for women, many of whom are Handmaids, under a totalitarian government. The first season captured audiences' attention with a powerhouse cast, led by Elisabeth Moss as 'June Osborn/Offred' in a story of survival, strength, and overcoming extreme adversity. Winner of fifteen Emmy Awards across its first five seasons, the dystopian thriller's sixth and final season' premiered in April. Admission to the exhibition and screenings is included in the general admission fee.
Yahoo
4 hours ago
- Entertainment
- Yahoo
TVLine's Performer of the Week: Elisabeth Moss
THE PERFORMER | Elisabeth Moss THE SHOW | The Handmaid's Tale More from TVLine Your Friends & Neighbors Finale Reveals Who Killed Paul - Will You Come Back for Season 2? The Morning Show Sets Season 4 Premiere Date, Confirms Jon Hamm's Return - See First Photos The Handmaid's Tale Boss Reveals the Character He Almost Killed Off in the Series Finale (But Didn't) THE EPISODE | 'The Handmaid's Tale' (May 27, 2025) THE PERFORMANCE | We'll admit: We're not entirely sure how June survived to see the end of The Handmaid's Tale. But praise be that she did, because Elisabeth Moss was utterly magnificent in the series' final episode. Moss has repeatedly demonstrated how June's inner strength carried her through situations that should have destroyed her. That internal fortitude became second nature to the character, and Moss' direct gaze into the camera — so often employed when all hope seemed lost — became a powerful signal that June would not be broken. But with Gilead's defeat (in Boston, at least), June suddenly found herself on uneven footing. What does the de facto leader of a rebellion do when she's suddenly faced with choices for her future? Or, more startlingly, a future at all? The emotional armor with which Moss fortified her character was considerable — and even more striking when it fell away, as it did in the scenes with June's baby daughter, Nichole, and her mom, Holly. First, June confessed to her child that she couldn't stay to raise her while Gilead's horrors raged elsewhere, especially with Nichole's sister, Hannah, still in the theocracy's grasp. Moss' whispered monologue gave way to tears as the reality of the situation consumed June, all of her feelings of failure and shame pouring out when she and Holly discussed the future. It was the most vulnerable we'd seen June in a long time, and Moss was absolutely stunning. We'd be remiss not to highlight the serenity Moss imbued in June as the hour came to a close and her story began anew. Here was a character who'd endured unimaginable suffering but emerged stronger, played by an actress at the top of her craft. Nolite te bastardes carborundorum, indeed. Scroll down to see who got Honorable Mention shout-outs this week… Paddy Considine's Kevin is one of the few Harrigans who operates on an even keel, which made the character's breakdown in Sunday's MobLand all the more shocking. Another reason? Considine's striking performance as Conrad's son finally confronted the trauma he'd carried for years. The emotional maelstrom began with Kevin calmly marveling at the fact that the man who had repeatedly raped him in juvenile detention didn't even remember his name or face. But the disbelief on Considine's face quickly gave way to pain, his voice wavering as he told the former guard that he had ruined his life. Almost as soon as he pulled his gun, Kevin fell apart — Considine slumping in his chair, folding in on himself as he sobbed. Then, when his rapist had the audacity to mention his children, Considine snapped Kevin back into his sense of duty, pulling an emotional about-face so swiftly we're still reeling. It turns out Kevin is a looser cannon than we'd imagined, and we're eager to see what Considine does with him in this week's season finale. — K.R. Your Friends & Neighbors threw a bunch of plot twists at us in its freshman season, but one constant was the surprisingly tender relationship between exes Coop and Mel, brought to life by co-stars Jon Hamm and Amanda Peet. Hamm found some of Coop's warmest moments playing against Mel, and Peet refused to turn Mel into a stereotypically vengeful ex-wife. In this week's finale, both actors were hitting on all cylinders as Mel confronted Coop about his upcoming murder trial. Peet let us see how truly worried Mel was about Coop's future, and Hamm unleashed a season's worth of frustrations in a shouting tirade. In the end, Coop was exonerated, and Hamm and Peet showed us a bit of the old spark between Coop and Mel as they slow-danced at a swanky gala. The fancy cars and daring robberies might grab the headlines, but Hamm and Peet's stellar work made sure that Coop and Mel's relationship was the secret heart of it all. — Dave Nemetz Most sincerely, it boils down to this: If I hadn't known that Archie Panjabi would be appearing on Doctor Who this season, I'm not entirely sure I would have recognized her as the Rani — especially when she fully embodied