The Handmaid’s Tale: A Chilling Reflection of Trump’s America

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In March, a midwife from Texas was apprehended under accusations of conducting unlawful abortions and practicing medicine without the necessary permit. She represented the initial healthcare professional to be criminally indicted following Texas’ 2022 abortion restriction law.

The arrest sparked shock and ignited a popular pastime among progressive social media users: proclaiming that each subsequent infringement on rights and personal freedom is evidence that we are moving from symbolically inhabiting the world of “The Handmaid’s Tale” to more practically evolving towards a nation resembling Gilead.

The arrest caused widespread dismay, leading to one of the favorite activities on left-leaning social media platforms: claiming that every step towards less freedom and bodily autonomy is proof that we are moving from a metaphorical existence in “The Handmaid’s Tale” to a more literal progression towards a nation like Gilead.

Now seems to be just right – or incredibly inconvenient – as Hulu’s The Handmaid’s Tale comes back for its last season. This is approximately two and a half years after the fifth season ended, with Elisabeth Moss’ character June and Yvonne Strahovski’s Serena on a refugee train, bound for Alaska or Hawaii, or any location other than the unforgiving landscapes of Toronto or Boston.

The series “The Handmaid’s Tale” has consistently found itself in an exceptional position, where its timing – either flawless or painfully unfortunate – has significantly impacted its reception. Unlike many other shows, this one has been influenced more by events beyond its creation than by its own script. A blend of real-life occurrences and creative decisions have led to the show being acclaimed as prophetic, praised by critics and award bodies, and becoming a part of everyday language in a way that outshines its respected source material’s reach. However, at times, its relevance was so stark that it became challenging to continue watching.

As a dedicated gamer, I’ve been captivated by “The Handmaid’s Tale” since its debut in April 2017, right when Donald Trump was taking office for the first time. And here we are, with its final season airing in May 2025, coinciding with another presidential term of Donald Trump. It’s as if this series was designed to mirror cosmic events rather than just being a regular TV show. To some, it was like the Oracle of Delphi, predicting our future; to others, it was Cassandra, warning us about what we should have seen coming long ago. From one perspective, it was a bold cautionary tale; from another, a soft reminder to lock the barn door after our personal freedoms had already bolted.

In my initial critique of the show, titled “The Handmaid’s Tale,” created by Bruce Miller and initially helmed in its captivating opening episodes by Reed Morano, I mused about a hypothetical world where Hillary Clinton had triumphed in the 2016 election, making this series merely a thought-provoking suspense drama (boasting exceptional visual storytelling and anchored brilliantly by Elisabeth Moss, solidifying her as Peak TV’s indispensable actress).

Margaret Atwood’s dystopian novel, an allegory for a society’s slide into a fascist theology, didn’t explicitly detail the U.S.’s transformation into this state, instead leaving room for various interpretations. This ambiguity was so broad that American conservatives could misconstrue it as a warning against radical Islam (which it wasn’t).

However, the concurrent debut of the TV series on television screens and Trump’s presidency limited the ability to craft flexible narratives. The show transitioned from the freedom of the hypothetical to the burden of reality. Instead of allowing viewers to identify signs of danger and draw their own conclusions from the chaos, it immersed us in the crisis. Each restriction on abortion rights or limitation in female healthcare sparked reactions like, “LOOK AT THAT!” from pessimists and sighs of exasperation from skeptics saying, “Stop exaggerating… every Trump’s Supreme Court nominee has claimed that Roe v. Wade is a settled law, so it will serve as our protection.

Despite Atwood not explicitly stating it, practical realities compelled Miller and their group to experience a sense of pressure. Consequently, Gilead transitioned from seeming like an ominous Anyplace, Anytime into a more tangible effort to adapt and counter our rapidly changing authoritarian regime.

As a gamer immersed in “The Handmaid’s Tale”, I found myself engulfed in a Trumpian dystopia that made it hard to envision any return of freedom, even after Trump’s defeat in the 2020 election. The fourth season was tainted by the haunting echoes of the January 6th insurrection, with images of American landmarks violated by citizens dressed up still fresh in our minds. With the fifth season premiere, we were plunged into a cloud of toxic fallout from the Dobbs decision, which stifled the voices of those who believed that a 1973 Supreme Court ruling could forever halt political floodwaters.

Reflecting back with a bit of distance, that fifth season could be seen as the most innovative and forward-thinking for the series. The move to Canada foreshadowed our current diplomatic strife with our northern neighbors as the show portrayed a scenario where the friendly Canadian facade could potentially crack. In the storyline, Canada’s anti-American (or more accurately, anti-Gilead) sentiment in season five is almost the polar opposite of what’s inspiring Canadian spectators to jeer our national anthem at sporting events. However, the deterioration of a once-special relationship in the show, looking back, seems strangely prophetic. At the time, it seemed we were still several years away from Canada growing tired of American antics. In hindsight, we should have seen it coming.

As a devoted fan, I approached my season-six previews of “The Handmaid’s Tale” with a sense of uncertainty, having grown accustomed to its persistent gloom. This isn’t a series that has ever been steering towards a cheerful resolution, and given the accelerated efforts by figures like Trump, Musk, and others to dismantle policies reminiscent of Biden, Obama, and Clinton, even a modicum of hope seems risky, lest it transforms the narrative into an overly optimistic Pollyanna tale. The comforting thought that “It can’t be Gilead, because Roe v. Wade is still in place!” would be a stark contrast to the grim reality portrayed in the series.

In eight out of ten episodes shown to critics, the focus is on determining which adversarial characters can undergo self-reflection and remorse, and which will persist in justifying themselves. Commander Lawrence, portrayed by Bradley Whitford, remains steadfast in his belief that Gilead, a society he helped establish, was a necessary response to economic and environmental challenges, and that its excessive measures can be rectified. Aunt Lydia, played by Ann Dowd, stubbornly clings to the notion that her harsh treatment of the handmaids served their best chance of survival. Meanwhile, Serena, portrayed by Strahovski, who was subjected to subjugation last season, continues to prioritize her own redemption – bolstered by a potential romantic interest in Commander Wharton, played by guest star Josh Charles – even when offered numerous chances to escape Gilead.

In the meantime, June and her rebels firmly believe that one decisive action could spark a full-blown revolution, but the series seems to doubt this possibility. Instead, it focuses on more modest, albeit less compelling, storylines, such as the love triangle involving Max Minghella’s character Nick and O-T Fagbenle’s character Luke.

The Handmaid’s Tale continues to deliver haunting visuals and impactful scenes. Moss has excelled as both a director (albeit one who could benefit from an editor to shorten episodes by 5 to 10 minutes) and a key cast member. Alongside a talented ensemble, she maintains the show’s powerful presence. Despite approaching its conclusion, Hulu has revealed plans for a spin-off series, The Testaments, inspired by Atwood’s 2019 sequel, set 15 years later. Both viewers and critics must steel themselves for the likelihood that, much like the world it portrays, this new series will not be a source of laughter, as it reflects the harsh reality of our own world.

You can find this story in the April 2nd edition of The Hollywood Reporter magazine. Consider subscribing by clicking here.

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2025-04-03 19:25