‘It’s All a Circle’

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For six seasons, June Osborne has found herself in a repetitive cycle of suffering, escaping, and then repeating this process. In the final episode penned by creator Bruce Miller and helmed by star Elisabeth Moss, she embarks on a walk, reflecting on alternative ways to live as Gilead’s boundaries no longer encompass her hometown. Now, symbolically speaking, Boston has reclaimed its status as America, implying that June Osborne is back in familiar territory.

Miller expresses disdain at the idea that June could have embarked on something as ordinary as the hero’s journey. He comments, “It’s overplayed. Everyone is so fixated on it.” He finds it more fitting when there were annual plays in Athens. Over the last decade, Miller and Moss have spent countless hours discussing this one character, generally finding common ground in their perspectives. Neither of them wanted to constrain her with genre expectations, such as making it an epic or a romance. For Miller, it couldn’t be an epic with a moral at its core, while for Moss, “The Handmaid’s Tale” was not June’s story in the romantic sense: “That wasn’t her journey.” Our conversation delved into the grim yet touching space they arrived at instead, where June is portrayed as courageous, isolated, and unwilling to abandon the struggle.

Bruce Miller: I’m glad you survived the finale.

The finale was the most survivable of them all. It had a thoughtful, almost meditative quality, starkly contrasting with the prevailing trend of oversized, action-packed finales.

It’s great that everything unfolded as Lizzie and I discussed, Amanda. We don’t want to criticize those who reach the end; it’s not kind. Unfortunately, I haven’t revisited the early seasons in ages. Back then, I could recall every edit with ease.

I’m not a rewatcher.

B.M.: I rewatch movies and I reread books. I don’t trust myself the first time through.

Your fans are very attentive, though.

Elisabeth Moss: Our series is designed for intellectually-engaged audiences. We refrain from simplifying it excessively. The level of detail and contemplation invested, it’s tailored for those audience members.

I’m not one to watch something multiple times, but our audience often does. I hope they discover something fresh on the 100th viewing. Lizzie’s acting contributes to that, but also every aspect of the production surrounding her performance should be top-notch and thoughtfully executed.

How seriously did you consider killing off June?

B.M.: I didn’t consider it at all.

Bruce: I often share my ideas with E.M., even if I don’t end up implementing them. This is because I believe that by discussing them, she might consider them and offer insights. In fact, she’s currently pondering on one such idea. However, as our story unfolds, it’s not feasible for her to act upon that particular idea. Wouldn’t it have been intriguing?

Let’s talk about that coda. How quickly did you fix on that for your final scene?

Lizzie, it seems like we discussed this matter prior to your reservation for the show. Don’t you recall that it was during our initial chat?

It’s quite plausible that the scene you’re referring to is a familiar one in both the world of June and that of The Handmaid’s Tale, as it seems to be deeply ingrained in my imagination.

June does not meet her end, yet she fails to achieve tranquility as well. She’s on her way back into the depths, repeating the cycle of pain, liberation, and recurrence that has captivated and perplexed audiences throughout the years.

A.M.: I have a slightly different take on how June’s arc was concluded in episode June, as I see her as fundamentally distinct when she returns to combat. She has a unique ability to channel her anger when necessary, and her killing of Tim Simons’s character is an instance of this focused fury. However, it’s not an uncontrolled rage that she constantly carries. Instead, at the end of the finale, June comes to realize that her purpose in life is to create a better future for future generations. A part of this mission involves sharing her story.

By the end of June, she amasses an extensive collection of tools. Through her experiences, she’s discovered profound insights about herself. Yet, it’s not her tools that hold power over her anymore; she now commands them instead.

June’s farewell with Serena suggests a newfound understanding. Previously, the concept of forgiveness was something June found difficult to practice.

In essence, what’s crucial about that particular moment isn’t focused on Serena. Instead, it centers around Noah. June must bestow upon him the gift of her motherhood, as he requires a parent who doesn’t seek forgiveness for every wrongdoing. Whether or not June genuinely forgives Serena is immaterial; it’s simply not relevant.

At the conclusion of the series, Serena finds herself without a nation, classifying her as a stateless refugee. However, some spectators might prefer to envision her being charged as a war criminal.

