The Handmaid’s Tale Recap: Enemy of My Enemy

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After being hesitant about delving into this topic, but with the shocking twist at the end of “Surprise” in mind, it seems dishonest not to discuss “The Testaments.” Let’s gather and have a spoiler-free, high-level discussion about this book instead.

When Margaret Atwood published her sequel to “The Handmaid’s Tale” in 2019, many believed that the TV show would serve as a gradual introduction to the new novel. The series wouldn’t be confined to the sequel’s events, but rather, it would set the stage for its plotlines – a term used by “The Handmaid’s” executive producer Warren Littlefield when discussing this topic in 2021. In my opinion, the expectation of these stories overlapping significantly impacts how I perceive the events portrayed in the Hulu series, an influence likely shared by most viewers who are familiar with Atwood’s books.

As a devoted fan, I must express my thoughts regarding Bruce Miller’s latest statement about his new series, “Testaments.” While he stated that he didn’t want either show to influence the other, I find myself somewhat skeptical, sir. If they’re set in different worlds, why cast Ann Dowd as Lydia in both? It seems like an effort to create some distance, but I can’t help but wonder if we might see an unexpected departure from the foundational elements of “The Handmaid’s Tale.”

Despite this intriguing possibility, I am still hesitant to assume the final outcomes. After all, Professor Pieixoto claims he’s decoded an ancient inscription 200 years into the future. Who knows what twists and turns await us? Even if your character may live on in “The Testaments,” that doesn’t guarantee survival or a happy ending in this series finale. So, brace yourself; the fate of all characters remains uncertain as we approach the final four episodes!

I’m making an effort (but struggling) to separate my thoughts about “The Handmaid’s Tale” from its sequel, “The Testaments,” when evaluating the Hulu series as a standalone work of art. I believe it deserves independent appraisal, having developed unique characters and conflicts such as Joseph Lawrence, Gabriel Wharton, and New Bethlehem, which diverge from Margaret Atwood’s original source material.

Initially, seemingly minor changes like handmaids being marked by earcuffs instead of tattoos might have seemed insignificant. However, over the course of six seasons, these alterations have taken on a deeper meaning. For instance, June’s symbolic defiance of not having her earcuff removed in Alaska is a powerful development that originated from this season-one modification.

In this week’s installment, June and Moira emerge unexpectedly from Joseph Lawrence’s vehicle, much like two jack-in-the-boxes. Although it’s not uncommon for June to argue with people, the heated exchange between her and Joseph took me aback due to its bitter intensity. June implicates Joseph in Gilead’s downing of U.S. planes, while he counterattacks by blaming her for failing to save his wife. Despite being embroiled in an ideological conflict, they are anything but dogmatic. June is a mother on a mission to find her daughter, and Joseph is a bereaved husband trying to navigate without his moral compass. If Eleanor were still alive, Joseph would have halted the attack. If June had been different, Eleanor might still be alive. It seems these two are more nihilists than idealists.

In the season premiere, Serena says to a hesitant June, “Enemies of my enemy become my allies.” June replied with caution then, but given their recent experiences, Gilead has a knack for forcing people into difficult positions. It’s barely been hours since June returned to town, and she’s already forming an alliance with Joseph. He shares that the other Boston commanders plan to restrict New Bethlehem and execute its creator. But what if there were no other Boston commanders? June muses ominously over Moira’s objections. Given their lack of alternatives, June renews her old agreement with Joseph. Mayday will attack Joseph’s enemies in a surprise attack at Jezebels. In return, Joseph agrees to help Moira escape safely and allow June to contact Nick.

In a hurry, Nick retrieves Janine’s map and the incriminating letters from the Jezebels, which they wrote to their families. Earlier today, he was by himself in his humble yet sparse house, brooding over the boy he had killed and feeling sorry for himself. It seems as though June sensed Nick’s need to hear her voice at that exact moment – a connection that transcends time, space, and oppressive regimes. When they meet again in Joseph’s basement, Nick informs June that his wife and father-in-law are in D.C. Surprisingly, June, who has always appeared so grounded to me, consents to stay the night with him.

I anticipated emotional and heart-wrenching moments, mixed with tender love scenes and a bittersweet farewell. Instead, what we’re given is an extended flashback sequence. We observe June stealthily entering Nick’s apartment above the Waterfords’ garage. The post-encounter chatter between them, which was rarely dwelled upon before the birth of baby Holly, is now extensively explored. Despite their mature age, the youthfulness of their love shines through in their conversations. They discuss their travel aspirations, such as Paris, finding it inspiring. They also reflect on how effortless it would have been for them to live their entire lives unaware of each other’s existence. In the context of America, Nick could have been June’s Uber driver, and June could have been another man’s wife. The emergence of Gilead served as their ‘Sliding Doors’ moment.

