‘The Handmaid’s Story’ Finale Is Extra of a Bridge to ‘The Testaments’

[Editor’s note: The following review contains spoilers for “The Handmaid’s Tale” finale — Season 6, Episode 10, “The Handmaid’s Tale.”]

If the “Handmaid’s Story” sequence finale goes to incorporate a series-defining monologue, then Cherry Jones could as effectively be the one to ship it. Having simply heard her daughter, June (Elisabeth Moss), is planning to return out into the sector and proceed preventing Gilead, Holly (Jones) is upset. She’s been worrying about June for years now, struggling by means of lengthy stretches when she doesn’t know the place she is, who she’s with, or if she’s even nonetheless alive. Extra just lately, the alternative anxiousness besets Holly. She has to look at as June is captured and strung as much as be hanged, all whereas caring for June’s youngest daughter (additionally named Holly).

It ends fortunately sufficient — June as soon as once more survives, and her rescue even units off a string of occasions that frees Boston from Gilead’s grip — however one ending is simply one other starting. Holly takes a bus from Alaska to Boston to reunite along with her household, and virtually as quickly as she will get there, June is planning to take off once more. Hannah, her first youngster, is being moved to Washington D.C. Hundreds of different girls and boys are nonetheless being brainwashed by Gilead. June has to assist. She has to return. “Mommies all the time come again.”

Holly understands, however understanding doesn’t make what she has to say any simpler. She has to encourage her daughter to maintain preventing, and in doing so, she has to elucidate to the viewers why they’ve spent six seasons and eight years with this story, even when it doesn’t finish with a crushed, damaged Gilead — even when it doesn’t actually finish in any respect.

“June, you must write a ebook,” Holly says. “About by no means giving up. This isn’t a narrative for individuals who haven’t misplaced anybody, they don’t want this story. That is the story for individuals who could by no means discover their infants. The individuals who won’t ever, ever surrender making an attempt. That is the story for them. … Write it in your daughters, June. Inform them who their mom was.”

There’s lots to admire about creator (and finale author) Bruce Miller’s chosen method to ending “The Handmaid’s Story.” Preserving June on the entrance traces, preventing a battle with out an apparent finish, befits each the character (who’s come to know struggle as a lifestyle) and the viewers (who witness a brand new constitutional disaster each week and may have the encouragement to battle again). The finale additionally offers a framework that honors Margaret Atwood’s groundbreaking novel and provides June ample time to walk by means of Boston, remembering what was and what might’ve been.

I’ll depart it to others to determine which tear-jerking scene feels probably the most compelled — Emily (Alexis Bledel) all of the sudden displaying up in Boston, or all of the handmaids singing karaoke in June’s fantasy model of a life with out Gilead — and whether or not the plentiful (if poorly choreographed) violence within the earlier episode supplied sufficient distinction to the finale’s pensive tranquility. (A lot strolling, a lot considering, so little stabbing.)

However regardless of Jones’ elegant supply of a speech that screams, “This is what the present is about!,” isn’t it a bit unusual that June’s already writing a ebook a few story that isn’t over? Not solely did probably the most climactic moments occur within the penultimate episode (when Commanders Lawrence and Wharton are killed, together with Nick), however many of the surviving character arcs are left naggingly open-ended.

I virtually laughed when June tells Serena (Yvonne Strahovski), “I forgive you,” a sentiment as on-the-nose as it’s pointless (and never helped by Moss’ route, which overemphasizes the road by zooming in on June as she delivers it). “The Handmaid’s Story” has bent over backward to get June and Serena up to now, the place they’re not enemies however one thing akin to sisters on reverse sides of the patriarchy’s oppression. However contemplating Serena nonetheless laments being banished from Gilead in the identical dialog the place June forgives her for years of tyrannical abuse, it’s onerous to simply accept their tidy little decision. (Serena’s final scene, the place she embraces motherhood regardless of being stripped of previous privileges, provides little to her arc both.)

Luke (O-T Fagbenle) will get even much less, which might be tremendous if his kicker did greater than kick the can down the street. Luke’s closing dialog with June is not-quite-a-break-up, not-quite-a-reunion, nevertheless it does clarify that he’s as all-in on the battle as she is, whereas propping up the present’s glad ending. “It wasn’t all horrors, proper?,” he says. “You had individuals who helped you. … Individuals who liked you. Folks you liked. They’re all price remembering.”

Certain, proper, let’s bear in mind the great occasions amid all of the rape, torture, and tyrannical misogyny. I imply, some issues labored out: Take a look at Aunt Lydia (Ann Dowd)! She was about to be executed one episode prior, and now she’s again with Gilead? Orchestrating hostage drop-offs? Giving Janine (Madeline Brewer) again to the Individuals, alongside along with her daughter is a kindness, to make sure — however how does Lydia wield sufficient affect to verify her handmaids don’t need to “stroll in stride with the depraved” anymore?

So many indefinite endings virtually make it appear to be this isn’t the top of “The Handmaid’s Story.” (Even the episode’s greatest victory — taking again Boston — is shortly undercut by June rattling off all of the cities and states nonetheless ready to be wrested from Gilead.) As an alternative, Episode 10 simply seems like a stopping level earlier than our story picks again up below a brand new title. Oh, that’s proper — it’ll! “The Testaments” is coming! Hulu is popping Atwood’s 2019 sequel to her 1985 authentic novel right into a sequence of its personal (form of), with Bruce Miller showrunning and at the least Aunt Lydia set to return.

Miller has been open about what he might and couldn’t do in “The Handmaid’s Story” to be able to protect the story of “The Testaments.” Clearly, Aunt Lydia was on the no-kill record, however so have been June’s youngsters, Hannah and Holly, which created a substantial speed-bump. Establishing the ultimate season (or at the least the previous few episodes) round June saving Hannah would have made for a way more logical and consequential conclusion, however even with out that card within the deck, the ultimate hand didn’t have to depart out so many others. That it did solely mutes the emotional influence (which Miller and Moss attempt to make up for with all these walks down reminiscence lane), whereas denying the viewers sufficient closure to say goodbye. In any case, if the viewers is comfy leaving “The Handmaid’s Story” behind, who’s going to tune in for “The Testaments”?

“The Handmaid’s Story” has all the time been a narrative of moms and daughters. The final shot emphasizes as a lot, whereas stressing the transformative journey of our central heroine. June sits in the identical window perch as she is within the first shot, this time sporting her personal garments and talking right into a recorder for the ebook Holly calls for she write for her kids. She remembers her time as a Handmaid with the Waterfords. She sees the ruined state of the Waterford home now. “My title is Offred,” she says. And she or he smiles.

A minimum of with this ending, one factor is obvious: We all know who June is, and so does she. Even when her story continues (they’re already speaking about her return for “The Testaments”), June’s time as Offred is over. Whether or not your time with June is, too, effectively… you’ll have to decide on your personal ending.

Grade: C+

“The Handmaid’s Story” is obtainable on Hulu. “The Testaments” is anticipated in 2026.