the character in this week's 'Wish World.' As a new form of the iconic Whoniverse villain, Panjabi adopted a swagger that would humble even Kalinda Sharma, and put an amount of Colman's mustard on her line readings that could have dressed a hundred frankfurters. The Rani is a ruthless, renegade Time Lord, and Panjabi fittingly went all in with her performance, with animated movements that in ways evoked the Wicked Witch of the West. It's Friday night as I write this, so I'm curious to see what the finale holds for Panjabi's high-camp villainess. But it's sure to be one hell of a time. — Matt Webb Mitovich Which performance(s) knocked your socks off this week? Tell us in the comments! Best of TVLine Young Sheldon Easter Eggs: Every Nod to The Big Bang Theory (and Every Future Reveal) Across 7 Seasons Weirdest TV Crossovers: Always Sunny Meets Abbott, Family Guy vs. Simpsons, Nine-Nine Recruits New Girl and More ER Turns 30: See the Original County General Crew, Then and Now
Gizmodo
2 days ago
- Entertainment
- Gizmodo
How ‘The Handmaid's Tale' Made Sure at Least One Character Got a Genuinely Happy Ending
Madeline Brewer's Janine sure went through a hell of a lot of hell over six seasons on Hulu's dystopian drama. In the first episode of the first season of The Handmaid's Tale, viewers met Janine, played by Madeline Brewer. Like June, the main character played by Elisabeth Moss, she's been abducted by Gilead and is now in the Red Center, where new handmaids are forced to learn their horrifying new duties. When Janine talks back, she's hauled off for a biblical punishment: the loss of her eye. That set the tone for Janine's harrowing journey throughout the series—but she never lost her spirit, and in the end, the show rewarded her with an ecstatically happy last moment. Her missing eye—often, but not always, concealed with her trademark patch—was more or less the only constant for Janine over six seasons. After being the first handmaid in June's group to give birth, she entertained fantasies of keeping her baby girl. Of course, that is not the way of Gilead, and Charlotte (Janine's name for her daughter; her captors, Commander Putnam and his wife Naomi, called her Angela) was ripped from her arms, almost literally. After that, she held different roles with varying levels of freedom—at one point she ended up in exile, shoveling toxic waste in the dreaded Colonies; at another, she survived a bombing after briefly escaping Gilead for Chicago. In the last seasons of The Handmaid's Tale, we saw her assisting Aunt Lydia in the Red Center, building on a complicated relationship rooted in power, guilt, shared trauma, and the occasional attempt at kindness. In season six, former handmaid Janine is forced into a different kind of sexual slavery, toiling at Jezebel's, the brothel created for the pleasure of Gilead's two-faced commanders. There, she encounters Angela's new adoptive father: the grumpy but not-evil Commander Lawrence, who reluctantly married Naomi for reasons that are frankly too long to get into here. (It's The Handmaid's Tale—expect the worst!) He's aware of Janine's situation and brings one of the little girl's drawings to her, an act of kindness that renews Janine's hopes that one day she'll get to see her again. That situation feels ever-bleaker when Jezebel's is destroyed and Janine is snatched up by a commander who's taken a cruel interest in her. Eventually, though, her prolonged suffering finally ends when June kills the guy (stabs him in the eye, in fact), and after another brief yet awful stint in captivity, she's freed from Gilead forever. Best of all, though, as June and company are rushing to get her to safety, we see Aunt Lydia and Naomi appear. Incredibly, they're bringing Angela/Charlotte to be with her mom, to live a life away from Gilead's cruelty. Though The Handmaid's Tale series finale ended with a lot of characters still at the mid-points on their journeys, that's not the case for Janine. This is a real and true happy ending for her, at long last. Speaking to the Hollywood Reporter, Brewer was understandably thrilled that her character finally got her greatest wish. 'I thought it was so beautiful. I'm so satisfied with the ending for Janine,' she said. 'It could have gone a lot of different ways and it's all she's ever wanted.' She continued. 'I don't think I really, truly hoped for anything because I couldn't even imagine. That's also not my job (laughs) [to write the show], but it's the same reason why I never made too many decisions about Janine's life before … So I didn't want to make too many decisions. I wanted it in ways to surprise me. And it did … I'm just so proud of Janine for always being herself and not letting them take the fire away from her. And for being a good friend and a good mom and a good person.' The show was often very bleak, but praise be—at least Janine finally triumphed in the end. All seasons of The Handmaid's Tale are now available on Hulu.