Today, Wharton receives a clue that Nick visited Jezebels and chooses to stay in order to address his son-in-law’s unfaithfulness. Instead of spending a passionate night with her lover, June rushes through the quiet streets of New Bethlehem to seek refuge at Serena’s home. Surprised by a wet Martha at her doorstep, Serena quickly accepts June’s hurried excuse: Heartbroken and feeble, June has braved danger to ask Nick to flee with their daughter to Canada. It’s almost endearing how Serena seems delighted when June (dishonestly) confides in her, as if she can’t believe the popular girl knows her name. Nevertheless, because Serena is both proper and immature, she cannot help but criticize June for wanting to dismantle so many families. To be fair, June is no better at chitchat. When she learns about Serena’s approaching marriage, she criticizes Serena’s mother-in-law-to-be for submitting herself to another man’s power. Most people would have at least added, “Congratulations.

In terms of their relationship, as Serena becomes more convinced by New Bethlehem’s deception, it appears that the common adversary between June and her may no longer exist. However, instances like this suggest they share a bond, almost a friendship – or sisters in some sense. They know each other inside out, enjoy discussing mutual acquaintances, and aren’t shy about being open and honest with one another. The broader world has become less truthful with these women, but June and Serena have spent most of the recent years living together under one roof. They recognize each other’s presence even in subtle ways, like the sound of footsteps on the stairs. They are intimates and, in a way, equals. They aren’t afraid to confront each other. In other words, they have an unspoken understanding that allows them to be honest, even when it’s difficult.

In essence, Janine and Lydia are considered close friends as well. By the end of the episode, it seems that Jezebels is no longer under lockdown, for Aunt Lydia strides in without hesitation to summon her favored girl for a private audience. She wishes to share some exciting news with Janine: she’s found a new job opportunity for her, but unfortunately, it’s even more challenging than her current assignment. Despite the hardship of being separated from her child, Lydia encourages Janine to be grateful for this new chance, as it involves working at the New Bethlehem birth center. To make matters worse: Serena Joy, one of Gilead’s most formidable figures, will serve as Janine’s supervisor.

In their typical fashion, they argue. Janine accuses Lydia of being nosy and bothersome. The unpredictable Lydia responds by slapping Janine in anger for being ungrateful. It’s challenging to empathize with them because, unlike June and Serena, these women have always been more like adversaries, despite Lydia’s illusions. However, their dispute stirs unsettling doubts about Aunt Lydia’s mental state. Janine tries to persuade Lydia to address the girl as Charlotte, her real name given by her biological mother who wished to keep her. “You took her away from me,” Janine screams at Lydia, but it’s uncertain if she understands this now. Does Lydia continue using the name Angela because she can’t confront the atrocities she’s perpetrated, or has she been fully indoctrinated by the system of manipulation she helped create? It seems the latter must be true, as it’s the only explanation for Lydia’s audacity to visit this grieving mother at the brothel where she’s detained and expect gratitude for a plate of homemade oatmeal cookies.

In “Surprise”, Serena realizes that the kind of forgiveness required for actions as damaging as theirs won’t be given through a sweeping proclamation of pardon. Instead, she believes she might gradually earn June’s forgiveness. She could provide June with a safe haven when she has no other place to stay. In the daytime, Serena sets up a meeting between June and Rita, who now works at a bakery in New Bethlehem.

Nick.

Each morning, he dashes off to Serena’s residence and shares with June their fresh family strategy. Their dream of fleeing to Paris, reminiscent of their idle fantasies while they lay in bed above the Waterfords’ garage, seems on the verge of becoming a reality for June. However, just as she appears ready to agree, there comes another knock at Serena’s front door. In response, June and Nick conceal themselves in the pantry as Wharton boasts about his latest achievement to his soon-to-be-wed partner. After decades of criticizing Jezebels, he’s finally succeeded in shutting down the place—not because it was a den of vice, but because it was an easy target for American forces.

It hadn’t crossed my mind that Nick would so quickly reveal the truth, even when it meant betraying June’s trust. He had shared everything June had told him about Mayday’s plan with his father-in-law, as if he were confessing a secret affair. This season has been building up to this level of treachery, but I was still taken aback by it. Has Nick ever put June before himself, or has he always chosen survival over loyalty? It seems that the only reliable partnership is one’s own self. Mayday’s assassination plot appears to have failed. Hannah is trapped in Gilead, and Luke will never make it to Alaska.

June will not have the opportunity to gaze upon the Monets, with their blurred and whimsical quality, adorning the walls of Musée d’Orsay. She and Nick will miss out on holding their daughter’s tiny hands as she playfully kicks her feet in the air, exclaiming “whee” or whatever delightful sounds French children might make instead.

As the scene concludes, sunlight filtering through the larder door’s gaps illuminates June alone. This moment recalls the dim interior of a Catholic confessional booth. She’s now privy to her lover’s transgressions – the shockingly deep layers of deceit. What follows is her dilemma: how to respond to this revelation.

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2025-04-29 19:56