The Handmaid's Tale - Faithful & A Woman's Place - Reviews

Finale season has me a little behind on my reviews for The Handmaid’s Tale. This is no reflection at all on how much I’m enjoying this series. It continues to impress in every aspect from the beautiful cinematography that underscores the nightmarish quality of existence in this bleak society to the acting to the writing. The writing in particular deserves particular praise as it both brings to life the Atwood novel and expands upon it.

“Faithful” was written by Dorothy Fortenberry and was directed by Mike Barker. My favorite part of this episode might just be that blending of Atwood into the series with clever writing. Faithful sees Offred (Elisabeth Moss) taking some control over her life. She’s grown bolder with the Commander (Joseph Fiennes) – he likes it when she flirts and she likes it when he lets her win. Then she quotes a poem she heard once to describe their relationship:

You fit into me
like a hook into an eye

a fish hook
an open eye.

        The first two lines seem to suggest the symbiotic relationship of a hook and eye used to hold clothing closed – so it’s a positive, creative, affirmative relationship. Given the importance of clothing in the story – and the “return to traditional values” a move away from zippers to hooks and eyes wouldn’t be much of a stretch. However, moving to the second image, we see that the meaning is actually a very violent and destructive one. One in which there is no close connection or helpful, fulfilling relationship. Instead, it is one taking the very senses from the other – a hook to the eye like that would surely deprive the receiver of the ability to see – and is that also an acknowledgement of a lack of understanding? It’s a terrific poem and perfectly suited here – like a hook into an eye…

It’s utterly insulting that in a roomful of books, the Commander’s “present” for Offred is an old fashion magazine. They’ve played over 30 games of scrabble. You have to be well read to have that good a grasp of language to play – yet he offers her a magazine full of out of date fashion – I wonder how many red dresses there are within the pages – makeup ads – haven’t seen anyone wearing any – and inane articles on the compatibility of your mate. Or 10 ways to tell how he feels about you – which she continues to apply…

The idea of being faithful is an interesting one throughout the episode. Offred is flirting with the Commander as if they are starting a real relationship – and of course, he’s married to Serena Joy (Yvonne Strahovski) and she is still married to Luke (O-T Fagbenle). The flashbacks take us back to them meeting. Moira (Samira Wiley) is trying to get June set up on Tinder and asks a stranger which profile picture of June he prefers. Interestingly, the he chooses one because he tells her she looks invincible in it. Of course, it’s Luke. Moira thinks he’s cute and flirting, but June’s noticed the wedding ring on his finger.

Serena Joy asks June to help her in the garden. The setting is also a perfect backdrop to their conversation about fertility. The plants are dead or dying, preparing for winter. They are adding mulch to help the make it through the winter and grow – just as the women are expected to make the men’s seeds grow. It’s Serena Joy who suggest trying another way – because what if the Commander can’t? I can only believe that Serena Joy knows Fred is sterile. It’s Offred who points out that it’s against the law.

Chillingly, she points out that June’s time there is almost up – if she doesn’t get pregnant she’ll be sent to the colonies. Serena Joy wants to keep the circle small – it should be with someone they trust, and Nick (Max Minghella) is loyal and has been with them a very long time. Moss’s face is wonderful in this scene – she is shocked, stunned and appalled when Serena Joy says that Nick has already agreed. She’s simply a piece of meat being passed around between the men. And it’s being facilitated by another woman. Of course, this has interesting parallels to Moira pushing June to use Tinder – is it so very different?

It’s Offred who asks what about the Commander, and Serena Joy who tells her to forget about him. Was Offred thinking about him as a protector? Or is she simply lamenting the wasted time she’s spent getting to know him and getting him to like her? Regardless, Serena Joy is eager to “strike while the iron is hot” – right after shopping.

The grocery store is full of produce, yet interestingly sterile. I love the use of the stark white set and the lack of colorful packaging. It’s at the grocery store that June sees that Ofglen (Alexis Biedel) – now Ofsteven – is back, and she’s happy to see her. She’s different and when Offred asks if Nick is an eye, Ofsteven tells her that she doesn’t know anything anymore – she’s too dangerous. But she does tell Offred about Mayday.

On the way home, Ofglen (Tattiawna Jones) warns Offred not to talk to Ofsteven – or risk getting her in trouble. I loved that we then get a reason why a woman would submit to this utterly crazy world. Ofglen does a good job of describing Offred’s former, privileged life, and then reveals that she slept behind a dumpster and had sex to pay for more drugs and food. Her life had been unbearably hard. Now, she’s got a safe place to live, she’s clean, and she’s well treated.

