The Handmaid's Tale: Season 6: The "Revolution" is Not Here

SPOILERS
What began as a compelling, heart-wrenching, inspiring and goddamn gritty series has come to an end. As a fan of the series I was so excited to see how it all came together. With Elisabeth Moss reprising her character June, and also producing and directing several episodes, this season takes a surprisingly different tone, one that was slow to action and extremely clunky.

There and back again, and again

When we left June in Season 5, she and Serena (Yvonne Strahovsky), ended up on a train to Alaska, in the hopes of being free there, and starting a new life. With both of their children in tow, June is still, as would be expected, wary of Serena.

Hulu

Though she is helpful in ways to Serena, and vice versa, June is still rightfully paralyzed with PTSD. Serena asks June for her forgiveness, admitting that she was wrong.

However, some of Serena’s old characteristics come out on the train, proving that maybe she hasn’t changed as much as she says.

When June arrives at the protected zone, she reunites with her mother, Holly (Cherry Jones). Though she is somewhat happy about it, the show loses a good two episodes rehashing past feelings and working through old hurts, only for Holly to serve as a means to dump off June’s daughter Nicole, for a quick convenience to the script.

Holly plays zero other role throughout the whole series, with a tiny reunion in Episode 10, which was a waste of two full episodes to me, who was ready to see the revolution happen.

Much of the rest of the script uses these easy conveniences to skip over characters and to quickly wrap up loose ends, to its detriment.

When June finds out about the resistance happening elsewhere, she goes in search of Luke ( O-T Fagbenle) and Moira (Samira Riley), to try to bring her family back together again.

She finds they have joined a resistance group that is poised to end Giliead, and chase them out of America for good. Luke is his usual boring self, who seems to whine himself back in the picture with June, over and over.

Hulu

With her far more interesting relationship with Nick (Max Minghella), she finds more connected, real passion and soul resonance. He, again, inserts himself wherever he can to save her and, though married to new commander, Gabriel Wharton’s (Josh Charles) daughter, he still loves and longs for June.

Nick’s character gets completely trashed and killed off near the end of the season, as another convenience, even though in the books, he lives on with June. This was the straw that broke the camel’s back for me.

Why, in any universe of the Handmaid’s Tale, would they keep on with him for six seasons , with everything he’s fought for, only to have him do a 180 in two seconds and claim that he now is with Gilead? That was the stupidest part of this entire season and series!

Hulu

Commander Lawrence (Bradley Whitford) continues his support and building of New Bethlehem, the supposed fresh start for Gilead refugees, without all of the violence. He enlists Serena to help him with the project, as he thinks that her personal touch would make the new town better.

Serena is hesitant at first, but as a single mother with nowhere else to go, she sees this as an opportunity to recreate herself and rid her reputation of the cruel acts she is known widely for.

Commander Wharton, visits the area hoping to be of help to Lawrence, and oversees the new programs to be implemented there. He fancies Serena and attempts to woo her into his world, with a false romantic narrative, that includes giving her baby, Noah, a real family.

The show wastes more time spinning a boring “love story” between he and Serena, that is eventually used as a springboard for, sort of, starting the revolution.

Meanwhile, Janine (Madeline Brewer) is found working in the forced brothel, Jezebel’s, for the pleasure of the Commanders. When June and Moira find out, they concoct a plan to break Janine and the rest of the trapped women out, while possibly taking out some frequent high Commanders at the same time.

Hulu

Anne Dowd reprises her role as Aunt Lydia, who seems to have had a change of heart for the better, again, sort of. She feigns care regarding Janine and Moira, and wants to protect “her girls” from being in the vile grip of immorality, but still doesn’t mind leaving them in positions of slavery “for God”.

Anne Dowd’s talent is wasted on this futile new role for Lydia, even though she could have easily faded into the past without any consequence to the story.

Like many of the cameos and failed story arcs of other characters, she also waffles with who she was, versus any true growth of character. Her small part in the 9th episode, where we finally get to see some true change and justice, could’ve easily been played by any other character, including Nick.

Instead we are doomed to longwinded minutia with very few memorable action scenes or heart.

in all honesty…

Don’t waste your time.

I was sorely disappointed with this season. The costuming, lighting and cinematography were absolutely stunning, but it couldn’t save the show’s dillydallying and overstuffing of needless side stories and extraneous characters.

Hulu

It needed more time spent on the building of and execution of the revolution. As a fan of this series, I expected it, and I know I’m not alone.

I think the creators were overly ambitious, trying to seal up every, single, possible character plot, that they lost their entire focus in storytelling.

Fans were simply not served what they deserved. The way Nick was tossed aside; the way Serena’s unnecessary story wasted more good time, along with Lydia’s story, Luke’s story, Holly’s story, Emily showing up, and Naomi Lawrence being annoying.

They all ate up time and kept the final season boring, highly annoying and irrelevant.

It could’ve easily been wrapped up, with the rebels working and moving together without all of the never ending side stories, just to fit everyone in.

Combining story arcs together, and creating a smooth, faster paced script was desperately needed, in order to present us a tight, riveting, action piece. They had the elements from previous seasons, but frittered it away.