B.M.: Or in a pine box.

Or that, for sure. Who gets to be redeemed?

B.M. thinks redemption isn’t realistic because it’s often portrayed as a part of stories with definite endings, but in reality, life doesn’t work that way. When someone says “You’re redeemed,” they might wonder what happens the next day. Serena has done things that are unforgivable to many people. B.M. doubts if she can ever be truly forgiven as a human being, but we might ask if June can forgive her. Redemption seems like an ideal only found in fiction, not something applicable to our world and its complexities. If our story aims to guide the audience through real-life challenges, it shouldn’t rely on such concepts.

In my opinion, among June and others, Serena’s conclusion resonates most deeply with me. Just mentioning it stirs up emotions. This was true when I read it, during filming, and each time I saw it in the edit. Her words to her son, “You’re all I ever needed,” are so heartwarmingly beautiful for that character. She’s lost everything she thought she desired – the pursuit of power that many characters, particularly men, struggle with. To me, this represents a contented ending for her.>

B.M.: And Yvonne, it’s her very last scene, and she brings something new. How does that happen?

E.M. Her concept was to achieve a state of tranquility both physically and in her performance, as there were plenty of tears beforehand. However, she aimed for an ultimate stillness at the climax. Editing-wise, it could have been trimmed by about 10 to 15 seconds, making it more compact. But we decided against it, thinking, We can’t deny Serena this moment of peace. It was crucial for her to reach that serene state.

Luke and June appear to have had a calm, mature split that rings true to the tone of an honest discussion. Did they ever argue over their future as a couple?

B.M.: Not debate, but years of thought, and months and months of talking in the off-season.

It was clear to you how much it mattered to me that June didn’t wind up with either of those men. I believed that wasn’t our tale and neither was it for June. Perhaps someday, there will be a fresh start for Luke and June. Deep down, I sense they persist. They have two kids together if you consider that he brought up Nichole as well.

For a long time now, folks have been inquiring, “Should it be Nick or Luke, Nick or Luke?” Regarding romance and romantic comedies, I’m an ardent enthusiast and can honestly say I adore them. However, in this specific narrative, I felt strongly that the focus shouldn’t be on the characters themselves.

Bruce, tell me about the decision to bring Emily back.

As soon as Emily exited, I couldn’t wait any longer. Alexis Bledel shone brilliantly in the series. The circumstances became too convoluted for her to remain. I’ve always yearned to have her rejoin us. Lizzie agreed so swiftly that I can hardly believe she didn’t already have the idea brewing in her mind. They were the cornerstone of The Handmaid’s Tale, learning to navigate those costumes, finding ways to communicate with makeshift cones, and moving their bodies in a graceful synchronized swish. Alexis’s acting was incredibly subtle.

Hey Lizzie, I wasn’t sure if you noticed, but during the initial days, I found myself thinking, “She seems to be idle.” As you watched her on the monitor, it seemed like she was literally doing nothing, making us wonder if we were paying her for no work at all. But then, when we saw the edited footage, it struck me – “Oh my goodness!” She had been in much more lively roles before, and here she was, surprisingly subdued. This was quite unlike her vibrant persona on Gilmore Girls. It was truly remarkable to me that she was indeed contributing something, even if not as noticeably at first. I remember you comforting me by explaining that she was, in fact, doing something meaningful.

My initial reaction when you suggested bringing Emily back was, “I understand now that she needs to return, don’t I? Because if she doesn’t, I won’t be able to forget about it, given her importance since the very beginning.” She’s been with us right from the start.

What’s day zero?

On the initial day of filming “The Handmaid’s Tale”, Bruce expressed during our final production meeting that he wanted the overall tone to resemble the aquarium flashbacks from the very first day of shooting. This detail stuck with me. When editing the finale, it suddenly struck us, “We need to return to the aquarium.” We incorporated those flashbacks, and I found myself overwhelmed by tears.

It wasn’t scripted that those images of Hannah and June would return?

