Is Taylor Swift's Secret Cameo in 'The Handmaid's Tale' Finale the Biggest Twist Yet?

SPOILER WARNING: I’m sharing insights about the final episode of “The Handmaid’s Tale,” currently available on Hulu. Proceed with caution if you haven’t watched it yet and wish to avoid spoilers.

Ever since the premiere of the Hulu adaptation of “The Handmaid’s Tale” back in 2017, I, Bruce Miller, had a clear vision for how this story would conclude. And for those who watched the series finale yesterday, you’ll witness my unwavering commitment to that ending, as I’ve got the evidence to back it up.

In an interview with EbMaster, Miller mentioned that if you rewatch the first episode, at its start, you’ll notice she presses a tape recorder – the same one she uses at the end of the series to record ‘The Handmaid’s Tale’. This wasn’t added later; it was already there.”

This version attempts to keep the original meaning while using simpler and more conversational language.

In the final episode of “The Handmaid’s Tale” series, June (played by Elisabeth Moss) re-enters the Waterfords’ damaged residence and chooses to start documenting her story in that very room. This narrative begins with a voiceover from June, as Offred in the series debut, setting the stage for writing a book detailing her experiences within Gilead.

Miller stated that it seemed logical given the context. The final scene in the book features Offred recording something, and this was where their discussion began when Lizzie and he were planning the project. If they could fast-forward six seasons (which is remarkable), they would want to know what would happen next. Ideally, they’d end where the book ended, with her recording in a cabin and then abandoning it. We adjusted a few things, but the sound team, who has been with us since the beginning, is thrilled because we’re fulfilling an Easter egg they planted in the very first episode.

The world of Gilead, as depicted in “The Handmaid’s Tale” series, doesn’t meet its demise with the conclusion of the series. Instead, the downfall of Gilead is portrayed in Hulu’s adaptation of “The Testaments,” Margaret Atwood’s 2019 sequel to her groundbreaking 1985 novel. Miller is overseeing this new series, which is now in production, and is collaborating with many of the original team members, including Elisabeth Moss as a producer.

In the following interview, Miller explains the connection between the ending of “The Handmaid’s Tale” finale and the plot of “The Testaments,” outlining the adaptations that will be made in the sequel series compared to its original source, while also discussing his reasoning behind concluding June’s story at a specific point.

I was so excited to see Alexis Bledel come back as her character Emily for the finale. How did that come about?

It had been clear to me all along that I would go to great lengths if the situation ever arose for her return, given our shared affection and her enjoyment of the show. The logistics were crucial since we only have a limited time to film, and it was essential that she was present during the Gilead shoot, as June’s return had significant implications regarding Emily’s fate. Therefore, her presence in the neighborhood held more weight without knowing what happened to Emily. So, it seemed that her role was integral to that part of the story. However, making it happen, as usual, proved challenging.

I didn’t even realize until the final lines triggered me to go back and watch the pilot that the entire scene in front of the ice cream shop is also a scene from the pilot. The aquarium scenes with Hannah and Luke are another reference to the pilot.

In “The Handmaid’s Tale” novel, the narrative perspective was limited to June, which means we only learned what she knew, making the story suspenseful and mysterious. This limited understanding is crucial to the story’s nature, as if we were seeing it from a high-altitude view, such as 30,000 feet, it wouldn’t be a story at all. June doesn’t know what lies ahead for her today or tomorrow, not even in that van or in that room, which is why the tale is told through her experiences. The challenge I faced while writing was deciding where to begin and end the story.

How are approaching “The Testaments” TV series based on where you concluded “The Handmaid’s Tale”? That book centers on the stories of June’s daughters Hannah and Nichole, as well as Aunt Lydia, but takes place 15 years after the events of “The Handmaid’s Tale” book. Is that the time jump you will follow?

