Elisabeth Moss Reflects on the Powerful Finale of 'The Handmaid's Tale'

Caution: Contains Spoilers! This narrative reveals key plot points from the final episode of “The Handmaid’s Tale,” currently available on Hulu.

“The Handmaid’s Tale” ends as it began — and Elisabeth Moss couldn’t be happier with the choice.

In the climactic moment of its debut episode in 2017, the Handmaid called Offred finds herself in her assigned quarters, silently taking in her surroundings through introspection: “A chair, a table, a lamp, and a window with white drapes.” The narration, spoken by Moss, ends abruptly with a startling revelation: “My name is June.” This was a name forbidden under the theocratic regime of Gilead, yet one that Offred continues to use as a means to preserve a vital piece of her identity.

In the last episode of the series, June, who has regained her freedom to use her real name, revisits the house where she was once held captive. The place is now in ruins, allowing June to commence writing her memoir, titled “The Handmaid’s Tale.” As the final scene unfolds, June records: “A chair. A table. A lamp…” She reveals that her name is Offred. Through her recollections as Offred, June Osborne is compiling a record of her lived experiences and a history that she fervently hopes will never be repeated again.

In an interview at Fox Studios for one of EbMaster’s Emmy supplementary editions, Moss discusses the final scene from “Imperfect Women,” her upcoming series. She reveals that what we hear in this scene is a combination: A freshly recorded rendition of the monologue layered with an older recording made nearly a decade ago. Crafting the subtle hint to the pilot’s beginning was intricate, as Moss had delayed rehearsing the scene until just 10 minutes prior. Fortunately, her Hulu app served as a reminder for the rhythm.

In this sequence, viewers may find it unfortunate that a fictional glimpse of June’s daughter Hannah is included. June and Hannah were parted prior to the series commencement, and their reunion remains unrealized as the show concludes. June’s mission to rescue Hannah has been the primary storyline, but Margaret Atwood’s 2019 book “The Testaments,” a sequel that includes Hannah, rules out this outcome. A TV adaptation of “The Testaments” is in development for Hulu, with Moss serving as executive producer and Bruce Miller, creator of “The Handmaid’s Tale” and the series finale writer, at the helm. When asked about fan requests for Hannah’s return, Moss replied, “I understand your desire, but it doesn’t transpire in Margaret’s sequel.

The TV series ‘The Handmaid’s Tale’ concludes in a thought-provoking manner: Gilead remains intact but is significantly undermined, and June promises to persist in her struggle and speak up. She separates from her husband Luke (O-T Fagbenle), though not necessarily permanently; she extends forgiveness to her past oppressor, Serena (Yvonne Strahovski), as they part ways.

What will likely linger with viewers is the callback to the series’ initial season, particularly due to a chilling real-world relevance. “The Handmaid’s Tale,” inspired by Atwood’s 1985 novel and reflecting abuses against women throughout history, garnered immense popularity during its first season as it streamed in the early months of the first Trump presidency. It served as a cathartic outlet for those enraged and righteous during the period between the Women’s March and the #MeToo movement, capitalizing on the political tension in the air. In its inaugural season, the show clinched best drama at the Emmys and Moss won best actress; reappearing now, following the overturning of Roe v. Wade and Trump’s restoration to power, the series’ return to its roots underscores its ability to capitalize on timely issues once more.

Furthermore, Moss’s concluding role signifies a significant shift, as she transitioned from her part on “Mad Men” to a critically acclaimed, prolonged, and challenging performance – often referred to as a labor of love – into one of the most iconic TV personalities in the streaming era. Here, she delves into the intricacies and decisions surrounding Gilead’s final act.

I want to talk about the tie back to the pilot in the final scene, with June narrating what she sees around her in what is now the ruined home of the Waterfords. Had that always been the plan?

As a devoted cinephile, I can’t pinpoint the exact moment when Bruce decided on this conclusion, as we’ve never had that conversation – which strikes me as quite amusing! It wasn’t part of the initial plan, but now, having breathed life into this narrative for nearly a decade, I find it unthinkable that it would have ended any differently. When she begins to recite “A chair, a table, a lamp,” the audience is left with a hunger – a craving. A question arises: “Is this the authentic voiceover? Does this mirror the book’s opening?” To me, that moment epitomizes television gold. I could never have agreed to anything that didn’t feel like the absolute perfect culmination of this series.

I’m sure that’s true.