This shouldn’t have been a reunion season, it could’ve been daring enough to run parallel, as a living think piece to what is actually occurring in America right now.

Women’s rights are being taken away. LGBTQ+ rights are being taken away., and, our current regime is kidnapping people off the streets because they are black and brown.

Hulu

This had a chance to speak volumes about the American democratic crises that are shoved in our faces every single day.

Art has the capability of being a powerful influence in many ways, and, has changed perspectives worldwide.

Even Ronald Reagan changed his mind about making the most nuclear war heads because of the film The Day After. That film is what brought him to negotiations with Gorbachev, and the agreement to disarm slowly but surely.

This season was a chance to be that for the struggling people in American society today, who are fighting a Gilead wannabe regime as we speak.

But the silence in the decisions made, whether from other billionaire execs, or, from a lack of insight from another person in charge, speaks volumes.

We see you Disney. We see you Paramount. We see you CBS. We see you loud and clear. We know who’s side you’re on. Nothing Bob Iger or any other CEO says in public, will cover for the actions of what they are doing in bending the knee now.

If an old, ignorant, Hollywood actor can see reason from art, so can you.

Do better.

Handmaid's Tale Season 4: A Stunning, Spectacular, Emotional Journey

Hulu’s spectacular series, The Handmaid’s Tale, returns for Season 4. If you thought the past three seasons were good, be prepared to be breathless with, hands down, the best, most impressive season of the series.

Bringing the Best and Pulling ALL of the Punches

At the end of season 3, June (Elisabeth Moss) had managed to rescue around 80 children from the clutches of Gilead and flew them all to Canada to be reunited with their real families. She, painfully, stayed behind to help more children and handmaids and, of course, find her own kidnapped daughter, Hannah (Jordana Blake).

Season 4 keeps the momentum going, blazing with the fire of war both literally and figuratively. Unlike many of the past seasons that ceremoniously focused on character back stories, Season 4 wastes very little time in it’s forward and, sometimes, backward motion. Every single episode has a soul-shattering revelation and/or a shocking development that is unmissable.

We welcome back the regular characters of past seasons and meet a few new ones. From the steadfast Moira (Samira Wiley), the scheming Waterfords, Fred and Serena, (Joseph Fiennes and Yvonne Strahovsky); the stealthy Nick (Max Minghella) to the brilliant Ann Dowd, as the earnestly vengeful Aunt Lydia.

There isn’t a cast member that doesn’t give their absolute best to each of the characters. There is no slack anywhere, at any moment. Through all of the powerful and heart wrenching circumstances, the actors fully embody their characters and the performances are outstanding.

Moss gives her best performance to date in the series, which speaks volumes, as her past performances of June were nothing short of riveting.

This season, June is expected to endure more than any human can take and Moss never relents. Sometimes searing, other times agonizing, her performance should be at the top of every list during awards season. Moss also takes a hand at directing three of this season’s episodes.

Source: Hulu

In All Honesty…

There aren’t enough words to express the brilliance of Season Four’s daunting, impassioned, rollercoaster.

I expected that Season Four would be good but I never expected the level of dedication, effort, struggle and mastery that the artists of this season give both on and behind the screen. Everything about this Season is spectacular and cannot be missed.

When I say that every single episode holds a secret or happening that will shock, move, disturb, make you laugh or make you cry, I mean it. I literally felt exhausted for the actors at times. Handmaid’s Tale, Season Four, gets into your skin, grips you and makes you participate.

We feel the emotions of the actors; we awe at the spectacular filming; we are astonished by the meticulous writing; and anguish and marvel with every twist and turn. There isn’t a moment of any episode that drags or is unnecessary.

Be prepared to burn in the blistering fire of June’s wrath as nothing will stand in her way to serve justice and bring Gilead to its knees.

Season Four begins Wednesday, April 28, 2021 exclusively on Hulu.

Sundance 2021: Mass: The Forgiveness and Film We All Need

2020 was a thoroughly exhausting year for most of us. We found ourselves fumbling to live amidst a raging pandemic and, many of us, through the politicians who didn’t do anything to protect us. Not only that, but in the US, the political climate was so divided with reckless disinformation and hate, that it left the country with a wound that has done nothing but fester and incite violence the likes the country hasn’t seen since the Civil War.

The January attack of the American capitol in Washington D.C. gave politicians their first taste of what it felt like when armed gunmen freely entered an arena they were never supposed to. Feelings, I’m sure, that resonated with those who have been victims in school and other mass shootings.

Enter on the stage Mass. Written and directed by Fran Kranz, Mass explores what happens when the parents of a mass shooter and the parents of one of his victims come together for a talk.

Awkwardness, Pain and Shame

The film opens in a rural church. Judy, the church coordinator, played by Breeda Wool, who starred in a very enjoyable short I covered in last years Bentonville Film Festival, is fussing over particulars regarding a gathering that we have no details on.