The story isn’t exactly what you think, because it revolves around Hannah during her teenage years, specifically from ages 14 to 16, which is approximately five years after “The Handmaid’s Tale.” However, this timeline is somewhat flexible as it’s not a real-world scenario, but it’s roughly three or four years post the original story. The primary distinction is that the narrative doesn’t follow traditional age progression due to our show’s specific timeframe and character development. Babies grow at a certain pace in this context, and characters aren’t always the right ages. For instance, Nichole isn’t attending high school. These adjustments were necessary. Interestingly, Margaret Atwood herself approached me with the idea for “The Testaments,” and we discussed it early on. There were subtle hints from her even then.

It appears that the direction of the show has shifted, however, this transition occurred earlier through discussions between us about the future of Aunt Lydia. She expressed approval and shared her ideas, while I considered how mine aligned with hers. At the same time, she was inquiring about the show’s progression, which allowed for an ongoing dialogue. It wasn’t a matter of seeking her permission, but more of gaining insight into what would best serve the characters for “The Testaments.

What other characters might you carry over into “The Testaments”?

If you have an hour spare and if scheduling allows, I’d love to find a way to involve them again in the narrative. While there are professional obligations to consider, from a storytelling perspective, many elements seem fitting within “The Testaments” universe. These individuals are remarkable, they’re my friends, and they excel at their roles. It would be an honor to have them rejoin the tale whenever we can coordinate it. They’re deeply intertwined, not like some stories where characters are simply replaced. The initial set of characters hold significant importance for the subsequent ones. Therefore, these narratives are closely connected and represent a continuation of “The Handmaid’s Tale,” as you follow the daughter instead of the mother.

How will June be referenced? Or Nick? In “The Testaments,” Nick has a different role within Gilead versus how “The Handmaid’s Tale” TV series ends, so how does that affect what your version will look like?

In our adaptation, we’ll heavily feature and introduce the characters earlier than they appear in the original book, “The Handmaid’s Tale.” While the novel primarily focuses on Agnes and Lydia’s lives, our narrative will emphasize the characters who brought about changes at the end of the previous series. This means that June will play a more significant role, even though Agnes in the story doesn’t realize that June is her mother. In “The Testaments,” Agnes narrates the story in retrospect, similar to how June did in “The Handmaid’s Tale.” Therefore, Agnes is fully aware of the whole story. The women who have significantly influenced Agnes, including June, form a crucial part of our narrative. It’s fascinating to consider the impact these women have had on her life, given that she carries a lot of traits reminiscent of June, which can only mean trouble!

A lot of people have had a hard time accepting Nick’s death at the end of Episode 9. There’s been a lot of mental gymnastics people have made to be like, “He got a parachute, and he’s gonna come out of the plane and we’ll see him in the finale.” On top that, there’s also a lot of people who want to believe that he was in on that plan to blow up the plane, that he knew about it, and he actually was part of Mayday, like he is in the book. So can you set the record straight on what Nick knew and didn’t and whose side he was on in the end?

In essence, it appears he constantly feared every flight he boarded would explode due to his understanding of their power and potential threats. Each day seemed like a possible last for him. Reminds me of Nick, who struggled to maintain the man we knew and June loved when he got married and had a child. He needed to alter his perspective to prioritize his family, as June advised, saying “Children look to their fathers.” Given the choice between potentially sacrificing himself or abandoning his wife and child, it’s hard to imagine he doesn’t see staying put as the safer option for safeguarding his family, considering it a move towards greater safety.

In essence, his actions weren’t about Mayday, but rather about being a good man – that was all he aspired to be. After settling down in Gilead and marrying, it seemed like he had fully committed himself. He even acknowledged the winners in a casual manner, not the righteous ones. His primary concern was safeguarding his family, especially since June wasn’t with her child. It was harder for him without her.

To me, this development was a logical progression of Lawrence as a good man, and also the good man that June influenced in him. I believe he would never, under any circumstances, abandon his duty towards the child about to be born. He was well aware of the risk Mayday posed to him, yet he allowed it to unfold because he could have prevented much but chose not to. In the end, I don’t think he would have been shocked by what transpired. If Lawrence had warned him earlier, I believe he still would have boarded the plane.