This entire series has consistently revolved around a single theme since its inception. It’s the same captivating concept that drew me in during the pilot episode and convinced me to be part of it. The narrative we present in the climactic scene also echoes this central idea. Essentially, it portrays a woman who will relentlessly persist in her struggle for her children. This determination extends beyond her immediate offspring to encompass future generations as well. Her journey, marked by unyielding resilience, is what has defined her since the beginning and continues to define her in the final scene. For me, the fact that she begins and ends with the same resolve is an extraordinary stroke of genius. And I can confidently assert this, because it’s not my original idea. In my opinion, there is no more eloquent way to encapsulate the series than through her personal narrative.

It’s really hard to end a show. “Mad Men” did it perfectly—

Did you like the “Mad Men” ending?

Of course!

Me too.

I didn’t think that was controversial; I just thought it was beloved.

[pause] Good! [laughs]

Was it strange being back in that room?

The weather turned out splendidly as we carefully planned for a beautiful day. Initially, we had more activities scheduled for that day, but the Director of Photography (DP) made sure nothing else interfered, ensuring this was the only scene we filmed that day. Originally, this scene was scheduled later in the week, but we decided to move it up because I didn’t want to be shooting it on the final day; it seemed like a daunting task I’d rather avoid.

In addition, I closed off the set for myself, ensuring my comfort as an actor while directing. This was necessary because, despite overseeing the scene, my primary role that day was to embody June and stay immersed in the moment, free from distractions such as people coming down from the production office to observe due to excitement about filming the final scene of a series. While I understand their enthusiasm, I felt it essential to maintain focus and eliminate potential disruptions.

The experience wasn’t dreamlike, instead it was tranquil and authentic. You could sense the intensity of everyone’s effort. The dolly grip was meticulously setting up each shot, while everyone else was attentive to every detail regarding lighting and set arrangement. Being there felt like witnessing a miraculous event unfolding before my eyes, but one mustn’t think that way. It was more like I can hardly believe we are doing this at this moment.

Because you actually have to be playing June, not “Elisabeth, who’s excited.”

Indeed, let me share another point with you. Just before we started recording, I suddenly remembered that I hadn’t memorized the speech yet. To make things more challenging, I also needed to remember it in the same rhythm as the original voiceover. If I want to overlay the voiceover from episode one onto my own recording, I must say it exactly as it was said originally.

Otherwise, there would be a gap…

…and it didn’t align. So I opened Hulu on my phone – yes, $17.99 without ads, quite a costly subscription. I then played Episode 1, rewound to the end, and repeatedly listened to it for around 10 minutes, committing the rhythm to memory. Fortunately, I managed to mimic it accurately. We had to subtly adjust some lines with Automated Dialogue Replacement (ADR). However, I believe you can sense it unconsciously – the self-referential quality of it, you just intuitively feel it. Particularly when she says “My name is Offred”: That one feels eerie.

I found it oddly heartening that Gilead doesn’t once and for all burn to the ground in this episode — that June is committed to a fight that will wear on across various fronts. It felt less fantastical and more a gesture toward how political change really happens over long periods of time.

It’s impractical to expect that June could overthrow this wicked empire in a single episode. Instead, it’s through persistent efforts like battles, books, and protests that we will ultimately win this war. This is the reality, and it gives us optimism about our future.

I will admit that part of me really did expect a reunion between June and Hannah.

Discussing with Margaret Atwood is always an exciting prospect, especially since the release of “The Testaments” left us anticipating more. It’s clear that wasn’t intended as a conclusion, which was a decision by Margaret that we, naturally, accepted. I can’t help but wonder if we would have pursued this narrative without “The Testaments.” To be honest, it’s hard for me to imagine it any other way. In my mind, the absence of “Testaments” would significantly change my experience with this story.

Our task was to remain faithful to Margaret’s actions while also acknowledging Hannah’s involvement. I am more attuned than anyone else to the audience’s yearning for June to reunite with Hannah. This is the most frequently asked question and the most desired outcome. While I wouldn’t call it a burden, I have carried this desire with me for quite some time. I want to tell everyone who asks, “Will she get her daughter back?”, that I understand your sentiment, but unfortunately, that scenario does not occur in Margaret’s sequel.

Given the expectation among our viewers that they might be let down or taken aback, the natural progression was to introduce Hannah at this juncture. Throughout the entire series, we had been preparing for this moment, culminating in the last scene where Hannah entered the room.