On the way to her liaison with Nick, Offred comments that this makes her feel like she is cheating on Luke. Having sex with the Commander is something the law if forcing her to do. But this is more of an active choice. We flash from this comment to the beginning of Luke and June’s affair. I loved the background in this scene. We see a group of girls, all dressed in red, playing amongst some white pillars, under the watchful eye of several adults.

I did love the banter between Luke and June when he asks if she and Moira ever… and then he says in his experience – and June comes back with “in your experience as a lesbian?” Hilarious. As the two have lunch, they confess that they’ve been keeping their meetings a secret – she hasn’t told Moira, but more importantly, he hasn’t told Annie, his wife. The scene plays out as they move from playful, teasing to serious. I have to say that I lost sympathy for both of them.

The two immediately carry out their plan to go to the Hyatt. Afterwards, it seems that they’ve only slept together the one time, and June asks him to leave his wife. He doesn’t hesitate to say ok. He loves June, so what else is he going to do?

Offred’s liaison with Nick is just as awkward as the “ceremony.” Again, the scene is beautifully shot as the A frame of the room heightens the feeling of entrapment and inevitability – with Serena Joy on one side and Nick on the other and Offred walking up the middle to the bed – feeling a lot like a wedding procession. Nick joins her at the altar of the bed.

Nick and Offred’s first time together is intercut with Luke and June’s first time together. Nick and Offred aren’t quite as dispassionate as she is with the Commander – but Serena Joy stays in the room. And the contrast to the playful lovemaking with Luke is clear. Afterwards, Serena Joy is concerned that Offred go and lay down right away – unlike when Offred wanted to stay lying down after the first time with the Commander. When Offred snaps, you don’t just feel pregnant 30 seconds after a man comes, Serena Joy moves toward her and it’s clear she thinks she is about to be hit. But it’s also clear that Serena Joy needs this baby too.

Meanwhile, Ofsteven seems to have ended up in a reasonable position. She’s seen playing with the dog of her family. She’s really no better than the dog, but the Commander’s wife tries to take pity on her and suggest that maybe she’s falling ill and they should not have the Ceremony. Ofsteven points out that she can’t be sick every month.

That night during her own ceremony, the Commander is suddenly looking at her and touching her in inappropriate ways. Serena Joy isn’t looking at him, however. She’s not as concerned because she’s convinced that Nick will get Offred pregnant, bringing it all to an end.

Offred is terrified, however, and goes to the Commander afterwards, telling him off. He brushes her off saying that he doesn’t think she minded. She realizes that she’s pushing it and backs off, and he offers her a magazine, musing that back then, no woman was ever rich enough or pretty enough. Offred replies that at least they had choices then. The Commander insists that now they have respect – which is exactly the opposite of what they have. They have protection and can fulfill their biological destinies. What else is there to live for? Offred says – love! The Commander insists it was only ever lust – love was a mere marketing campaign – it wasn’t real.

Offred almost oversteps again when she blurts out maybe for him it wasn’t real, but it was for her. When he asks her to repeat it, she retreats – it’s a nice parallel to her flinching from Serena Joy in the earlier scene. The Commander then goes on to tell her what they did to Ofglen. According to him, they had compassion for her because of her station. They helped her by castrating her.

The Commander’s outlook is bleak: “Every love story is a tragedy if you wait long enough.” In this world, he’s not wrong. And even in the real world, everyone dies eventually, thus making his words true again… As she leaves, the Commander tells Offred that they only wanted to make the world better – but that always means worse for some.

Nick finds Offred throwing up and asks after her. He tells her she should go to bed – it’s not safe. She wants to know if he knows what they did to Ofglen – he does – and if he’s an eye – he is. But he also apologizes for sleeping with her – it was Mrs Waterford’s idea. He tells her to go to bed before he reports her – and it’s hard to know if he just wants her to go to bed or if he’s really an eye.

The handmaids are all at an open air market, and Offred arranges to speak to Ofsteven. She tells her she knows what they did to her and she’s sorry. It’s not much, but even bearing witness is something. Ofsteven urges Offred to help Mayday, to get information for them. Ofsteven also tells Offred that her real name is Emily. Ofglen pulls Offred away before she can tell Emily her real name.

Then in an act of unthinking desperation, Emily jumps into a car and takes off. The other handmaidens are both horrified and delighted – living vicariously through Emily for a few short glorious moments. When one asks what she’s doing, Offred states “driving.” It’s not escaping – that’s impossible – but it is reclaiming a small kind of power or agency to be able simply to drive.

