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The Handmaid’s Tale Final Season Premiere: All Roads Lead Back to Gilead
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The Handmaid’s Tale
The Handmaid’s Tale Final Season Premiere: All Roads Lead Back to Gilead
Gilead’s former Wives and Handmaids can’t help but be drawn back to the motherland, as the stage is set for The Testaments’ next generation.
By Natalie Zutter
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Published on April 9, 2025
Credit: Hulu
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Credit: Hulu
Eight years ago, Hulu delivered The Handmaid’s Tale to a post-election TV audience who sorely needed this furious adaptation of Margaret Atwood’s dystopian novel, with its iconic visuals, bitchy needle drops, and wrenching narrative expansions beyond the source material. We got to watch a lowly Handmaid become so much more. We gained (some) sympathy for Wives and cheered for Mayday. The series became so familiar and self-aware as to get grating, as once-shocking plot twists began to repeat themselves. (So, too, in real life.) But now, with an over-two-year gap between the previous season and this one, we’re finally in the home stretch, as the final season premiered this week.
At first, season 6 seems to suffer from some of the same issues as its predecessors, moving characters back and forth across Canada—or across No Man’s Land into Gilead’s borders—like chess pieces. The first three episodes are packed with fascinating emotional moments, especially between June Osborne (Elisabeth Moss) and Serena Joy Waterford (Yvonne Strahovski), but despite some quick time jumps we’re still pretty far from any real resolution between the eponymous Handmaid and Gilead.
Spoilers for the first three episodes of The Handmaid’s Tale season 6.
At least this time it makes sense, since Hulu has officially greenlit The Testaments, the sequel series set in Gilead four years after the end of The Handmaid’s Tale TV series. So we know going into the final season that Gilead will not fall, though it seems likely it will be transformed by the series finale, because of the people changing each other in minute but crucial ways.
“Mommies Always Come Back”
Credit: Disney/Steve Wilkie
The first episode delivered on the delicious visual that the series left us with in 2022: June and Nichole stuck on a train with a bunch of other Americans heading west from Toronto, the only familiar face Serena Joy and baby Noah. Their ensuing road trip is as thorny and fraught as you would expect, with the rare moments of tenderness (usually directed at the children) that are quickly trampled based on their traumatic shared history.
Serena is either so willfully ignorant, or (more likely) determined to be obtuse, that she romanticizes them going on the run and tries to ingratiate herself with all the other pregnant women and mothers. Now that she finally has the child she so desperately wanted, she also wants the label of mama. She wants to be part of the pack, commiserating about wake windows and breastfeeding and not being able to put your baby down for a moment but also not getting enough of their smell. But when she tries to let June sleep, by watching Nichole for her, the other woman is understandably terrified that they’ve slipped back into their Gileadean roles: the Wife stealing the Handmaid’s child. What’s more, June begrudgingly revealing how her arm was broken and why she’s traveling alone makes it clear that they will never be besties or even casual mom friends. June delivering Serena’s baby will never make up for Serena holding her down while Fred raped her.
Yet even June is reluctant to out Serena in front of all of the women. Interestingly, it’s the men who do; first the doctor, who recognizes the deceased Commander Waterford’s wife from a fertility clinic, and then the policeman who won’t save her by escorting her off the train. The women begin muttering and circling as if they’re about to kick off a Particicution for old times’ sake, but it’s the men who throw the metaphorical meat to this starving pack.
There’s no other solution but for June to kick Serena and Noah off the train, branding herself a traitor but saving her and Nichole from getting caught up in the violence. I wasn’t entirely sure why she didn’t jump off with her, but I guess that makes it clear that June will never willingly choose to align herself with Serena, no matter what little shred of empathy she possesses for her.
Instead, June takes the train to the end of the line, i.e., Alaska, where she gets the wonderful surprise of reuniting with her mother (Cherry Jones) at a refugee camp. Though she was relegated to the Colonies, Holly Maddox proved her usefulness to Gilead as a doctor, until she was able to get out. Their reunion strikes inverted notes of June and Serena’s brief time together, with mother and daughter bonding over baby Nichole—including Holly being her namesake—yet also unable to fully mend their own trauma about Holly not being there for June when she was younger.
Yet when June gets called back to rescue Luke (O-T Fagbenle) and Moira (Samira Wiley) from an abandoned water park in No Man’s Land, mother and daughter fight over what example one has set for the other. “The only way to win is to show up and fight, which is what you taught me,” June says, to which Holly immediately replies, “And I was wrong! I lost—I gave up so much time with you, and god do I regret it. All you can do is survive and protect the people that you love.”
So June leaves Nichole with Grandma and heads back east. Even though Serena and June wind up on opposite borders, with Serena allowing herself to be coaxed back to New Bethlehem, they’re still on similar trajectories. They’re both working moms! The ambassador-turned-spokeswoman, and the spy-slash-general.
New Bethlehem
Credit: Disney/Steve Wilkie
Joseph Lawrence’s (Bradley Whitford) pet project continues apace, an island community within Gilead meant to operate without Handmaids or hangings. Last season June said no way to moving back—even if it had meant supervised visits with Hannah/Agnes—but newly minted Commander Nick Blaine (Max Minghella) with his new Wife Rose and baby on the way is willing to be a poster child. Though the former Eye can’t help but get pulled away from foreign diplomats’ tours and other photo ops by the opportunity to see June again. Then there’s Serena, who knows she can’t really say no when Lawrence shows up at the New Canaan shelter; but her ego still makes it far too easy for her to decide she’s being called by God Himself to lead this new stage of the nation she helped build.