Speaking of “The Testaments” reminds me of Aunt Lydia. It’s interesting that she seems to have a change of heart and starts helping Handmaids to freedom, but it’s rooted, still, in these immutable religious beliefs that haven’t shifted.

she deeply cares about her daughters and aspires for them to have the best lives possible. Despite her past actions, this is undeniable. However, she’s now realizing that those she trusted are causing harm to her girls, shattering all her previous beliefs. This revelation has led her to think, “I need to take charge and do things differently.” She’s intelligent because she understands that operating from within the system, as June had always believed, is the best strategy. Consequently, June decided not to leave Gilead at the end of Season 3, recognizing that filing paperwork from Canada wouldn’t be enough; instead, she must work from within and fight for change.

June consistently demonstrates a unique trait, her unwavering faith in people’s capacity to transform and act honorably. This belief often proves accurate, but occasionally falls short. Yet, it never deters June from standing by Lydia. The poignant finale between them resonated deeply with me, as I intentionally paused to glance back at her one more time, a moment that was specifically crafted for “The Testaments.

June makes the choice to tell Serena she forgives her. What was it like to play that scene?

This scene was undeniably challenging, a question that’s been lingering for years: how can one go through with it? Even after all this time, the answer remains elusive. However, June recognizes that it matters more for Serena to hear it than for her to avoid doing it. And so, that’s the decision she makes. Whether she truly forgives everything is uncertain, but in this context, it seems almost irrelevant.

She needs to set Serena free.

June can offer this gift, and I believe she benefits from it as well. It’s a powerful experience for her, and one that she should share. Now, let me mention something rather practical – when we filmed her side, there was a heavy snowfall, almost a blizzard. But when we shot my side, the weather was clear. As a director, I had to manage that situation, using a snow machine to create the right amount of snow in the scene. At the same time, I needed to deliver my lines clearly without them getting obscured by the falling snow.

I thought the way June left another character, Luke, was interesting, too; it was less a “goodbye” than a “see you later.”

What we’ve been aiming for all along is precisely this outcome. We didn’t desire a resolution to the age-old question: “Team Nick or Team Luke?” For years, I’ve been posed this dilemma, but never had the opportunity to express my true feelings until now – that she won’t pick either side. Her story isn’t about that.

O-T and I conceived the second half of the scene as if they were meeting for the first time again. In the new setting they find themselves in, both characters must begin anew. The hopefulness I feel is in the possibility that they could cross paths once more in cities like New York or Chicago, perhaps sharing a drink together. However, the story doesn’t end with her choosing Luke, and that was crucial for me to convey.

The other side of the coin is Nick. Max Minghella told me that you revealed his massive heel turn well ahead of Season 6 shooting.

The shock was exactly what we aimed for. However, our discussion with Max centered around ensuring a well-executed plan. If we were going to carry it out — not merely eliminating him, but leading him towards the dark side — we needed to do it correctly. It couldn’t be sudden or swift; instead, we needed to lay the groundwork from the very beginning. From the first episode, each of his scenes was carefully arranged to guide him towards the moment where he reveals Mayday to Wharton.

There’s a significant number of supporters for Team Luke, but it’s important to note that Team Nick is also quite powerful. This is because an unfulfilled love story tends to be more engaging than a strong marriage. However, we needed to win over an entire group of people and convince them that she shouldn’t be with this particular person.

It’s notable that in his final moments of life, before the plane he’s on blows up, he’s asking about June. He does still care.

It’s crucial for our show not to portray strictly good or evil characters – neither villains nor heroes should be purely black or white. I believe that people have the capacity to change, and these changes occur through a series of choices. In this case, both Nick and Commander Lawrence make decisions that lead them to board the plane. One has chosen to do something wrong, while the other has opted for what is right.

In the penultimate episode, when your character, from the gallows, shouts “Don’t let the bastards grind you down,” a phrase that’s become so associated with the show. How did that feel?

In these situations, conquering a touch of stage fright is necessary. Standing in the heart of Cambridge’s square and shouting at the peak of your voice isn’t exactly simple. The reality was, the camera was so near that I could barely see anything else. With the extras eliminated, it wasn’t as if a crowd of people were watching me intently. It was simply me and the camera. That’s the only way I can perform without feeling self-conscious. Otherwise, I’d feel quite embarrassed.

In a manner reminiscent of “The Handmaid’s Tale”, the camera was extremely close, so near that bumping your head against it wasn’t an option unless you were too far away. While I was deeply engrossed in the intricacies of my work, I found that when directing, I had to divide myself – one part executing and the other observing. The only method I could employ was to simultaneously consider the technical aspects and take bold action.

This interview has been edited and condensed.

2025-05-27 08:18

Elisabeth Moss Reflects on the Powerful Finale of ‘The Handmaid’s Tale’