There’s a lot of references made to Nick throughout the episode as well with June looking up over the garage and things like that. I know there wasn’t a ton of time to unpack her feelings surrounding his death, but how much did you want to incorporate that and how she’s dealing and grieving through that?

Certainly!

“Yes, indeed. If the series had continued, it would have covered eight episodes about her life, focusing particularly on the next 25 years and the impact of past events. We aimed to portray how she was dealing with these issues at this stage in her life, so close to when they occurred. However, the underlying theme is present throughout the entire episode. It’s one of the reasons she struggles with deciding whether or not to share her story – she has relationships like the one with Nick, and their ending is part of her history. Many of her stories don’t have happy endings, so there’s a question of whether or not to tell them. Luke suggests that these people are extraordinary, and their stories shouldn’t be lost to history, including his. So, I believe the grieving process has just begun. She cared deeply for both of these men, but I think her love for Nick was particularly profound. Despite their flaws, they had a deep affection for each other, one that always made her wonder what might have been in different circumstances. And I don’t think this feeling will fade. When the series ends, she tells us about meeting him and says, ‘There was this really attractive guy in the garage.’

Going to the other hot guy — Luke, and how that ends for June. It’s left open ended, where they plan to meet back up and are still working toward getting Hannah, but aren’t actively a couple. Why end it that way?

It appears they’ve made significant modifications, which led me to believe that their conclusion had to be substantial and responsible, given they wouldn’t take time to get acquainted. Although they attempted a brief encounter when they met in Toronto, it’s evident this relationship will be prolonged and intricate no matter the outcome. What I appreciate most is that their love has never been disputed; instead, it’s about deciding whether their lives will be entirely intertwined or partially connected. This season saw him grow independently, taking charge of his actions to improve others’ lives, but he also prioritized the well-being of those around him, including his daughter. Yet, I sense a question lingering in his mind: “If I’m not just seeking someone to be unhappy, what purpose do I serve?

Going back a few episodes here — this has been sitting with me since they brought it up: Moira and June were having a conversation about what Nick did to betray Mayday, and they bring up Angelina Jolie, Rihanna and Halle Berry. Where are these women, Bruce? If these people exist in this universe, did they become Handmaids? Are they Marthas? Where’d they go? Did they get to Hawaii?

As a cinephile, I’d venture to say that these individuals, with their sharp intellects and exceptional talent, would wisely choose to distance themselves from this situation. After all, Rihanna, Angelina Jolie, or Halle Berry wouldn’t be seen anywhere near here. Therefore, I believe they’ve found themselves in the most serene, secure sanctuary that their discerning eyes could locate.

Hopefully attempting to save us, still.

Fingers crossed they’ll manage to rescue us, yet it seems none of them got caught up in that dreadful situation – a relief indeed, thank goodness.

One of the bright spots in the finale is the alternate reality scene June dreams where she is out with all the Handmaids and Rita at a karaoke bar singing “Landslide.” In a packed finale, how did you decide that dream sequence should be included here?

In essence, the character June was contemplating what she truly desired after experiencing such a challenging situation, knowing that returning to the past meant losing connections with people like Janine, Alma, and Nick. The question then became, what did she yearn for? June expressed, “I want things as they should have been,” which essentially means preserving relationships with people like Janine and Alma.

At the beginning of the series, June didn’t harbor dreams; instead, she clung to memories of her daughter and past life. As we approach the final season’s climax, dreams are introduced for the first time in the show. June had a dream at the start of Hannah’s storyline, and another in this final episode. This shift towards dreaming again signifies that June is regaining hope for the future, envisioning a better world beyond the oppressive regime symbolized by bloody commanders. In a way, this marks the end of one significant phase in June’s life as a Handmaid, where she could once more dream and aspire for positive changes.