But it becomes more than that when Emily is finally trapped. She hits a soldier who is then left stunned on the ground. She shares a look with Offred – and they both know that what’s about to happen next is essentially suicide by cop. Offred smiles and nods her agreement and encouragement. It is a blatant act of utter defiance, and in a truly gory and horrific moment, Emily deliberately runs over the soldier and kills him.

When she returns home, Serena Joy has heard there was trouble in town and wants to know if Offred is ok. This is another beautifully blocked scene as we see the two as far apart in the room – and scene frame as possible. Serena Joy sits and Offred walks across to her with her hands clasped behind her back – like a sea Captain – to stand over Serena Joy, giving the power in the space to Offred, who says she is fine. Serena Joy tells her that some women can’t do what needs to be done. It’s a warning. To save herself, Offred must get pregnant.

Offred takes heart from Emily’s last act. There was something inside of her that they couldn’t take away. She looked invincible! Like June looked in the picture that Luke chose. She commits her own act of defiance by going to Nick on her own and having passionate sex with him – on her own terms, taking back her own body.

“A Woman’s Place” was written by Wendy Straker Hauser, who also wrote for Beauty and the Beast and The Client List, and was directed by Floria Sigismondi. In addition to directing American Gods and Daredevil, Sigismondi is best known as a music video director, having worked with the likes of David Bowie, Katy Perry, Justin Timberlake, and Marilyn Manson. Not surprisingly then, the cinematography is particularly stunning in this episode.

The episode begins where we left off. Offred is remembering have had almost 3 orgasms – Nick had two – something both men and women are denied in this new world order. There’s a nice disconnect as we shift to Offred’s face, and there’s blood on it – but not hers. The Handmaidens are being forced to wash the blood off the wall where the bodies usually hang. They are hiding the evidence of what the society is really like as they welcome foreign diplomats.

The women are all expected to know and keep their place. Offred is called to Mrs Waterford’s room. There’s a nice moment as Offred grabs the bedpost, mimicking the stance of the Commander when he has sex with her – another nice way for her to take back some of what she’s lost – at least symbolically.

Mrs Waterford wants to see her to make sure that Offred looks presentable for their important guests and to stress that Offred be on her best behavior – to speak only if spoken to and to speak wisely. She remarks that Offred looks fine, and Offred quips that red is her color. Serena Joy actually smiles and remarks that’s lucky. Is a woman’s place with each other? Offred’s remark is chilling in its implications. It circles back to her name, but red is also the color of blood. It’s lucky, of course, that Offred is fertile or she’d likely not be alive.

The episode actually focuses on Serena Joy’s former life – and what she lost – and most importantly how culpable in everything that has happened. Her sex with the Commander before Gilead, is super creepy as the two quote scripture at each other. In the present, it seems almost Macbeth like as she builds his ego and confidence up before he meets his important guests.

Nick and Offred wait to be presented, and there’s a nice little exchange between the two of them. It’s almost normal, cute flirting. He asks how her day is going and tells her that she looks pretty. Again, she quips about her attire, telling him she wore if just for him – and of course, she has absolutely no choice in what she’s wearing. He deadpans back that she shouldn’t wear anything for him – which can be taken as he’d rather see her naked again – or as a caution for her that they can’t be seen to be in a relationship of any kind. The two covertly touch hands. It clearly has meant something for both of them – though perhaps more physical release for Offred – as the scrabble was a mental one.

Offred is shown off like a prize pig. She is introduced to the Mexican ambassador and immediately thinks it must be Mr Flores (Christian Barillas), but it’s not – it’s Mrs Castillo (Zabryna Guevara)! Apparently, outside of Gilead, a woman’s place is still wherever she wants to be! In the end, of course, Castillo sells out her sisters as much as Serena Joy has, and it will be Flores who proves to be an ally to Offred.

Castillo is heading a trade delegation and is curious to know all about Offred’s life. Castillo is on a fact-finding mission and wants to separate rumor from fact. It’s Flores who wants to know what Offred’s given name from before – he’s interested in her as a person (and as we see at the end of the episode, he’s interested in helping provide information for those on the outside). For her own part, Offred knows this is dangerous territory and cleverly puts him off by saying she doesn’t use it anymore. The Commander is quick to jump in and say that it is a way of honoring her position. Castillo changes the subject to Offred’s current life.