In the scenario when Lizzie was taking charge of the project, I wouldn’t have been the one to make decisions. Instead, it was Lizzie directing and Wendy [Hallam Martin] editing. My role was to suggest which segments should be used for a flashback sequence. To think that I would make such a decision on my own seems absurd! I allowed them to do so. If anything doesn’t sit right with me, we can always adjust it later.

I’m thrilled that we managed to build this relationship successfully, as there were challenges initially. At first, we both needed to navigate our way through things, but she was open and forthright about communicating effectively with her. It required effort on our part.

How did you want to be communicated with, Lizzie?

I firmly believe that there’s never enough communication in our work. No department, team member, actor, or director can communicate too much. Information is always beneficial, and a lack of it can be the root of numerous issues.

As a movie critic reflecting on the final installment, I can’t help but ponder the impact of the present political climate on its creation. Given that audiences will inevitably interpret it through the lens of current events, the filmmakers’ choices and messages might prove intriguingly relevant or thought-provoking, making for a fascinating post-viewing discussion.

These writers never base their work on current news events. Instead, they’ve consistently been driven by a commitment to truth and humanity, portraying both beauty and ugliness authentically. Remarkably, situations have occurred where real-world events mirror the content of their scripts, with uncanny similarities. I’ve personally experienced this phenomenon. It’s astounding! On numerous occasions, I’ve seen a script that mirrors a political event happening simultaneously, but the episode was filmed a year earlier and written a year before its air date. When you encounter such instances, one can only conclude, “We’re simply reflecting reality.” So, it seems, that must be what they are doing.

We tackled similar real-life issues as Margaret Atwood did 40 years ago, specifically in the realm of Gilead’s power dynamics. By examining these dynamics, you’ll see that they have been recurring for thousands of years and will likely continue to do so.

In our initial conversations for this current season back in 2023, Bruce mentioned that it would follow a circular pattern, similar to how the entire series does. Previously, during the first season, I had numerous interviews with Margaret where we discussed the recurring patterns in history.

What did you mean, Bruce?

As you delve deeper into the book and ponder its contents – essentially a series of tapes being played aloud – it becomes clear that these recordings are the last piece of information we have about the character June Osborne, or Offred in the novel. This is all we know. From the midpoint of seasons four and five, I began to contemplate this: How can we construct this narrative so that when you reach its conclusion, it feels like one of your achievements was being a witness to June’s tale?

In the concluding sequence, the film connects closely with the book, giving an impression of being a complementary text instead of a direct adaptation. Towards the end of the novel, Professor Pieixoto is musing over the possible alternate identities of the woman behind the recordings. Upon completing the book, turning on the series would feel like receiving the solution to Pieixoto’s conundrum. And revisiting the series until the finale would bring you back to the opening pages of the novel: “A chair, a table, a lamp.” A circle.

In the last scene, the voiceover sounds similar to the one from the first episode. When I re-spoke it, I used the same rhythm I had in the initial pilot episode.

In the initial episode, you’ll notice a tape recorder making a distinct click before the voiceover begins. This particular sound was created during the pilot production. Our sound engineer, Lou, is overjoyed because our show forms a circle thanks to this unique sound, making him the happiest sound engineer in the entire cosmos.

In the final scene, every character who’s taking action next is making their decisions thoughtfully, considering them as if they were a parent.

As a movie critic reflecting on the latest season, it’s become customary for us to gather annually and discuss our shared cinematic journey. At the start of our most recent gathering, I expressed my belief that this season, much like its predecessors, delves deeply into the complexities of motherhood. Each time we’re asked to pinpoint the theme, it becomes increasingly evident that if every season presents a unique narrative, perhaps I’m not delivering the consistency I strive for. Instead, I believe the essence should remain constant, offering fresh perspectives on the same profound themes.

Were you tempted to create sort of one last brush between June and Hannah for the finale?

Indeed, for me personally, it was as if they hadn’t spent much time together. Although it may appear frequent, Hannah hasn’t actually met her. Each encounter has been a blessing – just being able to catch sight of her again, to breathe in the scent of her child once more.

Every time we thought we had concluded our discussion, it seemed as though there was still more to wrap up – something that wasn’t yet fully resolved and not quite ready for a final conclusion.

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2025-05-28 01:56