We don’t get a ton of Serena in the finale, but we do get closure for her, and we get forgiveness from June — which I feel like is very bold, and is going to be a controversial decision. Especially because two episodes prior, and from the beginning of the season, she said, “No, I don’t forgive you. I don’t. How could I forgive you?” So why did she make that choice, and does she genuinely mean it? Or was she saying it because she doesn’t think she’s going to see Serena again, and so let’s just end it this way?

I believe she expressed a sense of aspiration when she said, “I hope I can mean this,” followed by, “You have to start somewhere.” This implies that she’s not fully committed to accepting this woman, but she is prepared to detach from their shared past if it becomes necessary. The focus isn’t on rejecting the person altogether, but rather on freeing herself from the negative aspects of their relationship. She has a busy life and many other things to consider, so she feels it’s time to move on. This scene also highlights the idea that forgiveness is a form of power, as mentioned in Margaret Atwood’s work, “The Handmaid’s Tale.” Previously, she had expressed anger towards this person, but here, her statement can be interpreted as an act of forgiveness.

Janine is alive. Janine is free. And Janine has Charlotte. And that’s all most people were hoping for at a certain point by the end of the series. What motivated you to give that one big happy ending to a character who has been continuously beaten down?

The event was extraordinary, and it seems like we’ve been building towards this moment throughout the entire season, as if each piece of the puzzle was gradually falling into place, enabling something long overdue to finally, at last, transpire. Lydia’s character has undergone a captivating transformation that Ann Dowd has skillfully portrayed for two or three seasons, initially regarding Janine as a human and later perceiving all her “girls” in the same light. I believe this is the result of her evolution, which is evident this season, as Lydia demonstrates her commitment by taking action on several occasions — this instance being one of them. I aimed to convey that Lydia, along with Naomi [Ever Carradine], would not allow her to perish within the confines of the Eyes, and when she was taken by them, planning to perform some unknown act, Lydia refused to let that happen. These two women form an emotional core of the series.

However, it’s worth noting that Naomi has significantly evolved in her faith towards the Handmaid system and Gilead as a potential future for her daughter. Given the unique circumstances of being a woman in Gilead, one cannot help but ponder about their daughter’s destiny, especially if they have one. It seems that Naomi harbored aspirations for her daughter to ascend to the upper echelons of society, much like the character Agnes in “The Testaments.” This belief in a secure future allowed her to worry less. As the foundations of this dream began to crumble, she recognized that her child would be better protected with Janine. This realization led to a gradual understanding among other characters, preparing the way for Janine’s moment of need. When the time came, Naomi, against her initial wishes, intervened and rescued Janine, even though Janine had explicitly asked her not to interfere. In the end, Naomi defied Janine’s instructions and saved her, a decision that stemmed from their long-standing connection established since the very first episode of the series, ultimately proving beneficial in this critical moment.

The use of “Look What You Made Me Do” (Taylor’s Version) in Episode 9 had Swifties going crazy. Fans have inspected some of that scene and noticed a character shot only from behind that’s walking in such a way they think it’s Taylor Swift herself. Was that her? Did Taylor have a cameo?

I can’t say anything. I’m not allowed to say anything.

“Not allowed to say anything”? Well, that makes the speculation worse!

All right, I’m good at making things worse — that’s how I make all of my money.

How long will it be until we get to see “The Testaments”?

We’re making great strides towards completion, and we’re smack dab in the midst of production, which is truly delightful. We’ve invited numerous members from “The Handmaid’s Tale” to join us, including the crew, Elisabeth Moss, and myself. We’re also working alongside Warren [Littlefield], Steve Stark, Lauren [Thorpe], and many others. It’s a joy to be part of this team again, and the quality of the work continues to astound me. I believe it’ll arrive much sooner than the next season of “Handmaid’s” would have, but we’re making excellent progress, and things are shaping up wonderfully. I think this new project will offer a similar level of enjoyment as my previous show does.

This interview has been edited and condensed.

2025-05-27 08:21

Is Taylor Swift’s Secret Cameo in ‘The Handmaid’s Tale’ Finale the Biggest Twist Yet?