It seems at first the Castillo might be an ally. She asks if Offred chose to be a handmaid. Guevara is another strong addition to the cast. It’s clear that Castillo wants the answer to be yes – she wants to be able to soothe her own conscience. Offred lies and says she chose to be one. Castillo acknowledges that it’s a great sacrifice. Serena Joy interrupts, but on the way out Castillo asks her if she’s happy – she’s chosen such a difficult life. Offred hesitates before answering – both the Commander and Nick look worried – the Commander more so.

Again, Offred answers wisely, and it’s not entirely a lie when she says that she has found happiness. She has managed to carve out some happiness for herself in the scrabble games and the liberties she’s able to take with the Commander and the sexual release with Nick. It’s clear that Offred isn’t as happy as the others with her answer. She’s disappointed she wasn’t braver.

Serena Joy is not quite as satisfactory as Offred. It’s clear that Mexico is desperate to trade with Gilead – whose crops are doing better – and who is more fertile in every way. Castillo proves she isn’t stupid – which makes her willful blindness even worse. She asks the “quiet” side of the room for their opinion on Gilead. The scene is set like a high school dance – men on one side of the room and women on the other – expected to be seen and not heard. Like Victorian children.

Serena Joy rabbits that she’s blessed to have a husband to care for and follow. And then the real reference for the title comes from an absolutely unexpected source. Serena Joy wrote a book called A Woman’s Place. Castillo quotes it when she says “Never mistake a woman’s meekness for weakness.” The Commander remarks that it’s clever, but Serena Joy looks worried. It’s dangerous for women not to be meek in every sense. It’s important not to be a threat – it’s also the fine line that Offred has been treading. It’s not entirely clear that he recognizes the quote from his wife’s book, but it’s clear that he’s not happy to be reminded of it. He is clearly happier with the relationship he has now with Serena Joy in which he is clearly the dominant partner.

Castillo re-read the book on the plane, and she compliments Serena Joy on her well-reasoned argument for “domestic feminism.” We learn that Serena Joy had been arrested for inciting a riot! She explains she had a temper in those days. And we’ve seen it more recently with Offred – and occasionally with Rita (Amanda Brugel). Castillo asks if Serena Joy ever imagined such a society – and Serena Joy immediately defends Gilead. They’ve reduced carbon emissions by 78% - where did she get such figures? Because Castillo presses, did she ever envision a society in which no woman could read her book – or anything else.

By now the Commander is clearly angry, but Serena Joy answers honestly. She didn’t foresee such a society, and it’s also clear that her own actions have ended up taking away her own rights. She’s not happy where she’s ended up. Serena Joy is far from stupid however, and brings the entire conversation right back to the Commander’s words. God expects sacrifices in return for blessings, and Gilead has been blessed in so many ways.

Once the guests are gone, the Commander suggests that they shouldn’t have invited the wives – even less seen and heard! Really, at what point do the wives become completely unnecessary? They need the trade deal to shore up Gilead’s currency. There’s a terrific shot that emphasizes how tall Strahovski is – she’s as tall as Fiennes – emphasizing how equal the two are. When we see her inspecting Offred, Moss is much shorter, emphasizing the power differential between the two. The Commander brushes off Serena Joy’s attempts at having input – and doesn’t want any input into the celebration dinner that she’s planning.

In another flashback, we see that the Commander was at the center of the group that overthrew the government, but the entire fertility-imperative is actually, horrifyingly, Serena Joy’s idea. We also see that she had no trouble bossing him around. He actually supports the idea of her writing a second book. We see the Commander get the text – there will be three separate attacks – Congress, the White House and then the Court. They tell each other that they are saving “them” and doing God’s work.

Nick comes to bring Offred to the Commander’s office, and he pushes her against the wall. She tries to resist, telling him it only makes it worse, but gives in for a few moments. The Commander simply wants to vent to Offred. He tells her more than Serena Joy. He tells her that being in his office is a privilege and then he throws her out. She’s not the meek sounding board he wanted. She refuses to subjugate herself to the point of agreeing with him.

There’s a terrific shot of her almost leaving and then smiling, before turning back and asking if she can please stay with him. He tells her to come and stand in front of him, and he runs his hand up her body before telling her to kiss him. He tells her to do it like she means it. He tells her she’s a sweet girl and then dismisses her with “big day tomorrow. Get some sleep.” She’s debased herself for nothing and brushes her teeth until the water runs red with blood – just as the water at the beginning of the episode as they scrubbed the wall – removing the shame.

