A lot has changed since the award-winning adaptation of Margaret Atwood’s seminal dystopian novel premiered on Hulu in 2017. Handmaid red and white (designed by Ane Crabtree in Season 1) has become a go-to ensemble for those protesting restrictions on reproductive rights across the globe. There might be a different administration in the White House, but the landscape remains fraught, and “The Handmaid’s Tale” is the standard pop culture reference when discussing such oppressive laws. The prospect of tuning into a series that looks less like science fiction might seem unappealing, and yet, the fifth season offers some semblance of hope in the eight episodes available to critics.
No, June Osborne (Elisabeth Moss) isn’t suddenly breaking out into a song and dance after the feral end of Fred Waterford’s (Joseph Fiennes) life. Still, his death marked the end of a significant chapter for the series. Dealing with the aftermath of this sea change is the focus of the first few episodes that see both June and Serena (Yvonne Strahovski) grappling with the gaping hole where Fred stood. For June, her rage doesn’t magically evaporate now that she has put a permanent end to her rapist and captor. Meanwhile, Serena contends with the knowledge that June has enough powerful allies to literally tear Fred apart. Her “miracle” pregnancy and her role in utilizing support for Gilead in Toronto add another dimension to Serena’s attempts to assert dominance.
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“The Handmaid’s Tale” has always excelled when positioning June versus Serena, and this continues to be the case as they enter uncharted waters. Serena has always had the power, and there is an argument that she always will when it comes to June. Those years standing by as her husband raped June under the umbrella of a sanctioned religious ceremony cannot be erased—remember, she also forced Nick to do the same to June—and the Hulu series isn’t trying to rehabilitate this character.
“Some Sins Can’t Be Washed Away,” reads the tagline, and while June is the official poster girl, this sentiment pretty much applies to every character. Without going into detail, the dance between June and Serena shifts throughout the first eight episodes as they each try to use their leverage against the other. June fears Gilead’s grip will spill into Canada, particularly with the pregnant Mrs. Waterford clad in the teal-wife uniform. Remember, the birth rate is still dismally low everywhere (other than Gilead), and Serena’s successful conception makes her a symbol of hope for every person trying to have a baby.
Optics matter, and “The Handmaid’s Tale” dives deeper into Gilead’s global reputation in the fifth season. Commander Lawrence (Bradley Whitford) is one of the original Gilead architects, but faith is not what drives his choices, which sets him apart. Lawrence continues to be hard to pin down as he is an antagonist and an ally, and his pragmatic approach doesn’t make him any less dangerous. Whitford’s innate charm makes this character infinitely watchable, and Lawrence’s utter disregard for others in power bolsters his charisma. He is no hero; thankfully, he is never positioned as one.
The nurturing dynamic with Nick (Max Minghella) continues to deliver, but the younger Commander is sometimes so passive that it is hard to know where he stands. Yes, he juggles many different elements as he plays Gilead stooge and his marriage is another intriguing, if not underbaked, thread. Aspects of the Nick and Lawerence story are building to something, and whereas Nick never saw Fred as a father figure, there is a paternal bond bubbling beneath the surface of his relationship with Lawrence. Again, this is a question of loyalty, and at the moment, there is too much unsaid to grasp Nick’s end goal. This might be by design, but it is somewhat frustrating for those hoping to see more than vague suggestions of who is pulling the strings.
Toggling between Gilead and Toronto leads to many spinning plates with certain characters getting underserved. Moira (Samira Wiley) continues to exist on the periphery, and while she has some solid individual scenes, she is still very much serving June’s storyline. The white feminist perspective continues to be centered while those in June’s immediate circle, like Rita (Amanda Brugnel), get even less to do. It is a missed opportunity not to delve deeper into her post-Gilead experience. The Alexis Bledel elephant in the room (Bledel announced her surprise exit in May) is handled as best it can be, and Emily’s storyline did hit a certain endpoint last season.
June’s anger was a barrier to rekindling her relationship with her husband Luke (O-T Fagbenle), including June instigating sex when Luke was asleep. When he told her to “wait a minute,” she didn’t, and this assault emphasizes the bone-deep Gilead after-effects. Unfortunately, this moment isn’t revisited or reevaluated, but the couple does make some inroads. It is far from smooth sailing, and character traits from before Gilead (such as Luke’s know-it-all tone) rear their head once more, but the shared goal of getting Hannah away from a life of servitude cracks open their communication. Removing Fred reshapes this dynamic, and the interplay between Moss and Fagbenle isn’t steeped in as much misery and false starts.
Regret is the overwhelming emotion weaving its way through each fifth-season narrative. Hannah is a big part of this, but she is far from the only source of guilt. Aunt Lydia’s (Ann Dowd) bond with Janine (Madeline Brewer) already shifted something in one of Gilead’s staunchest advocates. While Lydia cannot undo her many wrongs, this is another character who is no longer unmoveable. Whereas previous seasons have felt cyclical, there is a strong sense that this story is finally striving forward. Or at least not repeating the same narrative beats.
Imagery-wise, there is nothing “The Handmaid’s Tale” loves more than a circle—okay, maybe it loves sunlit dappled rooms more—and those signature visuals remain. They are joined by new symbolic locations, such as a staircase giving off opulent prison vibes. Even during tragic or traumatic moments, the direction is a marvel. Yes, some lingering shots remain somewhat on the nose, but the use of light and dark is a strength. Women direct all eight episodes available to critics, with Elisabeth Moss stepping behind the camera for the first two installments (as well as the finale)—the only male director is Bradley Whitford on the penultimate episode. As with her recent work on “Shining Girls” and the previous season of “The Handmaid’s Tale,” Moss is an intuitive force in both acting and directing capacities.
Finding new ways to praise Moss for her ability to dig deeper into this character she has embodied for five seasons is hard. Still, even now, there are combinations of facial expressions, guttural reactions, and physicality that we haven’t witnessed before. It is a tour de force, and Strahovski joins her in the battle for standout performance. Episode 7 is Strahovski’s likely Emmy submission showcase and is a thorny, tense, and compelling hour of television. Bruce Miller’s (“The 100”) series still can surprise even this long after its debut.
Whether Moss is vibrating with rage, shame, or even a tiny amount of joy, it is impossible not to be hypnotized by her work. It would be easier to split the crown—like that one “Drag Race All Stars” season—because it is hard to find fault with the depths either dig into during this continuous back-and-forth. Without getting into specifics, there are some eyebrow-raising moments, but some of the issues I had in earlier episodes are addressed later.
Finding a sense of self outside of a place like Gilead that flattens everything into color-coded roles is complicated, and newcomers reinforce the rigid rules and reflect shifts in the story (and society). Political parallels are still evident with the refugee Gilead escapees (or American refugees), leading to growing discord. At times it feels like this season is juggling too many storylines while sidelining other characters, and some old frustrations remain. However, “The Handmaid’s Tale” no longer comes across as spinning its wheels as the fifth outing offers flickers of hope as June—and the story—moves forward. [B+]