CNN
3 days ago
- Entertainment
- CNN
'The Handmaid's Tale' had a remarkable ending — for real-world reasons
Hollywood studios and streamers aren't exactly craving politically provocative shows and movies right now. Producers are thinking twice about liberal-sounding storylines. Media companies are downplaying diversity initiatives. And 'The Apprentice,' a biopic about President Trump that contained some critical scenes, struggled to gain US distribution last year. That's what makes the timing of 'The Handmaid's Tale' finale all the more remarkable. The acclaimed Hulu drama, which streamed its final episode earlier this week, was unavoidably and unapologetically political. In the series, based on the 1985 novel by Margaret Atwood, America has been transformed into Gilead, a totalitarian theocratic regime where women are treated like property. The 'handmaid' in the title is June Osborne, played by Elisabeth Moss. Get Reliable Sources newsletter Sign up here to receive Reliable Sources with Brian Stelter in your inbox. The actors and producers started working on the first season of the show in 2016 with the belief that Hillary Clinton would be the first woman president. They described in interviews how the entire cast and crew were shocked by President Trump's victory. Trump's election — following campaign trail narratives about misogyny and bigotry — changed how the show was received. The premiere in April 2017 spawned a thousand think pieces. Some anti-Trump protesters even donned red robes and white bonnets inspired by the show. The show's producers leaned in. They didn't hesitate when asked about real-world comparisons to the radicalism portrayed on screen. 'We're on a very, very slippery slope toward Gilead,' executive producer Warren Littlefield told me back in 2019. While awaiting the finale this week, I checked back in with Littlefield. He perceives that the slope is even more treacherous today. 'Our America is getting harder to recognize each and every day,' he said, 'and Margaret's speculative fiction written 40 years ago on a rented typewriter in Berlin becomes closer to reality.' Moss, the cover star of this week's Variety magazine, was asked if the Supreme Court's 2022 decision overturning Roe v. Wade created a 'new urgency on set.' She said the vibe was already pretty urgent: 'The only way we've ever made this show was to have this sense of immediacy and relevancy that is not pleasant but is definitely galvanizing.' Maybe the political overtones turned off some would-be viewers. But 'The Handmaid's Tale' didn't meaningfully suffer in this polarized media climate. Instead, it benefited — because it evoked meaningful emotions and was elevated by current events. 'Handmaid's Tale' had something to say, and a unique time to say it, and isn't that every artist wants? 'In early Handmaid's days,' Littlefield said, 'we present a world that was too preoccupied staring into their phones to see Gilead coming until it's upon our characters and taken over their lives.' Over the years, many reviewers have pointed to that as one of the enduring takeaways from the show. 'Handmaid's' 'showed the ease with which the unthinkable can become ordinary — a lesson crucial in the age of the Big Lie,' The Atlantic's Megan Garber wrote in 2021. The final season of the series was in production while Kamala Harris lost to Trump, and began streaming in April. The Hollywood Reporter TV critic Daniel Fienberg credited the show with 'perfect — or perfectly awful — timing' over the years, and said 'the show's topicality sometimes hit so close to the bone that it became difficult to watch.' One of the showrunners, Yahlin Chang, posited in a recent interview with TheWrap that the show 'kind of failed' to serve as a cautionary tale, 'or we didn't caution enough people.' 'It's shocking to me, when I think about when I joined the show, I had more rights as a woman than I have now,' she said. Conversely, Chang said in an oral history of the show that 'Handmaid's' was an opportunity to tell big-budget stories 'about refugees and displaced people' – in this case, about American characters who fled to Canada to escape tyranny. 'You can't just walk into a Hollywood studio and pitch that,' she said. 'The fact that we're able to give voice to have our characters as Americans go through what, unfortunately, people all throughout the world go through and where we can really empathize with them fills me with hope for humanity.' The final episodes manage to be uplifting, at least in part, and Littlefield said, 'Our message this year, in hopefully a compelling dramatic way, continues to be — like June, don't give up the fight.' Many of the 'Handmaid's Tale' producers are now working on a sequel series called 'The Testaments,' which will pick up about 15 years in the fictional future. It will be another test of audience (and studio) interest in a show that both entertains and asks a serious question: 'Could it happen here?'