The handmaids are all gathered for a dinner in their honor – to impress the Mexican delegation. Once again, we see Serena Joy tower over someone. This time she’s exerting her influence over Aunt Lydia (Ann Dowd). Serena Joy looks over her charges and realizes that they can’t show off the “damaged.” She tells Aunt Lydia to have them removed. And it’s both shocking and sad because Janine (Madeline Brewer) was the only one really excited about the event – and getting to have their own tables. It’s actually Aunt Lydia who stands up for her charges. She insists that they all deserve to be honored for their sacrifice. And after all, while Janine may be “damaged,” she’s also one of those who gave birth!

Janine starts to lose it, and it’s Offred who immediately steps forward to try to protect her by quieting her. Again, it’s almost shocking to suddenly like Aunt Lydia, who agrees when Janine says it isn’t fair! And we get some real insight into her character’s motivation when she tells Janine that sometimes you have to do what is best for everyone – not what is fair. Does she then truly believe that re-populating the earth is more important – best for everyone – then letting women choose? She promises Janine an entire tray of dessert and then creepily kisses her scarred eye.

The dinner is ridiculously opulent – and is all about the optics. Because that is all the Serena Joy has – illusion. What things look like on the surface. It is a beautifully shot scene. Serena Joy prepares to speak as she flashes back to the beginning of the end for her when the Committee won’t let her speak to them. She gives in without a fight. The Commander tells the other that she was frustrated rather than upset at not being able to speak. He comments that they let women get distracted by things like academic pursuits. They won’t let them lose focus on their real purpose again.

Serena Joy makes a dramatic entrance and clearly enjoys being the center of attention. They are honoring the contribution of the Handmaids. Serena Joy then brings out all the children that have been born to the Handmaids of that district. June looks longingly, clearly hoping that somehow Hannah will be there, but of course, they are all younger than that. Castillo is clearly overwhelmed and immediately gets up and goes to play with the children. Alma (Nina Kiri) presses Offred for information. It’s clear she’s part of Mayday, and she’s the one to point out to Offred that the only thing that Gilead has to trade are the Handmaids.

There’s a flashback to Serena Joy unpacking the new house, and throwing away her old clothes – no high heels – and her old life – the books with hers on top go in the trash. It’s all about appearances as the Commander shows up in his new uniform. He tells her that she should be coming with him. She doesn’t answer – clearly agreeing but not going to say as much – don’t mistake meekness for weakness.

There are lots of mirrors in these sequences. Serena Joy takes her hair down in a parallel move to June taking her hair down for Nick in the last episode. The Commander comes home from his first day, and Serena is still trying to give advice, but he simply wants to have sex even as he tells her that she’s an amazing woman. He suggests that they should stop – but they don’t.

Offred goes to Nick and tells him that she should have said something. He tries to calm her down. He tells she had no choice – she was in a room full of Commanders. And then she finally calls it what it is. If they get caught, she’ll get sent to the colonies, but he’s untouchable, he’s an eye. He says it isn’t true, and it’s not clear if he’s not untouchable or if he lied about being an eye. Regardless, she points out that he doesn’t have to be RAPED once a month. She’s appalled that she said she was happy. She tells him her real name, and he tells her “It’s nice to meet you June.”

The next morning, Offred is leaving on her walk and Castillo and Flores are there. Castillo has Mexican chocolates for her as a thank you for her candor. She’s helped her to understand Offred’s world. June almost makes it out, but then tells her, “you don’t understand. I lied to you. This is a brutal place. We’re prisoners.” She tells them about the abuse. And she tells them they rape her every month when she might be fertile. Castillo says she’s sorry.

June goes on and says she didn’t choose this. They caught her when she was trying to escape and took her daughter. Moss is incredible in this scene as she begs Castillo not to be sorry, but to do something. Castillo tells her that she can’t help her. June wants to know how she can even consider trading chocolate for human beings. Castillo tells her that there hasn’t been a child born alive in her city for 6 years. Her country is dying. June tells her that her country is already dead.

And the Commander walks in at that moment and wants to know if everything is alright. Castillo lies and says yes. She was just giving a gift to Offred and has one for Mrs Waterford too. They leave, and Flores, tells her that he wants to help her. June doesn’t believe him – until he can tell her Luke’s full name and birthdate and place. He tells her he knows where Hannah is and that Luke is alive. He asks her to write a note to Luke, using her real name. It’s a dangerous gamble – to hope and to write!

Two more brilliant episodes of this series. Beautiful cinematography, terrific writing, and powerful acting. What did you think of the episodes? Were you surprised at where June’s help is coming from? Is Gilead doomed from the inside? I love how we are slowing seeing how people might have been lured into accepting this social order. Let me know your thoughts in the comments below!