I’m really not sure what to do with the overall humorous vibe in the Lawrence household. Whitford has always been acerbically charming as the OG Commander, to the point where the viewer has to constantly remember that he helped build the damn place. To watch him joke around while combining households with his new Wife Naomi Lawrence (née Putnam) diminishes the horrors he’s committed, even indirectly. Similarly, showing off New Bethlehem seems to be more about saving his own neck than actually providing Gileadean refugees—or escapees—with a place where they won’t still be subjugated or used against their will. Lawrence brags about reforming the conservative theocracy of Gilead 1.0, claiming that they’ve “liberalized [the country] without spilling a drop of blood.” (How long do we think that is gonna last?) It’s one thing to show citizens in a fascist society trying to build out safe havens or corners, but not when they are the literal architects of the fascist society.
Aunt Lydia’s Special Girls
Credit: Disney/Steve Wilkie
Those who aren’t lucky enough to just build new sandcastles when their old ones get stomped on are struggling to survive in Gilead’s increasingly broken system. Aunt Lydia, in particular, has gone through a FAFO journey these past few seasons, primarily through the lens of poor Janine, who was dragged away by the Eyes at the end of last season after lashing out at the new Mrs. Lawrence. The latest indignity is that she was sent not to the Colonies, but (gasp!) to Jezebels.
Lydia seems more broken up by this fact than poor Janine, pairing her eyepatch with lingerie and a collar, but let’s remember that it’s been at least two months. Of course she’s disassociating in order to cope with the further violation of this place. The only time she does get her old spark back is to hiss at Lydia to leave her alone: “Every time you help, you just make things worse.”
Could this be what finally radicalizes Aunt Lydia? She will play a prominent role in The Testaments, though the Lydia of the book had a much more nuanced motivation for joining Gilead’s early architects, compared to the flimsy and insulting backstory that the show gave this version. Still, Ann Dowd can sell almost everything about this character, so I’m hoping that we’ll see more from her by the end of The Handmaid’s Tale than just witnessing Gilead’s hypocrisy with open-mouthed horror.
Blessed Be the Fruit
Credit: Disney/Steve Wilkie
While there is still plenty of tension with regard to June’s love triangle—she loves Nick, but Luke waited for her—the true push-and-pull that season 6 is setting up is between her two daughters. Nichole is almost two years old by the time we get past the two-month time jump, the camera lingering lovingly on her face as she gets to know her grandmother. While she has been through her fair share of dire situations since her birth, she seems content that at least one of her parental figures, of which she has more than a few, will always be around to care for her.
Hannah (who knows herself more as Agnes at this point) we don’t see at all in these first three episodes, but that doesn’t mean that her parents aren’t thinking of her every moment. Both endanger their relative safety and stability to reenter No Man’s Land for her sake. Even as Holly implores June to forget about Gilead, June reminds her that they have their claws in Hannah—and that time is actually running out, as she has been dressed in the purple garb of Wives-in-training. If they don’t move quickly enough, she will be so swallowed up by Gilead that she won’t even remember her birth name to scribble when no one’s watching.
Without delving too deeply (I’ll save that for the series finale), I will point out that The Testaments recently announced the casting of its two young leads, Agnes (Chase Infiniti) and Daisy (Lucy Halliday). I’ll reiterate my point from last season, that it’s unclear how Gilead will determine which of its next generation of young women (stolen from the United States, or born into Gilead) become Wives and which are relegated to Handmaids. Hopefully we’ll find some of that out this season, but they might just save that for the next series.
To Epilogue or Not to Epilogue
Credit: Hulu
While season 1 followed the book plot up fairly closely up until June gets carted away by the Eyes, the second season’s plot divergences meant that we continued on in the present instead of mirroring the novel’s time jump several centuries later. The Thirteenth Symposium on Gileadean Studies in 2197 offers the small comfort that the Gilead era does not last forever, though the nation’s fate remains an enigma, as does Offred’s. An epilogue via flash-forward would be an apt way to conclude The Handmaid’s Tale while leaving the story open for The Testaments.
Gileadean Studies
Credit: Disney/Steve Wilkie
If you’ll indulge the update on my own personal timeline, my son was ten months old the last time I wrote about this show; now he’s three-and-a-half, while my daughter is eleven months old. I know the wait between seasons stretches extra-long with prestige TV, but this one feels especially wild.
This might also explain why I found the scene of the women attacking Serena Joy on the train to be surprisingly triggering; the way in which they shoved her while she had a newborn strapped to her chest forced me to actually stop and take a breather.
Who else groaned out loud when Serena gave Rachel as her alias at New Canaan? Way to be self-aggrandizing, yet also with a shred of self-awareness.
Are we meant to believe this was really Aunt Lydia’s first time in a Jezebels? I figured she was not so easily shocked.
“It’s not a good time to be an American in Canada.” “Oh? That’s news.” …when was this script written?
Two stars left in the American flag, which I’m assuming stands for Alaska and Hawaii.
New Gilead colorway just dropped: Not only does Serena Joy waltz into New Bethlehem in an all-mauve ensemble, but it’s got pants! It’s darker/dustier than the pink that Gileadean girls wear, yet not as dark as the purple they put Agnes in to signal her impending Wife training. So what class does Serena inhabit now—unmarried mother, or the first officially-recognized Widow? The way that Nick’s father-in-law Commander Gabriel Wharton (Josh Charles) is taking a special interest in her, I think he wants to Wife her up again pretty quickly.
What are you hoping to see in the final season of The Handmaid’s Tale?[end-mark]
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