Jay (Jason Isaacs) and Gail (Martha Plimpton) hesitantly pull up. Reluctant to even get out of the car, they sit in awkwardness awaiting something we have yet to know. The tension escalates when they encounter Richard (Reed Birney) and Linda (Ann Dowd) in the meeting room.

Source: Sundance Film Festival

Brilliantly portrayed awkwardness ensues as the couples flounder through niceties and small talk, covering up the searing pain like a paltry potpourri sprinkled on a rotting corpse. The quiet moments betwixt are deafening and the discomposure sets in an incredible sense of irritation that makes the watcher want to crawl out of their skin, in order to call out the elephant in the room.

As the conversations continue and we are fed information piece by piece, we become aware of just how deeply serious and horrific the underlying story is. It may make some want to bail. Yet we are set up so gently; so purposefully, we find ourselves too invested to walk away.

“He Was Quiet and He Was Doing Well”

It is revealed that Richard and Linda’s son, Hayden, killed Jay and Gail’s son, Evan, in a mass school shooting. Emotions race with the ups and downs of a never-ending rollercoaster. Who do we blame, what is responsible? The conversations veer through a gamut of topics ranging from the failures of the mental health system, video games, isolation, parenting, the school, biology and bullying.

Humans, in general. try to find something or someone to blame when something tragic happens. It’s in our nature to want to know why. However, the details usually elude us and we are left only with assumption and ignorance. We rarely ever get to hear both sides of a story and sometimes an action is too terrifying to want to.

Kranz does an impeccable job with this quagmire, touching upon every question, disagreement and complication one could think of, with intelligence and meticulous craft. Every argument one side comes up with is countered with an equally compelling argument from the other side. His brilliant script gives the actors every precious word that they need to immerse themselves in the characters and render authentic, performance perfection.

Each of the four leads are powerhouse actors in their own right but I was astounded by their ability to hit every nuance of the character’s grief. Nothing is held back. They navigate the roller coaster ride with a capability that has eluded them all until this film and that is, obviously, saying a LOT.

Source: Sundance Film Festival

I am a huge fan of Isaacs and have been ever since I saw him in The Patriot. I grew up watching Plimpton in so many 80’s films and Dowd is my personal success story heroine. Birney is so versatile that I didn’t even recognize that he was in another Sundance film on my roster, The Strawberry Mansion. Each of them bring all of their years of experience and lovingly pour it into each character manifesting their best works to date.

Using all of the these elements, Kranz embroiders an exceptional and painstakingly intricate symposium on the effects of gun violence, grief, authenticity, blame and suffering, mixed with the beauty of whole hearted and sometimes agonizing forgiveness.

In All Honesty…

I never saw this one coming. Mass was my absolute favorite feature of the films I saw at Sundance 2021. I was speechless at the lack of accolades it received in Sundance’s awards.

I spoke with one of the producers who was at the festival and he told me that they managed to film this in a matter of two incredible weeks. Truly astounding. It shows you the level of talent, dedication and preparation involved in both the cast and crew.

Mass reminded me of one of the gorgeous, sleeper indies that manifested itself into the Oscar’s, in the days when films weren’t just one recycling after another. A time when originality and craft were chosen over flash and noise. A time when character mattered and the heroes looked like you and me. A time when what a film had to say was more important than how rich it could make someone.

Mass takes an incredibly controversial and violent subject and breaks it down to essential humanity proving the overwhelming power of forgiveness. It gives us hope that even through the most unspeakable horror, that we can still heal and that it is possible to see those that we want to demonize with compassion.

Source: Sundance Film Festival

In the Q&A, Dowd broke down a bit when discussing her character and relayed how she “held the grief” of a parent that lost a child throughout her time filming. As Linda, she gave the most realistic depiction of that loss that I’ve seen in a very long time.

Isaacs talked about how he found himself filled with hatred, at times, for all of the disgusting things that were happening in the world, from our toxic politics to the people suffering under it. He stated that this film helped him to see the humanity in others and the importance of forgiveness.

And we need forgiveness and compassion more than anything right now. The United States has had 31 mass shootings in January of this year alone. The worldly pandemic has kept us all more isolated than ever. Real human interaction and connection eludes us, as we all rely on electronics to work and communicate safely.

We need more compassionate films as well. Kranz’s feature debut is outstanding. Full of heart, honesty and naked vulnerability, you could tell that he was just as invested in this project as the awe-inspiring actors. The question is, upon the well deserved success of this film, will Kranz be able to continue to put out that level of passion and heart in the rest of his works? I hope he does because I’m rooting for him. At this profit obsessed junction in film history, I’d be thrilled if even half the films that were distributed had the same level of care and attention to detail that Mass has.

Art is meant to inspire; make us think; bring us together; show us different perspectives and teach us things we couldn’t learn any other way. As artists I believe we have a responsibility to use our platforms for as much good as we can, especially when we get the privilege of a green light on our work. Art doesn’t have to be as “deep” as Mass, but there are all kinds of ways we can inspire and put our best forward in all of the choices we make.

Bravo Fran. You’ve set your bar high and proven that you can meet it. I look forward to seeing what you choose to do with your spotlight.